Joan Jonas Video Channel
Watch nine groundbreaking, magical, and endlessly inventive video works from Joan Jonas.
This channel is presented in conjunction with the exhibition Joan Jonas: Good Night Good Morning.
Mar 17–Jul 6, 2024
Online
About the exhibition
“I didn’t see a major difference between a poem, a sculpture, a film, or a dance,” Joan Jonas has said. For more than five decades, Jonas’s multidisciplinary work has bridged and redefined boundaries between performance, video, drawing, sculpture, and installation. The most comprehensive retrospective of the artist’s work in the United States, Joan Jonas: Good Night Good Morning traces the full breadth of her career, from works that explore the encounter between performance and technology to recent installations about ecology and the landscape.
This channel highlights Jonas’s rich body of standalone videos spanning many decades, including influential works featuring the artist’s Organic Honey persona as well as more recent projects reflecting Jonas’s interests in storytelling, science fiction, and the natural world. View them online here through July 6, 2024.
-
Richard Serra with Joan Jonas
Not available online
Anxious Automation
1971
-
Joan Jonas
Organic Honey's Visual Telepathy
1972
-
Joan Jonas
Vertical Roll
1972
-
Joan Jonas
I Want to Live in the Country (And Other Romances)
1976
-
Joan Jonas
Upsidedown and Backwards
1980
-
Joan Jonas
He Saw Her Burning
1983
-
Joan Jonas
Double Lunar Dogs
1984
-
Joan Jonas
Waltz from Point of View: An Anthology of the Moving Image
2003
-
Joan Jonas
Not available online
Beautiful Dog
2014
The exhibition is made possible by Hyundai Card.
Leadership support is provided by the Lonti Ebers Endowment for Performance, the Wallis Annenberg Director’s Fund for Innovation in Contemporary Art, the Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions, and by the Julie A. Zoppo Fund for the Exhibition of Women Artists.
Major funding is provided by The Contemporary Arts Council of The Museum of Modern Art.
Additional support is provided by the Leontine S. and Cornell G. Ebers Endowment Fund.
Leadership funding for the publication is provided by the Perry and Nancy Lee Bass Publication Endowment Fund.