Selfie Aesthetics: Seeing Trans Feminist Futures in Self-Representational Art
Selfie Aesthetics: Seeing Trans Feminist Futures in Self-Representational Art
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Selfie Aesthetics: Seeing Trans Feminist Futures in Self-Representational Art
W037791 | $24.95 / 10% library disc.
Nicole Erin Morse. Duke University Press Books, Durham, 2022.
198 pp. Moderately Illustrated (all b&w). 23 x 15 cm. LC 2021-39223 In English. Paperbound.
ISBN 9781478018148
Nicole Erin Morse examines how trans women feminine artists use selfies and self-representational art to explore how selfies produce politically meaningful encounters between creators and viewers in ways that envision trans feminist futures. In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.
Subject Headings: International ; Western Art -- Post-1945 ; Post-1970 ; Post-1990 ; Post-2000 -- Photography -- LGBTQ --
W037791 | $24.95 / 10% library disc.
Nicole Erin Morse. Duke University Press Books, Durham, 2022.
198 pp. Moderately Illustrated (all b&w). 23 x 15 cm. LC 2021-39223 In English. Paperbound.
ISBN 9781478018148
Nicole Erin Morse examines how trans women feminine artists use selfies and self-representational art to explore how selfies produce politically meaningful encounters between creators and viewers in ways that envision trans feminist futures. In Selfie Aesthetics Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality. Morse contends that rather than being understood as shallow emblems of a narcissistic age, selfies can produce politically meaningful encounters between creators and viewers. Through close readings of selfies and other digital artworks by trans feminist artists, Morse details a set of formal strategies they call selfie aesthetics: doubling, improvisation, seriality, and nonlinear temporality. Morse traces these strategies in the work of Zackary Drucker, Vivek Shraya, Tourmaline, Alok Vaid-Menon, Zinnia Jones, and Natalie Wynn, showing how these artists present improvisational identities and new modes of performative resistance by conveying the materialities of trans life. Morse shows how the interaction between selfie creators and viewers constructs collective modes of being and belonging in ways that envision trans feminist futures. By demonstrating the aesthetic depth and political potential of selfie creation, distribution, and reception, Morse deepens understandings of gender performativity and trans experience.
Subject Headings: International ; Western Art -- Post-1945 ; Post-1970 ; Post-1990 ; Post-2000 -- Photography -- LGBTQ --
