Isobel Harbison

Isobel Harbison, an art historian and critic, is Lecturer in Fine Art (Critical Studies) in the Department of Art at Goldsmiths College, London.

  • Performing Image

    Performing Image

    Isobel Harbison

    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.

    • Hardcover $40.00 £30.00

Contributor

  • Oh, Wilderness

    Oh, Wilderness

    Maria Loboda

    “Verbal sculptures” and “strange archaeologies”—Maria Loboda's recent works expose prior events through sparse details of entangled secrets, material contradictions, and masked collusions. Her sculpture is both indulgently verbal and obstinately reserved. Oh, Wilderness also demonstrates the artist's aesthetic equation between language and materiality as it works the other way around, translating materials expressive of a certain weak semiotics to language. Through these materials, nature is observed and read—now constituting a grammar, rigorously arbitrary, formal, and conventional.

    The book contains a Q&A between Loboda, Caterina Riva, and Isobel Harbison, which traces the artist's work and context. An essay by Riva highlights Loboda's use of antagonisms, duality, and enigmas in her practice; Lars Bang Larsen points to a state of echoing and spiritualization in Loboda's works; and Harbison analyzes the engagement with history and artifact in Loboda's new approach to sculpture.

    Oh, Wilderness is Loboda's first monograph and contains work from 2009 to 2012.

    With essays by Isobel Harbison, Lars Bang Larsen, and Caterina Riva.

    • Paperback $28.00