04833nam 22007453 450 991048754620332120250506080452.0(CKB)5590000000517591(oapen)https://directory.doabooks.org/handle/20.500.12854/76270(MiAaPQ)EBC31982621(Au-PeEL)EBL31982621(oapen)doab76270(EXLCZ)99559000000051759120250506d2021 uy 0engurmn|---annantxtrdacontentcrdamediacrrdacarrierSelf-Representation in an Expanded Field1st ed.Basel, SwitzerlandMDPI - Multidisciplinary Digital Publishing Institute2021Basel :MDPI AG,2021.©2021.1 electronic resource (228 p.)State of the Arts-Reflecting Contemporary Cultural Expression Series3-03897-564-8 3-03897-565-6 Intro -- State of the Arts-Reflecting Contemporary Cultural Expression -- Contents -- Acknowledgments -- About the Editor -- About the Authors -- Introduction -- From Self-Portrait to Selfie: Contemporary Art and Self-Representation in the Social Media Age -- Issues in Self-Representation -- Between Our Selves: Conversations on Race and Representation -- Feeling Myself: Loving Gestures and Representation in Mickalene Thomas: Muse -- From Self to #Selfie: An Introduction -- Selfie Shifts -- Race for the Prize: The Proto-Selfie as Endurance Performance Art -- Reflecting on Life on the Internet: Artistic Webcam Performances from 1997 to 2017 -- Selfie-Wars on Social Media -- New Selfie Precedents -- "First Ever Selfie Cover!": Cosmopolitan Magazine, Influencers, and the Mainstreaming of Selfie Style -- Self-Image as Intervention: Travis Alabanza and the New Ontology of Portrait Photography.Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, –as this project aims to do address via a variety of interdisciplinary approaches– selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today. Ace LehnerEditorState of the Arts-Reflecting Contemporary Cultural Expression SeriesSelf-Representation in an Expanded Field The artsbicsscPainting & paintingsbicsscSelfiesself-portraituresocial mediaart historyrepresentationphotographycontemporary artIntersectionalityintersectional approachesidentityaestheticscontemporary lifeconsumer cultureavant-guardThe artsPainting & paintingsLehner Ace1328929Bhaumik Sita Kuratomi1817511Zelt Natalie1817512Lemcke Rudy1817513Tasman Marc1817514Sauerlaender Tina1817515Reichert Ramón992233Iqani Mehita1064528MiAaPQMiAaPQMiAaPQBOOK9910487546203321Self-Representation in an Expanded Field4375353UNINA