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Performing the Landscape: Figuring P...

Day, Erin.

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Performing the Landscape: Figuring Perceptual Space in Joan Jonas' Video and Performance Works, 1970-73.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Performing the Landscape: Figuring Perceptual Space in Joan Jonas' Video and Performance Works, 1970-73./
Author:	Day, Erin.
Description:	39 p.
Notes:	Source: Masters Abstracts International, Volume: 52-01.
Contained By:	Masters Abstracts International52-01(E).
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1541411
ISBN:	9781303239748

Performing the Landscape: Figuring Perceptual Space in Joan Jonas' Video and Performance Works, 1970-73.
Day, Erin.

Performing the Landscape: Figuring Perceptual Space in Joan Jonas' Video and Performance Works, 1970-73. - 39 p.

Source: Masters Abstracts International, Volume: 52-01.

Thesis (M.A.)--State University of New York at Stony Brook, 2013.

During a period of extreme de-industrialization in early nineteen seventies New York City, vacant areas of leveled territory appeared next to the Hudson River where loft and warehouse buildings had been torn down to make way for commercial shoreline development. Visual and performance artists such as Gordon Matta-Clark, Trisha Brown, and Joan Jonas saw the rupture in the city's spatial determinations as an opportunity to engage this environment through both an inversion and an extension of the earlier minimalist practices. For Jonas, the state of transition in the west-side district of Manhattan brought forth new ways of figuring performance space in relation to the phenomenological experience of perception. As Jonas began to experiment with various optical technologies such as mirrors, photographs, video cameras and monitors, her video and performance practices attempted to reveal the viewer's own cognitive processes underlying the experience of perception of sound and movement. This move is made explicitly clear when Jonas creates the 16mm film Song Delay in 1972 from recorded documentation of Jones Beach Piece (1970), Nova Scotia Beach Piece (1971), and Delay Delay (1973). Many sequences were reshot and portions of the soundtrack rerecorded in a studio and incorporated into the footage. Jonas's use of the film medium therefore becomes a gesture of performativity concerned with the methods of desynchronization. She harnesses this technique in an effort to dislodge the audience's perception through a reversal of "subject/object coordinates" and further disengage the subject from their privileged position through a disruption of spatial and temporal parameters. Her work in the early 1970s arose from a ubiquitous response to the individualist and phenomenological methods perpetuated throughout the scope of minimalistic practices in the 1960s. In this thesis, I use Jonas' film to consider a broader shift in the practices of film and performance work of the time, which sought to establish a relationship between the moving body and the moving image in order to illustrate the interdependent nature of perceptual experience and spatial cognition.

ISBN: 9781303239748Subjects--Topical Terms:

635474
Art History.

Performing the Landscape: Figuring Perceptual Space in Joan Jonas' Video and Performance Works, 1970-73.
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300 $a 39 p.
500 $a Source: Masters Abstracts International, Volume: 52-01.
500 $a Advisers: Andrew V. Uroskie; James Rubin.
502 $a Thesis (M.A.)--State University of New York at Stony Brook, 2013.
520 $a During a period of extreme de-industrialization in early nineteen seventies New York City, vacant areas of leveled territory appeared next to the Hudson River where loft and warehouse buildings had been torn down to make way for commercial shoreline development. Visual and performance artists such as Gordon Matta-Clark, Trisha Brown, and Joan Jonas saw the rupture in the city's spatial determinations as an opportunity to engage this environment through both an inversion and an extension of the earlier minimalist practices. For Jonas, the state of transition in the west-side district of Manhattan brought forth new ways of figuring performance space in relation to the phenomenological experience of perception. As Jonas began to experiment with various optical technologies such as mirrors, photographs, video cameras and monitors, her video and performance practices attempted to reveal the viewer's own cognitive processes underlying the experience of perception of sound and movement. This move is made explicitly clear when Jonas creates the 16mm film Song Delay in 1972 from recorded documentation of Jones Beach Piece (1970), Nova Scotia Beach Piece (1971), and Delay Delay (1973). Many sequences were reshot and portions of the soundtrack rerecorded in a studio and incorporated into the footage. Jonas's use of the film medium therefore becomes a gesture of performativity concerned with the methods of desynchronization. She harnesses this technique in an effort to dislodge the audience's perception through a reversal of "subject/object coordinates" and further disengage the subject from their privileged position through a disruption of spatial and temporal parameters. Her work in the early 1970s arose from a ubiquitous response to the individualist and phenomenological methods perpetuated throughout the scope of minimalistic practices in the 1960s. In this thesis, I use Jonas' film to consider a broader shift in the practices of film and performance work of the time, which sought to establish a relationship between the moving body and the moving image in order to illustrate the interdependent nature of perceptual experience and spatial cognition.
590 $a School code: 0771.
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650 4 $a Art Criticism. $3 637082
650 4 $a Performing Arts. $3 896022
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710 2 $a State University of New York at Stony Brook. $b Art History, Theory, and Criticism. $3 2093322
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793 $a English
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