Location One

Translations: Joan Jonas Artist Talk with Linda Nochlin
Moderated by Jovana Stokić
Wednesday, March 24, 2010 at 7pm
Free and open to the public

Marina Abramovic and Joan Jonas at MoMA

Location One is proud to present Drawing/Performance/Video, a new exhibition by Joan Jonas that highlights the role of drawing in the artist's performance and video work, on view through May 8, 2010.
In conjunction with this exhibition, Location One will host two evenings of conversation with Jonas.

March 24 at 7pm: Translations

Linda Nochlin speaks with Joan Jonas, moderated by Jovana Stokić, curator of the Abramović Studio at Location One

Beyond the current heated discussion of museums' interest in preserving the legacy of performance art of the 1970s, this talk will focus on another issue central to performance art:  the representation of the feminine self from the 1970s till today. It brings together preeminent feminist art historian Linda Nochlin, and visionary artist Joan Jonas, contemporaries who, in different ways, have worked for more than five decades on debunking the myths of the essential female subject. The moderator of this encounter, art historian and curator Jovana Stokić, has written a PhD dissertation based on these quests in both art and art history. It is a critical intervention into the notion of contemporary femininity in representation by tracing the ways in which the genre of self-portraiture became the principal constituent of a specific, feminine artistic identity. This talk will discuss the strategy of performative reading that hopes to show how the representation of the body is constructed as a site of subjectivity for a particular artist–Joan Jonas. It will offer analysis of Jonas's works that focus on the notion of feminine self-representation:  from her early video performances to her later works. It will shed light on Jonas's articulation of the artistic self in representation, and her purposeful evocation of feminine beauty in performance.

Please also join us
Thursday, April 8th at 7 pm

Bonnie Marranca, Founder and Publisher of PAJ, A Journal of Performance and Art, and Claire MacDonald, Director, International Centre for Fine Arts Research, University of the Arts London/Central St. Martins speak with Joan Jonas.

Joan Jonas is a pioneer of video-performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Threads of Jonas's influence can be found in many genres; from performance and video to conceptual art and theater.

Jonas has worked with composers such as Alvin Lucier and Jason Moran to develop video-performance works. Her work continues to explore the relationship of digital media to performance.

Jonas has had major retrospectives at the Stedelijk Museum, Amsterdam (1994), and Galerie der Stadt Stuttgart, Germany (2000), and was represented in Documenta V, VI, VII and XI in Kassel, Germany. In 2004, the Queens Museum of Art presented Joan Jonas: Five Works, the first major exhibition of the Joan Jonas's work in a New York museum. The exhibition included a selection of the artist's most significant installations, a video room, and a survey of Jonas' drawings, photographs, and sketchbooks.

The first installation and performance of Jonas's Reading Dante was at the 2008 Biennale of Sydney. Later that year Jonas performed the work at the Yokohama Triennale, and also performed a reading at The Isabella Stewart Gardner Museum in Boston. Jonas was featured in the International Pavilion of the 2009 Venice Biennale where she installed Reading Dante II. Most recently, the artist presented Reading Dante II at the Performing Garage in New York as part of Performa '09, and selected elements of this performance are featured in Reading Dante III at Yvon Lambert New York. Also at the Museum of Modern Art, through May 31, 2010, Performance 7: Mirage, which is a reimagining of the groundbreaking performance originally created in 1976. In 2009 Jonas was awarded the Guggenheim's first annual Lifetime Achievement Award.

Joan Jonas is represented by Yvon Lambert Gallery, and was Senior Artist in Residence at Location One in 2008-09.

Linda Nochlin, a Professor and art historian, is considered to be a leader in feminist art history studies. In 1971, the magazine ArtNews published an essay whose title posed a question that would spearhead an entirely new branch of art history. The essay, "Why Have There Been No Great Women Artists?," explores possible reasons why "greatness" in artistic accomplishment has been reserved for male "geniuses" such as Michelangelo. Nochlin argues that general social expectations against women seriously pursuing art, restrictions on educating women at art academies, and "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based" have systematically precluded the emergence of great women artists. Nochlin has also been involved in publishing other essays and books including Women, Art, and Power: And Other Essays (1988), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Women in the 19th Century: Categories and Contradictions (1997), and Representing Women (1999). Nochlin was the co-curator of a number of landmark exhibitions exploring the history and achievements of female artists. "Women Artists: 1550-1950" (with Anne Sutherland Harris) opened at the Los Angeles County Museum of Art in 1976. "Global Feminisms" (with Maura Reilly) opened at the Brooklyn Museum in 2007. Nochlin received her BA from Vassar College, an MA in English from Columbia University, and her PhD in the history of art from the Institute of Fine Arts at New York University in 1963. Besides feminist art history, she is best known for her work on Realism, specifically on Courbet. After working in the art history departments at Yale University, the Graduate Center of the City University of New York (with Rosalind Krauss), and Vassar College, Nochlin took a position at the Institute of Fine Arts, where she continues to teach.The thirty-year anniversary of Nochlin's query motivated a conference at Princeton University in 2001. The book associated with the conference, "Women artists at the Millennium", that hosts Nochlin's new essay ""Why Have There Been No Great Women Artists?" Thirty Years After", and in which art historians discuss the innovative work of  contemporary artists in the light of the legacies of thirty years of feminist art history, appeared in 2006.

Belgrade-born, New York-based art historian and critic Jovana Stokić holds a PhD from the Institute of Fine Arts at the New York University. Her dissertation, titled "The Body Beautiful: Feminine Self-Representations 1970 - 2007," analyzes works of several women artists — Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty. Jovana has been writing art criticism for several years, and has curated several thematic exhibitions and performance events in the US, Italy, Spain and Serbia. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University. She has most recently written an essay for Marina Abramović's MoMA exhibition catalogue.

NY State Council on the Arts

ABOUT LOCATION ONE

Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One's residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.