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This article offers a preliminary investigation into what I term “selfies of ill health” and traces the expansion of the autopathographic genre in visual media from professional art photography to the vernacular selfie in recent years. In this context, the word autopathography is used to describe self-representational practices that offer a first-person perspective on experiences of illness or hospitalization. I first situate the genre by identifying several typologies of selfies of ill health, including diagnostic selfies, cautionary selfies, and treatment impact selfies. I then focus on the forms of identity performance that selfies, and selfies of ill health in particular, deploy. I argue that the performative qualities of certain selfies of ill health overlap with salient characteristics of autopathographic practice in the arts. Using Karolyn Gehrig’s #HospitalGlam series as a case study, I examine how autopathographic selfies can also construct a politicized dramaturgy of the lived body, notably by enabling individuals like Gehrig to “come out” as being invisibly ill. I conclude that the dramaturgical thrust of such autopathographic imagery is to convey both the centrality of medical experiences in subjects’ lives and their specific desire to be publicly identified as persons living with illness. In light of this, although selfies of ill health may have opened up new avenues for autopathographic practice thanks to the affordances of social media, their communicative intents remain consistent with those of earlier forms of autopathographic photography

Selfies of Ill Health: Online Autopathographic Photography and the Dramaturgy of the Everyday