Artist Bio

American. Born in New York. Lives in New York.
B.A. Art History, Mount Holyoke College, Mount Holyoke, Massachusetts, 1958.
Boston Museum of Fine Arts School, Boston, Massachusetts, 1958-1961.
M.F.A., Columbia University,1965.

INSTALLATIONS AND EXHIBITIONS
2003 Joan Jonas Rosamund Felsen Gallery Los Angeles California
Joan Jonas; (forthcoming) curated by Valerie Smith, Queens Museum of Art, Queens, New York. solo

2002 Documenta, Kassel, Germany curated by Okwui Enzweor installation and performance “Lines in the Sand” group show
Gloria group show at White Columns, New York
Performance Isabella Stewart Gardner Museum, Boston solo with MIT students
In the Shadow a Shadow Yvonne Lambert Gallery Paris France group show
First Biennal Taiwan curated by Bartomeu Gustinet group show

2001
Joan Jonas: A Survey; curated by Annette Teitenburg, NGBK, Berlin, Germany. solo

Into the Light: Projection / Interaction: The Projected and Interactive Image in American Art,
1964 – 1978, October 11, 2001 – January 27, 2002 Whitney Museum of American Art New York, New York. group
Joan Jonas; (forthcoming performance in progress), Beacon DIA Center for the Arts, Beacon, New York.
Joan Jonas; Rosamund Felsen Gallery, Santa Monica, California solo

2000 Joan Jonas: Film and Video Work, 1968-76: September 28,2000 DIA Center for the Arts New York, New York. solo
Century Cities; curated by Donna De Salvo Tate Modern Bankside London group
Video / Performance: Open Ends; November 5, 2000-January 30, 2001 MoMA, New York, New York.
Electronic Images: Videokunst 1965 – 2000: In the Shadows a Shadow, Glass
Puzzle; ( group show) curated by Renate Weihager, Villa Merkel Bahnwaterhaus, Esslingen, Germany.
Drawings, Reinhard Hauff Gallery, Stuttgart, Germany. solo
Joan Jonas: A Survey; curated bu Andrea Jahn, NGBK, Berlin, Germany, (forthcoming September 2000) solo
Joan Jonas: Performance, Video, Installationen, November 16, 2000-Febuary 18,
Galerie der Stadt, Stuttgart, Germany.
Moving with No Pattern, “Escape,” Media_City Seoul 2000, curated by Barbara London, Seoul, Korea. International Artists Museum, Lodz, Poland.

1999 Circa 1968, Museo de Arte Contemporanea, Porto, Portugal.
The American Century, Part II: 1950-2000, Whitney Museum of American Art, New York, New York.
Moving With No Pattern, “The Hundreth Turn,” Harvestworks, Digital Media Art Center, New York.
In the Shadows of a Shadow, Pat Hearn Gallery, New York, New York. solo

1998 Joan Jonas: New Work, Pat Hearn Gallery, New York, New York. solo
“Out of Actions: Between Performance & the Object, 1949-1979”, group exhibition, Museum of Contemporary Art, Los Angeles, California.

1997 Revolted by the Thought of Known Places, My New Theater, at the World Wide Video Festival, Stedelijk Museum, Amsterdam, Netherlands.
Props: Works 1994 - 1997, Pat Hearn Gallery, New York, New York. solo
Joan Jonas, Reinhard Hauff, Stuttgart, Germany.

1996 Mask, Decoy and Other Beasts, Rosamund Felsen Gallery, Santa Monica, California.
“Be Specific,” Group show curated by Michael Duncan, Rosamund Felsen Gallery, Santa Monica, California.
Organic Honey in “Reconsidering the Object”, Museum of Contemporary Art, Los Angeles, California.

1994 Volcano Saga, Cleveland Center for Contemporary Arts, Cleveland, Ohio.
Mirror Pieces and Outdoor Pieces, Organic Honey, Mirage, Juniper Tree, Volcano Saga and Revolted by the thought of known places...Sweeney Astray, Stedelijk Museum, Amsterdam, Netherlands.
Volcano Saga, Organic Honey, Revolted by the Thought of Known Places, at Museum of Modern Art, Dublin, Ireland
Revolted by the thought of known places... Sweeney Astray, Biennial de Lyon, France.

1992 Revolted by the thought of known places... Sweeney Astray, Kunstwerk Berlin; International Artist’s Museum, Lodz, Poland.

1990 Vanishing Point, Gallerie Lallouz, Montreal, Canada.

1984 He Saw Her Burning, DAAD Galerie, Berlin, Germany.

1982 Upside Down and Backwards, Documenta 7, Kassel; P.S.1 Long Island City, New York; Stedelijk Museum, Amsterdam.

1981 Double Lunar Dogs, Contemporary Arts Museum, Houston, Texas.

1980 Upside Down and Backwards, Museum of Fine Arts, Montreal; Kunstmuseum, Bern, Switzerland.

1979 The Juniper Tree, Stedelijk Can Abbemuseum, Eindhoven; Whitechappel Art Gallery, London.
Upside Down and Backwards, Sonnabend Gallery, New York.

1977 Drawing Room, School Of Visual Arts, New York.
Three Tales, Documenta 6, Kassel.

1976 Stage Sets, Institute Of Contemporary Art, University of Pennsylvania, Philadelphia.

PERFORMANCES:

2002 Lines in the Sand video performance with sound/music in collaboration with Paul Miller aka DJ Spooky
2000 Circular Revisions
Joan Jonas; ( performance in progress), Galerie der Stadt, Stuttgart, Germany.

1999 In the Shadows a Shadow, Pat Hearn Gallery, New York, New York.

1998 Tangle, Solo Work as part of Performance Festival, Los Angeles, California.
If You Could Remember, It Would Be Simple Things, Witte De Witte, Rotterdam, Netherlands.

1997 Narcissus and Echo with Paul Miller (DJ Spooky), World Wide Video Festival, Amsterdam, Netherlands.

1994 Revolted by the thought of known places…Sweeney Astray, Westergasfabrik Holland Festival. Amsterdam in conjunction with Joan Jonas Retrospective, Stedelijk Museum, Amsterdam. Directed by Joan Jonas and performed by Toneelgroep Amsterdam.

1993 Variations on a Scene, Padvil; Martin Gropius Bau, Berlin; Centre d’art Contemporian de Vassiviere-en-Limousin, France.

1990 Variations on a Scene, Wave Hill, New York.

1988 Brooklyn Bridge, Festival Electronique, Rennes, France.

1986 Volcano Saga, The Institute of Contemporary Art, Boston, Massachusetts; The Museum of Modern Art, New York; Performing Garage, New York; Contemporary Art Museum, Winnipeg, Canada.

1985 Volcano Saga, De Appel, Amsterdam, Netherlands.

1983 He Saw Her Burning, Museum of Fine Arts, Santa Fe, New Mexico.

1982 Double Lunar Dogs, Documenta 7, Kassel, Germany; Nelson Gallery, University of California, Davis; La Zattera di Babele, Genzanno.
He Saw Her Burning, Progetto Genzanno West Berlin, Germany;
Upside Down and Backwards, Stedelijk Museum, Amsterdam, Netherlands; 4th Biennial of Sydney; Woman on Fire, Kino Arsenal, Berlin, Germany.

1981 Double Lunar Dogs, Contemporary Art Museum, Houston, Texas; “Il Gergo Inquieto,” Teatro Falcone, Genoa, Italy; Kunsthalle Basel; Basel, Switzerland; Stedelijk Van Abbemuseum, Eindhoven, Germany; The Performing Garage, New York.

1980 Joan Jonas Retrospective: Organic Honey’s Vertical Roll, Funnel, Mirage, Upside Down and Backwards, Double Lunar Dogs, University Art Museum, University of California, Berkeley.
Upside Down and Backwards, Los Angeles Institute of Contemporary Art, Los Angeles, California; The American Center, Paris, France; Kunst Museum, Bern, Switzerland

1979 The Juniper Tree, Stedelijk Van Abbemuseum, Eindhoven, Germany; Whitechapel Art Gallery, London; San Francisco Art Institute, San Francisco, California.
Upside Down and Backwards, De Appel, Amsterdam; Sonnabend Gallery, New York; The Performing Garage, New York; Montreal Museum of Fine Arts, Montreal, Canada.

1978 The Juniper Tree, Vienna Performance Festival; Joan Jonas’s loft, New York; Franklin Furnace, New York.

1977 Mirage, Vanguard Theater, Los Angeles, California; Salle Patino, Geneva, Switzerland; Kunsthalle Basel, Basel, Switzerland; India/America Festival of Music and Dance, sponsored by Galleria l’Attico and Beat 72’, Rome, Italy.
The Juniper Tree, The Kitchen, New York; St. Mark’s Church, New York.

1976 Native Dance, Twilight, San Fransisco Museum of Art, San Francisco, California.
Mirage, Anthology Film Archives, New York; Akademie der Kunst, Berlin, Germany.
Juniper Tree, Institute of Contemporary Art, University of Pennsylvania, Philadelphia.

1975 Twilight, Anthology Film Archives, New York; Akademie der Kunst, Berlin, Germany.
Native Dance & And / Or, Seattle, Washington.

1974 Organic Honey’s Vertical Roll, The Boston Museum of Fine Arts, Boston, Massachusetts; Contemporanea, Rome, Italy
Funnel, The Kitchen, New York; Project 74’ Kunsthalle Cologne; Walker Art Center, Minneapolis, Minnesota; University of Massachusetts, Amherst; Texas Gallery, Houston.
Crepusculo, The English Garden beside the tower of S. Spirito, sponsored by Galleria Schema, Florence, Italy.

1973 Organic Honey’s Vertical Roll, Leo Castelli Gallery, New York; Festival d’Automne; Musee Galleria, Paris; Galleria Toselli, Milan, Italy.

1972 Organic Honey’s Visual Telepathy, Lo Giudice Gallery, New York; Festival of
Music and Dance, sponsored by Galleria l’Attico, Rome.
Organic Honey’s Vertical Roll,Ace Gallery, Los Angeles, California; San Francisco Art Institute, San Francisco, California; California Institute of the Arts; Valencia, California
Delay, Delay, Lower West Side of Manhattan; Tiber River, sponsored by Galleria l’Attico, Rome; Documenta 5, Kassel.

1971 Choreomania, Joan Jonas’s loft, New York; Loeb Student Center, New York University, New York.
Night Piece, University of California at Irvine.
Nova Scotia Beach Piece, Inverness, Cape Breton, Nova Scotia.

1970 Underneath, Alan Saret’s loft, New York.
Mirror Piece II, Mirror Check, YMCA, New York; University of California, San Diego.

1969 Mirror Piece I, Loeb Student Center, New York University; 10 Downtown Gilles Larraine’s loft, New York; Bard College, Annandale-on-Hudson, New York.

1968 Old Lau. St. Peter’s Church, N.Y.; St. Peter’s Gymnasium, New York.

OTHER:
1997 Designed stage set for dance theater, Heidelberg, Germany, for Mahler’s Songs of the Earth”, directed by Hans Fahler

FILM AND VIDEOGRAPHY

1989 Volcano Saga. 28 minutes, color.
1988 Brooklyn Bridge. 12 minutes, color
1984 Big Market. 24 minutes, color
1983 He Saw Her Burning. 20 minutes, color.
Double Lunar Dogs. 25 minutes, color.
1981 Upside Down and Backwards, 28 minutes, color.
1977 I Want to Live in the Country (And Other Romances). 28 minutes, color.
1976 Good Night, Good Morning. 11 minutes, b/w.
May Windows. 12 minutes, b/w.
1974 Glass Puzzle. 26 minutes, b/w.
Merlo. 16 minutes. b/w.
Disturbances. 1 minutes, b/w.
1973 Two Women. 20 minutes, b/w silent.
Barking. 3 minutes, b/w.
Three Returns. 12 minutes, b/w.
Songdelay, 18 minutes
1972 Left Side Right Side. 7 minutes, b/w.
Duet. 4 minutes, b/w.
Organic Honey’s Visual Telepathy. 23 minutes, b/w.
1971 Mirror Check. 6 minutes, b/w, silent
Paul Revere ( with Richard Serra ), 9 minutes.
Veil, 6 minutes, silent.
1968 Wind, 5 minutes, silent.

SELECTED VIDEO SCREENINGS

2000 The Whitney Museum of American Art, New York
1992 Pat Hearn Gallery, New York.
Galerie Tugny Lamarre, Paris
1990 Videotheque de Paris.
1989 De Appel, Amsterdam.
1983 Ars 83, Ateneum Helsinki.
Australian National Gallery, Melbourne.
Palais des Beaux Arts, Santa Fe.
1982 Documenta 7, Kassel.
Anthology Film Archives, New York.
Arsenal, Berlin.
Stedelijk Museum, Amsterdam.
1981 P.S.1, Long Island, New York.
Bonini Editore, Genoa.
Arts Council of Great Britain, London.
Kunsthalle, Bern.
Tokyo Film Festival.
US Film and Video Festival. Chicago.

1980 Guggenheim Museum, New York.
American Center, Paris.
Long Beach Museum, Long Beach, California.
1979 Videowochen, Folkwang Museum, Essen.
Kansas City Art Institute, Kansas City, Missouri.
Video Roma, Rome.
Whitney Museum of American Art, New York.
1978 Art Metropole, Toronto.
Museum of Modern Art, New York.
Nova Scotia College of Art and Design, Halifax.
Rolg Ricke Galerie, Cologne.
San Francisco Art Institute.
Television Belge, Brussels.
University of Oklahoma, Norman.
1977 The Kitchen, New York.
Frauenkunst-Neue Tendenzen, Galerie Krinzinger, Innsbruck.
Documenta 6, Kassel.
1976 Musee d’Art Moderne, Paris.
Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio.
Scottish Arts Council, Edinburgh.
1975 The Video Show, Serpentine Gallery, London.
Woman Space, Los Angeles.
Berlin International Filmforum.
Carnegie Mellon University, Pittsburgh.
Contemporary Arts Center, Cincinnati.
The Whitney Museum of American Art, New York.
1974 Centro Di, Florence.
Galerie Impact, Lausanne
Art Now ‘74, Washington.
Biennial de Sao Paulo.
1972 And/Or, Seattle.
Leo Castelli Gallery.
Documenta 5. Kassel.

AWARDS, FELLOWSHIPS AND GRANTS (in alphabetical order)

Anonymous Was A Woman award 1998
American Film Institute, Maya Deren Award for Video
Artist’s TV Lab at WNET/13, New York City
THE CAT Fund
Deutsch Akademischer Austauschdienst (DAAD), Germany
Foundation for Contemporary Performance Art
The Guggenheim Foundation
Hyogo Prefecture Museum of Modern Art prize; Tokyo,
Japan International Video Art Festival.
National Endowment for the Arts
Polaroid Award for Video
The Rockefeller Foundation
Television Workshop at WXXI, Rochester.

BIBLIOGRAPHY:

EXHIBITION CATALOGUES AND BOOKS:

Hatja Cantz. Joan Jonas: Performances Film Installations 1968-2000 (exhibition catalogue) Galerie Reinhard Hauff, Stuttgart, Germany 2001
Phillips, Lisa. The American Century: Art &Culture 1950 – 2000 (exhibition catalogue). The Whitney Museum of American Art and W.W. Norton, N.Y. 1999
Rush, Micheal. New Media in Late 20th Century Art. Thames and Hudson, London,1999
Fuchs, Rudi. Joan jonas: Works 1968 - 1994 (exhibition catalogue). Stedelijk Museum, Amsterdam, 1994
Steiner, M. Berlin Video, Berlin ( no date ).
Inga Pin, Luciano, Performances, Happenings, Actions, Events, Archives, Installations ( No location; no date).
Video de Apres: La Collection video du Musee d’art Moderne, Centre Georges Pompidou, Paris, 1992.
Video Art, Electronic Arts Intermix, New York, 1991
Technologies et Imaginaires, Art Cinema, Art Video, Art Ordinateur, Rencontras International, Videotheque de Paris, 1990.
Hall, Doug and Fifer, Sally Jo. Illuminating Video: An Essential Guide to Video Art, San Francisco, 1990.
European Media Arts Festival, Osnabruck 12 - 16 1990, Osnabruck, 1990.
Video Art: Expanded Forms, Whitney Museum of American Art, 1988.
The Arts for Television, Museum of Contemporary Art, Los Angeles / Stedelijk Museum, Amsterdam, 1987.
Almhafer, Edith. Performance Art: Joan Jonas, Laurie Anderson, Carolee Schneermann, Colette, Bohlau Verlag, Wien, 1986.
Huffman, K.R. Video: A Retrospective. Longbeach Museum of Art 1974 – 1984. California,1984.
Battcock, Gregory & Nickas, Robert. The Art of Performance: A Critcal Anthology.New York, 1984
Video as Attitude, Museum of Fine Arts, Santa Fe, New Mexico, 1983.
Joan Jonas, Scripts and Descriptions 1968 - 1982. University Art Museum Berkeley/ Stedelijk can Abbemuseum, Eindhoven, 1983.
Ars 83, Art Museum of Ateneum Helsinki, 1983.
Arman, Bour, Jonas, Kirkeby, Berliner Kunstlerprogramm DAAD at Kunstlerwerkstatt. Munich, 1983.
Herzogenrath, Wulf. Videokunst in Deutschland 1963 - 1982. Kolnischer Kunstverein,1982.
Visions in Disbelief. The 4th Biennial of Sydney, 1982.
Video and Film 1982, Festival for Video and Experimental Film, Munich, 1982.
Video, Metropoles Festival fur Video und Filmexperiment, Alhambrahalle Munchen, 1982
‘60/’80 Attitudes, Concepts, Images. Stedalijk Museum, Amsterdam, 1982.
National Video Festival, The American Film Institute, Washington, D.C., 1982
Documenta 7, Kassel, 1982, vol. 1.
Other Realities; Installations for Performance. Contemporary Arts Museum Houston, 1981.
Inexspressionismo Americano. Bobibi Editore, Genoa, 1981.
Music, Sound, Language, Theater, Crown Point Press, Oakland, 1980.
Hier et Apres / Yesterday and After, Museum of Fine Arts, Montreal, 1980.
Goldberg, Roselee, Performance; Live Art 1909 to the Present, New York, 1979.
Battcock, Gregory, New Artists Video: A Critical Anthology, New York 1978.
Video Art ‘78, Herbert Art Gallery, Jorden Well, Coventry, 1978.
Davis, Douglas and Simmons, Allyson (eds.) The New Television, Cambridge, Massachusetts, MIT Press, 1977.
Filmex, The Los Angeles International Film Expo, 1977.
Documenta 6, Kassel, 1977
Korot, Beryl and Schneider, Ira. Video Art; An Anthology, New York. 1976.
Video Art: An Overview. San Francisco Museum of Art, 1976.
Southland Video Anthology, Long Beach Museum of Art, California, 1976.
Video Art, Institute Contemporary Art, Philadelphia, 1975.
L’art corporel, Galerie Rondolphe Stadler, Paris. 1975.
Kirby, Michael (ed.). The New Theater, New York, 1974.
Project ‘74, Kunsthalle Cologne, 1974 Marlis Gruterich, “Performance, Musik, Demonstration” (catalogue supplement ).
Impact Video Art. Galerie Impact. Lausanne, 1974.
Americans in Florence. Centro Di, Florence, 1974.
Vergine, Leo Il Corpo, Come Linguaggio ( La ‘Body Art’ e storie simili,) Milan, 1974.
Aspects de l’art actuel, Galerie Sonnabend at Musee Gallerie Paris, 1973.
Price, J. Video Visions, New York, 1972.
India America Musica e Danza, Galleria l’Attico, Rome 1972.
Documenta 5, Kassel, 1972

ARTICLES/PERIODICALS:

Closky, Claude, “Electronic Images’ Villa Merkel, Esslingen,” La Lettre de Cologne, No.10, Feb. 10, 2000
Schlosser, Von Eva Maria. “Electronic Images: Videokunst in der Esslinger Villa Merkel – Labels, Loops, und Logos,” April 2000
Krazeisen, Von Thomas. “ Letzer Tango im Asphaltdschungel,” Fklinger Zeitung, April 12, 2000
Hoffman, Von Gabriele . “Und ewid dreht sich Marilyn,” Stuttgarter Zeitung, April 5, 2000
Schacher, Marko . “Experimentell: Electronic Images, Video- Narzisse,” lift Stuttgart, April, 2000
Grosse, Julia . “Kunst: Sound, Style, Video, “ Cosmopolitan, 2000
McAdams, Barbara. “Joan Jonas,” Artnews 2000
Rattemeyer, Christian. “Das Medium ist Kein Thema,” Texte Zur Kunst, March 2000
Schwendener, Martha. “Joan Jonas, ‘In the Shadows of a Shadow’,” Time Out New York, Dec. 1999, Issue no. 220, p. 77
Smith, Roberta. “Joan Jonas,” New York Times, December 3, 1999
Metcalfe, Robin. “ Letter from New York,” C International Contemporary Art, Dec. 1999, p.39
------------“Recommended: Joan Jonas,” New Art Examiner, Dec./Jan. 1999/2000
Youens, Rachel, “Visiting Joan Jonas”, NY Arts Magazine, pp 17, NY Arts Magazine.
Schwendener, Martha, “Joan Jonas, ‘In the Shadows of a shadow’,” Time Out New
York, December 1999, Issue No.220, pp 77.
Eleanor Heartney. “Joan Jonas at Pat Hearn.” Art in America., December 1997. pg. 94.
Hixson, Kathryn. “True or Dare: Losing Control of How Things Mean, Conceptual Art at MOCA’s Temporary Contemporary,” The New Art Examiner, Summer 1996, pp. 18 - 23.
Simon, Joan. “Scenes and Variations: An Interview with Joan Jonas,” Art in America, no 7, July 1995, pp 72 - 79, 100 - 101.
Steenbergen, Renee. Een Jurk van stromend water, NRC Handelsblad, April 29, 1994.
van der Linden, Riet. “Joan Jonas,” Rulmte, vol 2, no 1, 1994, pp 38 - 39.
Klaster, Jan Bart. Body & Soul, Het Parool, April 30, 1994.
Schwabsky, Barry. ArtPress no 182, July - August 1993, pp 30 - 33.
Kaye, Nick, “Mask, Role and Narrative: An Interview with Joan Jonas,” Performance, no 65 / 66, Spring 1992, pp 48 - 59.
Wooster, Ann-Sargent. “Joan Jonas,”Arts Magazine, vol 65, no 3, November 1990, p
Liebmann, Lisa. “Joan Jonas,”Arts Magazine, vol 65, no 3. November 1990, p 105.
Harrusib, Helen A. “Iceland Inspires Look to the Future,”The New York Times, April 15, 1990. p 12.
Gravel, Claire. “Defontes et plaisir de l’art,” Le Devoir, December 1, 1990.
Cron, Marie-Michele. “Joan Jonas. Raconte-moi un Dessin!” Voir, vol 5, no 3. D
December 6 - 12, 1990.
Adams, Brooks. “Joan Jonas. Wave Hill,” Artforum, vol 29, no 3, November 1990. pp. 170- 171.
Wijers, Luwrien. “Perfecte installatie voor bewustzijnsver fijning”, NRC - Handelsblad. June 17-19, 1989.
Hagen, Charles, “Video Art: The Fabulous Chameleon,” Artnews, vol 88, no 6, Summer 1989,
pp. 118 - 123.
Hanhardt, John G. “Video Art: Expanded Forms,” Leonardo, vol 23, no 4, 1990, pp 437 - 439.
Wooster, Ann-Sargent. “Video Art: Expanded Forms,” High Performance, vol 11, Fall 1988,
pp. 62-63.
Wooster, Ann-Sargent. “Joan Jonas. Volcano Saga,” High Performance, no. 39, 1987, no. 84.
Perov, Kira. “Patterns of Light,” Aperture, no 106, Spring 1987. pp 58 - 64.
Wijers, Louwrien. “Beeldende Kunst in de Schouwburg.”Het Financieel Dagbald, November 22-24, 1986, p 13.
Reijnders, Tineke. “een fata Morgana / A mirage: Joan Jonas performance Volcano Saga,” de Appel Bulletin, no 1, 1986, pp 24 - 27.
Peree, Rob. “Het verhaal beeldend de ruimte,” Kunstbeeld, no 5, March 1986, pp 20-22.
La Palma, M. “Video verging on television,” Artweek, no 17, March 29, 1986. p 7.
Wooster, Anne-Sargent. “Video and Ritual,” Afterimage, vol 12, February 1985, p 19.
Lippard, Lucy. “Art and Politics: Questions of a Politicized Performance Art,” Art in America, no 72, October 1984, p 40.
Wooster, Ann Sargent. “Manhattan short cuts,” Afterimage, Summer 1983, pp 46 - 47.
( He Saw Her Burning: Whitney Museum performance ), Afterimage, no 11, Summer 1983, p 46.
Wooster, Ann Sargent. “Joan Jonas,”The Village Voice, vol. 28, no. 11, March 15, 1983.
Sterritt, David. “Mixed Media work,” The Christian Science Monitor, March 3, 1983, pg. 19.
Siciliano, Rosemary. “Her Saw Her Burning: An Attack Upon the Senses,” Barnard Bulletin, March 2, 1983, p 5.
Shewey, Don. “The Avante-Garde’s Ghetto Mentality,” The Village Voice, vol 28, no 15, April 12, 1983, p 86.
Jonas, Joan. “He Saw Her Burning,” High Performance, vol. 6, no. 2, 1983.
James, D. “Too Much Accessibility.” Artweek, no 14, November 5, 1983, pg. 13.
Howell, John. “Luigi Ontani and Joan Jonas,” Artforum, vol 21, no 10, Summer 1983, pp. 78- 80.
Hannardt, John G. and Jonas Joan. “The New American Filmmaker’s Series,”Whitney Museum of American Art Bulletin, no 7, 1983.
Burnham, L. “Artist’s Chronicle,” High Performance, vol 6, no 2, 1983, pp 27 - 88.
Banes, Sally. “Motions: Eccentric and Burning,”The Village Voice, vol. 28, no. 10,
March 8, 1983, p 81.
Siciliano, Rosemary, “He Saw Her Burning: An Attack Upon the Senses,”Barnard Bulletin.
March 2, 1983, p 5.
Shewey, Don. “The Avant-Garde’s Ghetto Mentality,”The Village Voice, vol. 28, no. 11,
March 15, 1983, p 86.
Jonas, Joan. “He Saw Her Burning,” High Performance. Vol. 6, no 2. 1983.
James, D. “Too much Accessibility,” Artweek, no 14, November 5, 1983, p 13.
Howell, John. “Luigi Ontani and Joan Jonas,” Artforum, vol 21, no 10, Summer 1983,
pp. 78 - 80.
Burnham, L. “Artist’s Chronicle,” High Performance, vol 6, no 2., 1983.
Banes, Sally. “Motions: Eccentric and Burning,” The Village Voice, vol 28, no 10.
March 8, 1983, p 81.
Zelevansky, L/ “Documenta: Art for Art’s Sake,”Flash Art, no 109, November 1982, pp.39 -40.
Wooster, Ann-Sargent, “Manhattan Short Cut,”Afterimage, vol 9, no 9, April 1982, pg. 17.
White, Robin. “Great Expectations: Artists TV Guide,” Artforum, vol. 20, no. 10
Summer 1982, p 17.
Shaw, L.E. “Kathan Brown and Crown Point Press,”Art Papers, vol. 6, no 3, May - June 1982, pp. 6 - 7.
Howell, J. “Joan Jonas,” High Performance, vol 5, no I, Spring - Summer 1982,
pg. 98,182.
Kalil, S. “Joan Jonas: Performance Recorded Through Installation Site,”Artweek,
September 19, 1981, p 16.
Junker, Howard. “Joan Jonas: The Mirror Staged,”Art in America, vol. 69, February, 1981. pp 87 - 95.
Wortz, Melinda. “Wolf Calls and Frog Songs: Upside Down and Backwards,”Art News,, vol 79, no 7, September, 1980, p 213.
Stofflet, Mary, “Jonas’ Futurism,” Artweek, July 5, 1980, p 5.
Stofflet, Mary, “Jonas and Cultural Biography, “ Artweek, June 7, 1980, p 5.
Stofflet, Mary, “Personal and Cultural Narratives,” Artweek, January 26, 1980, p 5.
Rosenthal, A. “Images of Silence,” Artweek, May 17, 1980. no 11, p 7.
Pieters, Din. “Cage Marioni, Barry, Fonas,” Stedelijk Museum Bulletin, Amsterdam, 1980.
Maul, Tim “Joan Jonas: Guggenheim Museum, New York,”Flash Art, no 96 / 97.
March / April 1980, p 51.
Jonas, Joan. “Statement at Intermedia Festival,” Live, no 3, 1980, pp 15 - 17.
White, Robin. “Joan Jonas,” View, vol 2, no 1, April 1979, pp 1 - 24.
Silverman, Jill. “Joan Jonas at 112 Mercer St.,”Art in America, vol. 67, no. 3. May-June 1979, pp. 143 - 144.
Pontbriand, C. “Notion(s) of Performance,” Parachute, no 15, Summer 1979, pp. 25 - 52.
Smith, Amanda, “Joan Jonas,” Dance Magazine, vol 52, March 1978, p 30.
Silverthorne, Jeanne. “Performance as Metamorphosis: The Art of Joan Jonas,” Philadelphia Arts Exchange, vol 1, no 2, March - April 1977, pp 11 - 14.
( Performance at Documenta 6, Kassel ) Architettura, vol 23, October 1977. pg. 231.
Shapiro, David, “View of Kassel ( Documenta 6 ),” Artforum, vol 16, September 1977, pg. 61.
Jarmusch, Ann. “Joan Jonas: Suspended in Shadow,” Art News, vol 76, no 4, April 1977, p 89.
Ross, David. “Provisional Over - View of Artists Television in the USA,” Studio International, vol 191, no 981, May - June 1976, pp 265 - 272.
Larber, Richard. “Towards an Aesthetics of Videodance.” Arts in Society, vol 13, no 2. Summer-Fall 1976, pg. 242.
Lippard, Lucy, ”The Pains and Pleasures of Rebirth: Women’s Body Art,” Art in America, vol 64, no 3, May - June 1976, p 242.
Krauss, Rosalind, “Video: The Aesthetics of Narcissism,”October, no 1, Spring 1976, pp. 51 - 64.
Gorlitsch, Gerhild. “We are Feminists,” Flash Art, vol 68/69, 1976, pp. 17-20.
Crimp, Douglas. “Joan Jonas’s Performance Works,”Studio International, vol. 192. No. 982. July-August 1976, pp. 10 - 12.
------------ Art-Rite, no 10, Fall 1975 ( Special issue on performance).
Zimmer, William. “Joan Jonas: Leo Castelli Downtown,” Arts Magazine, vol 49 no 9. May 1 1975, p 17.
Welling, Jim, “Joan Jonas Performance,” Artweek, April 12, 1975, pg. 4.
Pluchart, Francois. “L’art corporel,” Artitudes, no 18, January-March 1975, pp 90 - 91.
Jonas, Joan with Krauss, Rosalind, “Seven Years,” The Drama Review, vol 19, no 11, March 1975, pp 13 - 16.
Hayum, Andree. “Notes on Performance and the Arts,” Art Journal, vol 34, no 4, Summer 1975, pp 337 - 339.
Grasshans, Katherine. “Joan Jonas in Seattle,” Artweek, November 1, 1975, p 4.
------------Artitudes. July - September, 1974, no 12. p 85.
------------ “Unskirting the issue,” Art-Rite, no. 5, Spring 1974, p 6.
Wortz, Melinda. “Collectors Video,” Artweek, June 15, 1974, p 16.
Rubin, Vittorio, “Music and Dance in the USA,” Data, vol 4, no 13, Fall 1974.
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Simonetti, Gianni-Emilio. “Festival of Music and Dance,” Flash Art, no 35 / 36, September - October 1972, p 2. # 4
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“Publication,”Avalanche, Winter 1971, no 2, pg. 7.