Technologies of the Self-portrait: Identity, Presence and the Construction of the Subjects in Twentieth and Twenty-first Century Art (Routledge Advances in Art and Visual Studies)

"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"-- Provided by publisher 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. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Dedication 6 Table of Contents 8 List of figures 10 Acknowledgements 13 Introduction 14 Introducing the self 14 The self-determining individual 15 Social selves 17 Producing the self 18 Relational selves 19 Post-human selves 20 Mapping the self 20 Presencing 21 The order of things 23 1. The invention of the self-portrait 26 The origin of the self-portrait 27 Performing presence: the self-portrait during the Renaissance 29 The independent self-portrait: the case of Dürer 31 The act of painting 35 Collecting self-portraits 39 Self-portraits as theatres: the case of Rembrandt 41 Beyond representation: the case of Velázquez 47 From self-fashioning to immersion 49 Enter the viewer: the case of Pistoletto 52 2. The photographic self-portrait 56 The origin of the photographic self-portrait 58 The production of the subject in the work of Claude Cahun 62 The intermedial self-portrait in the work of Ana Mendieta 64 The act of becoming in the work of Francesca Woodman 67 The multiplication of the subject in the work of Lynn Hershman Leeson 69 Identity transfer in the work of VALIE EXPORT 73 Constructing the self as an other: the case of Cindy Sherman 74 Self-portrait in a mask: the case of Gillian Wearing 78 Self-portrait as power: Zanele Muholi 80 3. Sculpting the self 84 The origin of the sculptural self-portrait 84 The medical self-portrait 87 Sculpted action: Arte Povera’s Giuseppe Penone and Gilberto Zorio 91 Entering the body: the case of Antony Gormley 95 Sculpting the body: the case of Orlan 97 Stelarc’s cybernetic body sculptures 100 4. Video self-portraits 106 Self-perception in the work of Dan Graham 108 Presence and absence in the work of Gary Hill 113 Environmental presence: the case of Joan Jonas 116 Re-presencing the subject: Lynn Hershman Leeson 118 Surveillance: from wearable computers to AI 123 5. The selfie 127 The origin of the selfie 129 The aesthetics of the selfie 134 Community and museum selfies 136 Performing selves in character on social media: the case of Amalia Ulman 139 The algorithmic construction of the subject in Erica Scourti’s works 142 Cached Collective 145 Conclusion 147 References 149 Index 162 Introduction;,1,The,invention,of,the,self-portrait;,2,The,photographic,self-portrait;,3,Sculpting,the,self;,4,Video,self-portraits;,5,The,selfie;,Conclusion Introduction,1 The invention of the self-portrait,2 The photographic self-portrait,3 Sculpting the self,4 Video self-portraits,5 The selfie,Conclusion