LuVaBee

"Cosa fai dalla mattina alla sera?". "Mi subisco".

[prodigiosity]

Victorian woman in mourning, c. 1800s 

[mrdillonsgirl]

[redarmyscreaming]

Plunge! Photo by Jean Angelou

[mj-punkk]

Punch to the nose, circa 1950s

[thingsfromthedirt]

[fymodernflapper]

[cinemabreak]

Hiroshima Mon Amour (1959)

Directed by Alain Resnais Cinematography by Michio Takahashi and Sacha Vierny

“You destroy me. You are good for me.”

[bobbygio]

Vladimir Lubarov

[lillyjadethings-deactivated2019]

[24hoursinthelifeofawoman2-blog]

[creanavt]

[marian-thefall]

“Un po’ di pendulite.” F. Di Salvo

[istmos]

Joan Jonas, 1970

[thegreatinthesmall-deactivated2]

Joan Jonas. Vertical Roll, 1972

[art21]

“I wanted to develop my own language, and the minute I started performing, I began to invent in a different way—through my body movements.” —Joan Jonas

In a new episode from the ART21 Exclusive series, artist Joan Jonas—who represents the U.S. at this year’s La Biennale di Venezia​ in an exhibition presented by MIT List Visual Arts Center​—recalls the beginnings of her performance work from the late-1960s and early-1970s.

For Songdelay (1973), seen here, Jonas worked with artists such as Gordon Matta-Clark, Carol Gooden, Tina Girouard, Steve Paxton, and Penelope. “We all helped each other and worked together,” recounts the artist, “and people really enjoyed being in other people’s works.”

WATCH: Joan Jonas: New York Performances

IMAGES: Joan Jonas, Songdelay, video stills, 1973. Featured in the ART21 Exclusive episode, Joan Jonas: New York Performances. Artwork courtesy of the artist and Electronic Arts Intermix, New York.

[importantmodernart]

[surrealismart]

Red Hair on Blue Dress (1969)

Domenico Gnoli

[chronicallynocturnal]