This book investigates the pictorial figurations, aesthetic styles and visual tactics through which visual art and popular culture attempt to appeal to "all of us". One key figure these practices bring into play—the "everybody" (which stands for "all of us" and is sometimes a "new man" or a "new woman")—is discussed in an interdisciplinary way involving scholars from several European countries.
A key aspect is how popularisation and communication practices—which can assume populist forms—operate in contemporary democracies and where their genealogies lie. A second focus is on the ambivalences of attraction, i.e. on the ways in which visual creations can evoke desire as well as hatred.
Introduction - Anna Schober; Chapter One: The Popular in Philosophy. Notes on a pluralistic concept of democratic enlightenment - Marc Rölli; Chapter Two: From Marianne to Louise: Three ways of Representing the (European) People in Democratic Societies - Wim Weymans; Chapter Three: Becoming Ordinary: The Ludic Politics of the Everyday -Veronika Zink and Philipp Kleinmichel; Chapter Four: Particular faces with universal appeal: A genealogy and typology of everybodies -Anna Schober; Chapter Five: The Mask and the Vanity Wound. Contemporary Populism through Canetti’s insight - Lynda Dematteo; Chapter Six: Facing Everybody? Composite Portraiture as Representation of a Common Face- Raul Gschrey; Chapter Seven: Contemporary Newsreel and New Everybody Figures as Mediators in Late Democracies - Andrej Šprah; Chapter Eight: Making of a common woman figure: Convergence and struggle of visual practices around Gezi’s icon - Ragip Zık; Chapter Nine: Duane Hanson’s Man on Mower – A Suburban American Everybody in the Mid-1990s -Viola Rühse; Chapter Ten: Devenir tout le monde: A Deleuzian Perspective on the Everybody between Political Practice and Visual Culture - Nina Bandi; Chapter Eleven: Contagion Images: Faciality, Viral Affect and the Logic of the Grab on Tumblr - Elena Pilipets; Chapter Twelve: The Usual Difference: Everybodies as Participants in Contemporary Art and the Spectacle of Changing Relations - Elisabeth Fritz