Elsa Coustou

Simon Critchley

Isobel Harbison

Sheena Patel

Henry Bruce Jones

Mark Leckey

As Above So Below

Lars Bang Larsen

Caterina Riva

Maria Loboda

Oh, Wilderness

Brian Dillon

Hayward Gallery

Middlesbrough Institute of Modern Art

Bluecoat Gallery

An illustrated catalogue that features work by international artists who have a diverse and interesting approach to drawing. It accompanies the Hayward Touring exhibition to MIMA, Middlesbrough (opening February 2009), The Bluecoat, Liverpool (May), Bristol City Museum & Art Gallery (September) and Fruitmarket, Edinburgh (November).Features work by artists including Jan Albers, Michael Borremans, Marc Brandenburg, Fernando Bryce, Kate Davis, Monika Grzymala, David Haines, Kim Hiorthoy, Garrett Phelan, Naoyuki Tsuji and Sandra Vasquez de la Horra.

Attitudes in Drawing

The End of the Line

An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism. Over this period, artists have used a variety of DIY modes of self-imaging and circulation--from home video to social media--suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation. In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us--those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries. Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught. This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion. Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices--and a declaration of the value of art in an economy of attention and a crisis of representation.

Performing Image

Isobel Harbison

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