Performance Drawing: New Practices Since 1945

Authored by: Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall

Published by: Bloomsbury Visual Arts, 2020

Preface written by: Anna Furse. Foreword written by: Bonnie Marranca

Part of the Drawing In series, edited by Russell Marshall, Marsha Meskimmon and Phil Sawdon.

The first book to be published on performance drawing, Performance Drawing: New Practices Since 1945 establishes a vibrant art movement that has been progressively burgeoning since 1945 and contextualises today’s contemporary approaches while questioning what is drawing and what is performance. Each chapter focuses on a different perspective of performance drawing. Embracing the different voices and various lenses, the authors combine individual yet critical methodologies. While embedded in ephemerality and immediacy, the themes encompass body and energy; time and motion; light and space; imagined and observed, demonstrating how drawing can act as a performative tool. The dynamic interaction leads to a collective understanding of the term performance drawing and addresses the key developments and future directions of this applied drawing process.

The book includes a consideration of drawing with a number of technologies; of live animation; of the lightning sketch stage act and recontextualises a number of expanded cinema works as acts of drawing.

Endorsements:

“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 

“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.” – Malcom Cook, Associate Professor in Film, University of Southampton

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