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Search resuls for: "JOAN JONAS"


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The recent late-life critical embrace of a generation of underappreciated major female artists — the 91-year-old nude self-portraitist Joan Semmel, the 84-year-old visual artist and sculptor Barbara Chase-Riboud, the 87-year-old performance and multimedia provocateur Joan Jonas and the Cuban-born abstractionist Carmen Herrera, who died two years ago at age 106 — has brought a measure of satisfaction to the sculptor Arlene Shechet. Also, a good bit of eye rolling. “C’mon now, Carmen had to get to her 90s before people cared,” she says, standing in her roughly 5,000-square-foot Kingston studio, about two hours north of New York City, on a rainy late spring morning, attired in her usual work garb of a knitted cap and an indigo Japanese frock coat now used as a smock, flecked with clay dust and wood chips. “Everyone says ‘Oh, isn’t it so great that these women are getting their due?’ Actually, when you think about it, it’s pretty horrifying.”The 75-year-old Shechet — bemused, kinetic, indomitable — is not in danger of having to wait to be recognized, but you might not realize that, given the furious pace at which she continues to make art. Although she spent the early years of her career teaching at her alma mater, the Rhode Island School of Design, and at Parsons, and raising two children, now in their 30s, in an 1866 building in TriBeCa, continuing to sculpt in a basement studio after their bedtime, she has made up for lost time.
Persons: , Joan Semmel, Barbara Chase, Joan Jonas, abstractionist Carmen Herrera, Arlene Shechet, C’mon, Carmen, Organizations: Rhode Island School of Design Locations: Cuban, Kingston, New York City, Parsons, TriBeCa
JOAN JONAS, 87, perched on a stool in a room behind the scenes at MoMA, was immediately recognizable as the artist she had been — compact, tense, intense — when she emerged as a figure in New York’s downtown scene in the late 1960s. In an essay published many years later, the composer Alvin Curran recalled Jonas’s stature in that environment: “On the streets, children cry out, ‘Here comes Joan Jonas,’” he wrote, adding that some even wanted to be what she was when they grew up: a performance artist. This month, she’s finally receiving a hometown retrospective at MoMA, a tribute on a scale she’s already had in cities such as Milan, London and Munich. “You’re coming, right?” said Jonas, speaking into a cellphone at the museum in late December. It was important to her that he, and many others in her world, see this collection of her work, its totality and its range.
Persons: JOAN JONAS, Alvin Curran, Joan Jonas, ’ ”, Jonas —, , Jonas, she’s, “ You’re, Organizations: MoMA Locations: New York’s, Milan, London, Munich, Europe
I sure got my wish with “Signals: How Video Transformed the World,” which closes this weekend at the Museum of Modern Art — and which, screen for screen, hour for hour, stands proud as the most perplexing exhibition of the year. Maybe a dozen times since its opening in March I have ascended to MoMA’s top floor for this ambitious, irregular exhibition of video art, the largest this museum has ever put on. Given the recent subtropical weather here in New York, this final weekend might be ideal for wrestling with “Signals” in MoMA’s climate-controlled galleries. “Signals,” drawn from the museum’s collection by the curators Stuart Comer and Michelle Kuo, is decidedly not a history of video art. (Fair enough: Nauman had a major retrospective in these same galleries in 2018, and Jonas has one coming up next year.)
Persons: bafflement, , Stuart Comer, Michelle Kuo, Bruce Nauman, Joan Jonas, Nauman, Jonas, Nam, Paik, Orwell Organizations: , Museum of Modern, I’ve, New Locations: New York, Paris
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