000			03578nam a2200517 i 4500
001			8671660
003			IEEE
005			20220712204936.0
006			m o d
007			cr |n|||||||||
008			190417s2019 mau ob 001 eng d
020			_a9780262350792 _qelectronic bk.
020			_z0262350793 _qelectronic bk.
020			_z9780262039215 _qprint
020			_z0262039214 _qprint
035			_a(CaBNVSL)mat08671660
035			_a(IDAMS)0b00006488de0fd0
040			_aCaBNVSL _beng _erda _cCaBNVSL _dCaBNVSL
050		4	_aN6490 _b.H255 2019eb
082	0	4	_a709.04 _223
100	1		_aHarbison, Isobel, _eauthor. _925628
245	1	0	_aPerforming image / _cIsobel Harbison.
264		1	_aCambridge : _bThe MIT Press, _c2019.
264		2	_a[Piscataqay, New Jersey] : _bIEEE Xplore, _c[2019]
300			_a1 PDF (256 pages).
336			_atext _2rdacontent
337			_aelectronic _2isbdmedia
338			_aonline resource _2rdacarrier
506			_aRestricted to subscribers or individual electronic text purchasers.
520			_aAn 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.
530			_aAlso available in print.
538			_aMode of access: World Wide Web
588	0		_aPrint version record.
648		7	_a1900-2099 _2fast _925165
650		0	_aModern art _y20th century _xPhilosophy. _925629
650		0	_aModern art _y21st century _xPhilosophy. _925630
650		0	_aImage (Philosophy) _925631
650		7	_aModern art _xPhilosophy. _2fast _925632
650		7	_aImage (Philosophy) _2fast _925631
655		4	_aElectronic books. _93294
710	2		_aIEEE Xplore (Online Service), _edistributor. _925633
710	2		_aMIT Press, _epublisher. _925634
776	0	8	_iPrint version: _aHarbison, Isobel, author. _tPerforming image _z9780262039215 _w(DLC) 2018018402 _w(OCoLC)1032290540
856	4	2	_3Abstract with links to resource _uhttps://ieeexplore.ieee.org/xpl/bkabstractplus.jsp?bkn=8671660
942			_cEBK
999			_c73592 _d73592