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Self-Timer Stories

Cover_Self-Timer Stories
Self-Timer Stories

Felicitas Thun-Hohenstein (ed.)

English, 220 pages, numerous illustrations in colour and b/w, 19 x 24 cm, softcover


ISBN 978-3-902833-76-1

€ 32,00 [A]

€ 31,10 [D]

Edited by Felicitas Thun-Hohenstein for The Austrian Federal Chancellery

Artists: Bernadette Anzengruber, Renate Bertlmann, AA Bronson, Katrina Daschner, Carola Dertnig, VALIE EXPORT, Esther Ferrer, Heidi Harsieber, Jessyca R. Hauser, Philipp Hauss, Sharon Hayes, Matthias Herrmann, Juan Hidalgo, Birgit Jürgenssen, Barbara Kapusta, Susi Krautgartner, Friedl Kubelka, Roberta Lima, Anja Manfredi, Dorit Margreiter, Ana Mendieta, Michaela Moscouw, Laurel Nakadate, Lilo Nein, Cristina Nuñez, Carlos Pazos, Sasha Pirker, Àngels Ribé, Constanze Ruhm, Hans Scheirl, Toni Schmale, Carolee Schneemann, Peter Weibel, Hans Weigand, Judith van der Werff, Martha Wilson, Francesca Woodman

With texts by: Sam Ashby, Andrea B. Braidt, Sabine Breitwieser, Natascha Burger, Juli Carson, Amy Croft, Yilmaz Dziewior, Andrea Ecker, Silvia Eiblmayr, Christiane Erharter, Alaina Claire Feldman, Rike Frank, Kristine Gúzman, Georg Gröller, Christian Höller, Amelia Jones, Hubert Klocker, Jakob Lena Knebl, Melissa Lumbroso, Maren Lübbke-Tidow, Rick Moody, Susanne Neuburger, Georg Neuerer, Dominic Oley, Manuel Olveira, Josef Ostermayer, Klaus Ottmann, Astrid Peterle, Caroline Peters, Ursula Maria Probst, Elisabeth von Samsonow, Ferdinand Schmatz, Gabriele Schor, Dietmar Schwärzler, Abigail Solomon-Godeau, Claudia Marion Stemberger, Felicitas Thun-Hohenstein, Margit Zuckriegl

Self-photography as a performative act by women artists, sharpened by their active role in shooting the photos, allows the gaze of the other to enter only after the fact. The theoretical positions of feminism are evident in the performative photographic practices of Francesca Woodman, Carolee Schneeman, Martha Wilson, Valie Export, Birgit Jürgenssen, Friedl Kubelka, or Carola Dertnig and many others. The present volume shows 35 positions which, through interviews and commentaries on the works, allow affinities to be drawn with and followed through to queer and gay theory and the discussion of minority rights, as well as postcolonial studies and ecological movements. The introductory texts by Felicitas Thun-Hohenstein and Abigail Solomon-Godeau recapitulate the history of the intensive crossing of women’s self-photography, the history of emancipation, gender theory, and performance.