Description
Book SynopsisWhat is performance drawing'? When does a drawing turn into a performance? Is the act of drawing in itself a performative process, whether a viewer is present or not? Through conversation, interviews and essays, the authors illuminate these questions, and what it might mean to perform, and what it might mean to draw, in a diverse and expressive contemporary practice since 1945.
The term performance drawing' first appeared in the subtitle of Catherine de Zegher's Drawing Papers 20: Performance Drawings, in particular with reference to Alison Knowles and Elena del Rivero. In this book, it is used as a trope, and a thread of thinking, to describe a process dedicated to broadening the field of drawing through resourceful practices and cross-disciplinary influence.
Featuring a wide range of international artists, this book presents pioneering practitioners, alongside current and emerging artists. The combination of experiences and disciplines in the expanded field
Trade Review
A valuable historical primer that examines key examples of performance drawing from the last half-century and challenges established definitions and categorisations. The authors draw a picture of the changing boundaries between art forms, showing how the blurred lines between artistic disciplines are the product of an active performative process. In addition to practitioners, this should be read by anyone interested in emerging art practices. * Malcolm Cook, Associate Professor in Film, University of Southampton, UK *
Performance Drawing represents a highly developed record of practice-based research, tracing the developments in contemporary drawing, building on precedents that have led to emerging trends. It analyzes the radical departure from the acceptance of drawing as a canonical medium based on mark-making on two-dimensional surfaces, into real space towards performance, light projections, film and the use of new technologies. The texts brilliantly place all these developments into a clearly articulated context. * Therese Bolliger, artist, Canada *
While narrative forms of drawing have found favor through numerous exhibitions and publications world-wide, drawing as an inherently process-driven performative event is still lacking accessible comprehensive theoretical research. Bridging two centuries of contemporary practice, Performance Drawing will fill a huge gap for artists, teachers, scholars and art publics. * François Morelli, Concordia University, Canada *
Table of Contents
Foreword Preface 1. Marking: Line and Body in Time and Space 2. Physicality: Running as Drawing 3. Communicating: Directives and/or Instructions that Promote the Activity of Drawing 4. Conjuring: the Gift of a Surprise 5. Illuminating: Live Mark Making Through Projected Light Conclusion Bibliography
