Performing Image
About this book
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 circulationâfrom home video to social mediaâsuggesting 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 usâthose 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 practicesâand a declaration of the value of art in an economy of attention and a crisis of representation.
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Information
Table of contents
- Cover
- Title page
- Copyright page
- Table of Contents
- Acknowledgments
- Introduction
- 1âA âKind ofâ Prosumer
- 2âRegistering as Image
- 3âImages Invading the Body
- 4âThe Big Bang
- 5âPerforming the Prosumer
- 6âThe Artist in Particular
- 7âAdrift Among Images
- 8âProximity and Distance
- Bibliography
- Index
