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E-grāmata: Technologies of the Self-Portrait: Identity, Presence and the Construction of the Subject(s) in Twentieth and Twenty-First Century Art

(University of Exeter, UK)
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Technologies of the Self-Portrait: Identity, Presence and the Construction of the Subject(s) in Twentieth and Twenty-First Century ArtPalielināt
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"This book demonstrates how artists have radically revisited the genre of the self-portrait by using a range of technologies and media that mark different phases in what can be described as a history of self- or selves-production. Gabriella Giannachi shows how artists constructed their presence, subjectivity, and personhood, by using a range of technologies and media including mirrors, photography, sculpture, video, virtual reality and social media, to produce an increasingly fluid, multiple, and social representation of their 'self'. This interdisciplinary book draws from art history, performance studies, visual culture, new media theory, philosophy, computer science, and neuroscience to offer a radical new reading of the genre"--

This book demonstrates how artists have radically revisited the genre of the self-portrait by using a range of technologies and media that mark different phases in what can be described as a history of self- or selves-production.

List of figures
ix
Acknowledgements xii
Introduction 1(12)
Introducing the self
1(1)
The self-determining individual
2(2)
Social selves
4(1)
Producing the self
5(1)
Relational selves
6(1)
Post-human selves
7(1)
Mapping the self
7(1)
Presencing
8(2)
The order of things
10(3)
1 The invention of the self-portrait
13(30)
The origin of the self-portrait
14(2)
Performing presence: the self-portrait during the Renaissance
16(2)
The independent self-portrait: the case of Durer
18(4)
The act of painting
22(4)
Collecting self-portraits
26(2)
Self-portraits as theatres: the case of Rembrandt
28(6)
Beyond representation: the case of Velazquez
34(2)
From self-fashioning to immersion
36(3)
Enter the viewer: the case of Pistoletto
39(4)
2 The photographic self-portrait
43(28)
The origin of the photographic self-portrait
45(4)
The production of the subject in the work of Claude Cahun
49(2)
The intermedial self-portrait in the work of Ana Mendieta
51(3)
The act of becoming in the work of Francesca Woodman
54(2)
The multiplication of the subject in the work of Lynn Hershman Leeson
56(4)
Identity transfer in the work of VALIE EXPORT
60(1)
Constructing the self as an other: the case of Cindy Sherman
61(4)
Self-portrait in a mask: the case of Gillian Wearing
65(2)
Self-portrait as power: Zanele Muholi
67(4)
3 Sculpting the self
71(22)
The origin of the sculptural self-portrait
71(3)
The medical self-portrait
74(4)
Sculpted action: Arte Povera's Giuseppe Penone and Gilberto Zorio
78(4)
Entering the body: the case of Antony Gormley
82(2)
Sculpting the body: the case of Orlan
84(3)
Stelarc's cybernetic body sculptures
87(6)
4 Video self-portraits
93(21)
Self-perception in the work of Dan Graham
95(5)
Presence and absence in the work of Gary Hill
100(3)
Environmental presence: the case of Joan Jonas
103(2)
Re-presencing the subject: Lynn Hershman Leeson
105(5)
Surveillance: from wearable computers to AI
110(4)
5 The selfie
114(20)
The origin of the selfie
116(5)
The aesthetics of the selfie
121(2)
Community and museum selfies
123(3)
Performing selves in character on social media: the case of Amalia Ulman
126(3)
The algorithmic construction of the subject in Erica Scourti's works
129(3)
Cached Collective
132(2)
Conclusion 134(2)
References 136(13)
Index 149
Gabriella Giannachi is Professor in Performance and New Media, and Director of the Centre for Intermedia at the University of Exeter.
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