The selfie has emerged as one of the most globally recognizable images and is embroiled in both popular culture and scholarly debates, without a consensus in sight. It is one of the foremost ways in which individuals decode expectations of hegemonic subjectivity and encode their identities in accordance with or subversion of those codes as determined by the many intricacies of the selfie.
How can climate change be understood and imagined in contemporary art photography from a queer point of view? [1] In the following, I want to answer this question by delving into the artistic practice of the American photographer David Benjamin Sherry. Through my eco-queer reading [2] of his series Climate Vortex Sutra (2014), I want to find out to what extent it deals not only with questions of climate change but also with the heteronormative history of American landscape photography. […]