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Helene Schjerfbeck (1862 - 1946) ist eine der Ikonen der nordischen Malerei der Moderne. Doch erst seit einigen Jahren findet ihre Kunst auch außerhalb ihrer zentralen Wirkungsstätten Finnland und Schweden große Beachtung. Elementarer Bestandteil von Schjerfbecks Œuvre sind ihre Selbstbildnisse. Das Porträtieren der eigenen Gesichtszüge begleitet die international ausgebildete Malerin seit den 1870er Jahren bis kurz vor ihrem Tod 1946. Bislang sind etwa 40 Selbstporträts bekannt. Diese Werke geben Einblick in die künstlerische Entwicklung der Finn-landschwedin - in ihnen experimentiert sie am offenkundigsten mit unterschiedli-chen Techniken und Bildfindungen. Das Ergebnis sind selbstbewusste Statements in einem männlich dominierten Kunstbetrieb. In einer schonungslosen Wahrheits-suche werden Themen wie Kreativität, Tod und Gender aufgegriffen. Dabei entste-hen visuelle Referenzen zu Arbeiten von Edvard Munch, Käthe Kollwitz oder Francis Bacon. Schjerfbecks beständiges Changieren zwischen Figuration und Abstraktion erfordert ein Überdenken des konventionellen Porträtbegriffs - was ist konstitutiv für die Gattung, wenn die äußere Ähnlichkeit zur Porträtierten reduziert wird? Eine hermeneutische Annäherung an die Bildnisse gibt Aufschluss über deren Inhalte und Einblicke in die Zeit, in der sie entstanden sind.

Schjerfbeck, Helene, --- Modern painting --- Self-portraits --- Portrait art --- Sweden --- Finland

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This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.

Culture --- Communication. --- Social media. --- Photography. --- Cultural and Media Studies. --- Media and Communication. --- Social Media. --- Cultural Theory. --- User-generated media --- Communication --- User-generated content --- Communication, Primitive --- Mass communication --- Sociology --- Cultural studies --- Study and teaching. --- Self-portraits. --- Photography --- Digital photography --- Digital electronics --- Portraits --- Digital techniques. --- Culture-Study and teaching. --- Culture—Study and teaching. --- Selfies (Photography) --- Portrait photography - Social aspects. --- Self-portraits - Social aspects. --- Photography - Digital techniques. --- Portrait photography --- Self-portraits --- Narcissism. --- Portraits (photographie) --- Autoportraits --- Photographie numérique. --- Social aspects. --- Aspect social. --- Photographie numérique.

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This collection refl ects on the emerging phenomenon of ‘selfi e citizenship’, which capitalises on individual visibility and agency, at the time when citizenship itself is increasingly governed through biometrics and large-scale dataisation. Today we are witnessing a global rise of politicised selfi es: photographs of individuals with handwritten notes or banners, various selfi e memes and hashtag actions, spread on social media in actions of protest or social mobilistion. Contributions in this collection range from discussions of citizen engagement, to political campaigning, to selfi es as forms of citizen witnessing, to selfi es without a face. The chapters cover uses of selfi es by activists, tourists and politicians, victims and survivors, adults and children, in a broad range of geopolitical locations – China, Germany, Iran, Nepal, Pakistan, Singapore, South Korea, Sweden, the UK and the US. Written by an international and interdisciplinary group of authors, from senior professors to junior scholars, artists, graduate students and activists, the book is aimed at students, researchers, and media practitioners. Adi Kuntsman is Senior Lecturer at Manchester Metropolitan University, UK, the author of Digital Militarism: Israel’s Occupation in the Social Media Age (with Rebecca L. Stein, 2015), and the co-editor of Queer Necropolitics (with Jin Haritaworn and Silvia Posocco, 2014) and Digital Cultures and the Politics of Emotion: Feelings, Affect and Technologica Change (with Athina Karatzogianni, 2012).

Culture --- Youth --- Communication. --- Social media. --- Photography. --- Political communication. --- Self. --- Identity (Psychology). --- Cultural and Media Studies. --- Social Media. --- Self and Identity. --- Media and Communication. --- Youth Culture. --- Political Communication. --- Study and teaching. --- Social life and customs. --- Self-portraits. --- Portraits --- Youth-Social life and customs. --- Political communication --- Political science --- Communication, Primitive --- Mass communication --- Sociology --- Personal identity --- Consciousness --- Individuality --- Mind and body --- Personality --- Thought and thinking --- Will --- User-generated media --- Communication --- User-generated content --- Youth—Social life and customs. --- Self --- Ego (Psychology)

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This volume presents the first collection of essays dedicated to women as producers of visual and material culture in the Early Modern European courts, offering fresh insights into the careers of, among others, Caterina van Hemessen, Sofonisba Anguissola, Luisa Roldán, and Diana Mantuana. Also considered are groups of female makers, such as ladies-in-waiting at the seventeenth-century Medici court. Chapters address works by women who occupied a range of social and economic positions within and around the courts and across media, including paintings, sculpture, prints, and textiles. Both individually and collectively, the texts deepen understanding of the individual artists and courts highlighted and, more broadly, consider the variety of experiences of female makers across traditional geographic and chronological distinctions. The book is also accompanied by the "Global Makers: Women Artists in the Early Modern Courts" digital humanities project ), extending and expanding the work begun here.

Women artists --- Art --- Upper class women --- History. --- Europe --- Court and courtiers --- Women --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Artists, Women --- Women as artists --- Artists --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Women artists. --- Art. --- Europe. --- women, artists, early modern, Renaissance, courts. --- Art, Primitive --- Arts, Renaissance. --- Renaissance arts --- Cour et courtisans --- Femmes artistes --- Self in literature. --- Self-portraits.