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.

"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-garde. But--as this project aims to ... 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, [move] 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"--From publisher's description, viewed July 19, 2021.

Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler

Theatre in the Expanded Field is a fiercely original, bold and daring exploration of the fields of theatre and performance studies and the received narratives and histories that underpin them. Rich with interdisciplinary reference, international, eclectic and broad-ranging in its examples, it offers readers a compelling and provocative reassessment of the disciplines, one that spans pre-history to the present day. Sixty years ago, in 1962, Richard Southern wrote a remarkable book called The Seven Ages of the Theatre. It was unusual in its time for taking a trans-disciplinary, new-historical and avowedly internationalist approach to its subject - nothing less than a totalizing view of its field. Theatre in the Expanded Field does not attempt to mimic Southern's work but rather takes his spirit of adventure and ambition as its frame for the contemporary moment of performance and its diverse pasts. Identifying seven ways of exploring the performance field, from pre-history to postdramatic theatre the book presents studies of both contemporary and historical works not as a chronological succession, but in keeping with their coeval qualities, as movements or 'generations' of connection and interaction, dissensus and interruption. It does this with the same purpose as Richard Southern's original work: to provide for the planning of responsive performance spaces 'now'. Illustrated throughout with line-drawings, Theatre in the Expanded Field is as richly rewarding as it is ambitious and expansive in it vision.

This book explores the work and careers of women, trans, and third-gender artists engaged in political activism. While some artists negotiated their own political status in their indigenous communities, others responded to global issues of military dictatorship, racial discrimination, or masculine privilege in regions other than their own. Women, trans, and third-gender artists continue to highlight and challenge the disturbing legacies of colonialism, imperialism, capitalism, communism, and other political ideologies that are correlated with patriarchy, primogeniture, sexism, or misogyny. The book argues that solidarity among such artists remains valuable and empowering for those who still seek legitimate recognition in art schools, cultural institutions, and the history curriculum.

Migrant Representations pairs twenty-four carefully selected histories in order to compare how migrants themselves – Irish labourer, Lithuanian refugee or Indian doctor – and their social investigators capture in words and images defining private and historical moments. These comparative case studies from the 1780s to the 2000s explore how migrants constructed their own narratives of mobility and settlement through procedures of reflecting, remembering and recording. Moreover, these studies examine how speech, writing, and picture were used, for instance, by a missionary, social scientist or activist to make ‘outside’ representations of the migrant. Such life-stories, social surveys, and pictures emerge as alternative archives. Leese’s transnational, cultural history considers life-story forms and their uses; the tension between external surveillance and self-observation; the power of narratives to afford legibility and acknowledgement. Leese argues that, historically and in the present, first-person migrant stories and outsider investigations create a continuous charged exchange of views where both migrant and observer negotiate position, authority, authenticity, and potential advantage. Within the history of migrant representations this exchange generates a persistent, subversive strain of opposition and critique. Such self-observations, observations of others, and images never settle.

This collection reaches beyond fake news and propaganda, beyond misinformation and charismatic liars, to explore the lesser-publicized cultural forms and practices that serve as a cultural infrastructure for post-truth society and politics. Situating post-truth in specific contexts as a site of contestation or crisis, the book critically explores it as a dynamic and shifting site around which political and cultural practices in specific contexts revolve and overlap. Through a breadth of perspectives, the volume considers a number of overlapping cultural and political developments across varying national and transnational contexts: changing technologies and practices of cultural production that sometimes shift and at other times reproduce authority of traditional institutional truth-tellers; seismic cultural changes in representations, values and roles regarding gender, sexuality, race and historical memory about them, as well as corresponding reactionary discourses in the “culture wars”; questions of authenticity, honesty, and power relations that combine many of the former shifts within an all-encompassing culture of (self-) promotional, attentional capitalism. These considerations lead scholars to focus on corresponding shifting cultural dynamics of popular truth-telling and (dis-) trust-making that inform political culture. In this more global view, post-truth becomes foremost an influentially anxious public mood about the struggles to secure or undermine publicly accepted facts. This nuanced and insightful collection will interest scholars and students of communication studies, media and cultural studies, media ethics, journalism, media literacy, sociology, anthropology, philosophy, and politics.

This book studies how documentaries, and factual media in general, can contribute to the reduction of social stigma and prejudice. It adopts models from social psychology, media studies and cultural studies and is intended for scholars and media makers who aim to increase social inclusion and diversity by deconstructing harmful boundaries between social groups. Such boundaries may be based on the stereotyping of ethnicity, culture, age, dis/ability, gender and sexual orientation, for example. The first part of the book outlines the functionality of stereotypes as essential processes for social cognition both in real life and during documentary viewing. The second part establishes a classification system for stigmatising media stereotypes and formulates a methodology based on critical discourse analysis to analyse them in narrative and audio-visual representations. The third and final part of the book conceptualises a set of methodologies to reduce stigmatising stereotypes. These methodologies are based on 1) representations that prompt perspectival alignment with screen characters, and 2) the perceived salience of multiple, intersecting social identities.

Migrant Emotions explores the interrelationships and tensions between mobility and immobility, emotions, affects and experiences, inclusion and exclusion, as well as narratives and representations in both local and global discourses. The overall objective of the volume is to underscore the significance of emotions in the analysis of mobile lives in the past and the current socio-political climate. The book provides a new framework that brings together the study of emotions and migration by focusing on the feelings or emotions of exclusion and inclusion through a range of theoretical lenses. Specifically, it offers a series of complex, interconnected studies on diverse experiences, responses, and voices of migrants (including, refugees, asylum seekers, undocumented, and others on the move) both in the twentieth and the twenty-first centuries, and across the continents, including Europe (Molesini, Daniel, Stock, Castillo Goncalves, Cancian, Leese), Africa (Cancian, Kilpeläinen and Zechner), Asia (Mutiara, Paul, Ridgway), and Oceania (Heckenberg). Integral to the volume’s original objective is an emphasis on the global diversity of contributors and studies and the global reach of readership for purposes of comparison.

While currently identitarian ideologies and essentialist notions of identity that tend to simplify and reduce life experience to simple factors are globally regaining massive attention, it becomes inevitable to recollect the thorough discussions of identity concepts of the past three decades. It also calls for an ever keener awareness of and capacity to deal with the complexity and diversity of the world we live in. Artists play a major role in the potential reflection and transformation of perceptions and conceptions of the world – musicians, dancers, choreographers, spoken word artists, performance artists, actors, also fine art, installation, media artists or photographers alike. “Performing critical identity” points to performative practices of artists that bring to the fore a critical (self-)awareness and (self-)positioning concerning identification and belonging. Social identities such as gender, sexuality, race, class, dis/ability, age or non/religiosity are closely linked to the historical, social, regional and political dimensions of their formation. From this perspective, identities are hardly one-dimensional but complex and intersectional, and are rather to be thought of as a process of identification and belonging than as a consistent essence. As different, maybe contradictory among themselves, as they are, the performative works of artists such as Lerato Shadi, Liad Hussein Kantorowicz, Nora Chipaumire, Shu Lea Cheang, Zanele Muholi, Ohno Kazuo, Anohni Hegarty, Neo Hülcker, “We’re Muslim. Don’t Panic” or of theatre collectives such as RambaZamba and Thikwa Theater in Berlin or Theater Hora in Zurich, to name but a very small quite random selection of artists, share a critical approach towards hegemonic norms or stereotyping of identities and their representations, and empower diversity. This edition puts a specific focus on the performativity of the aesthetic practices, and wants to explore different artistic approaches, strategies, tactics and perspectives of artists when they address identity issues, when they target power relations and structures of oppression and inequality, when they empower concepts of diversity. This Call for Papers invites academic as well as artistic contributions that delve into case studies of artists performing critical identity or into more general theoretical reflections on the subject. Contributions can relate to, but are not limited to following topics: - intersectionality - subversion - (self-)empowerment - resistance - subalternity - exploitation - manipulation - (anti-)feminism - appropriation - cultural globalisation - transculturality - hybrid identities - collectives - body - stage - audience - de-/construction of the difference of aesthetic genres and of high/popular culture - capitalism - colonialism - (re-)production of exclusion Dr. Marie-Anne Kohl Editor