Guardian reporter Jason Farago writes about Prof. Emerita Joan Jonas’ multimedia installation at the Venice Biennale. Farago writes that Jonas’ exhibit has been “has been the hit of the Giardini,” and “that in a show with too little regard for form, her profound and affecting new work proves that politics and beauty are not at odds.”
Prof. Emerita Joan Jonas’ installation at the Venice Biennale is a “triumphal exhibition,” writes Roberta Smith for The New York Times. Smith says that Jonas’ exhibit is “one of the best solo shows to represent the United States at the biennale in over a decade — an effortless combination of maturity and freshness.”
Jane Farver, former director of the MIT List Visual Arts Center, died on April 29. Farver, who led the List for 12 years, brought about “an increase in the commissioning of major public artworks across campus.”
Boston Globe reporter Laura Collins-Hughes speaks with Professor Emerita Joan Jonas about her upcoming display at the Venice Biennale. “At the moment what attracts me, what I’m focusing on, is that the world is sort of in trouble in relation to the natural environment,” said Jonas about her motivation for her installation.
The MIT Visual Arts List has released details about Professor Emerita Joan Jonas’ upcoming video presentation at the Venice Biennale, writes Meredith Goldstein for The Boston Globe. Jonas “will present a new video performance, ‘They Come to Us Without a Word II,’ three times from July 20 to 22, with live musical accompaniment.”
MIT’s List Visual Arts Center is displaying a collection of Prof. Emerita Joan Jonas’ video art, writes Sebastian Smee for The Boston Globe. “The selection adds up to a fascinating overview of Jonas’s achievement, which is as rich and complex as it is disarming and improvised,” Smee writes.
Lisa Cohen writes for The New York Times Style Magazine about the work of MIT Professor Emerita Joan Jonas, who has been selected to represent the U.S. at the Venice Biennale. “If the idiosyncratic qualities of Jonas’s work have made it inscrutable to some, its power is undeniable,” writes Cohen.
In an article highlighting the 35 “must-see” arts events in New England, Sebastian Smee of The Boston Globe features the Joan Jonas exhibition organized by the MIT List Visual Arts Center. “The List will present an exhibition in Cambridge that features seven of the artist’s seminal film and video works, surveying the breadth of her career,” Smee writes.
New York Times reporter Hilarie Sheets spotlights Paul Ha, director of the List Visual Arts Center, and his successful efforts to increase awareness of the arts at MIT. Associate Provost Philip Khoury says that Ha has been “getting students and faculty over to the List and building up its reputation.”
The Boston Globe reports that the MIT List Visual Arts Center has received a gift of $200,000 from the Helen Frankenthaler Foundation to support Joan Jonas’ presentation at the Venice Biennale. Jonas is developing a new multimedia installation for the Biennale incorporating video, drawings, objects and sounds.
Kevin Hartnett writes for The Boston Globe about “Drawing Apart,” a new exhibition on display at the MIT List Visual Arts Center. The exhibit “deals with the fragmented way distant yet familiar places live on in our imaginations,” explains Hartnett.
Boston Globe reporter Cate McQuaid writes about the growing popularity of performance art at Boston-area museums, highlighting the MIT List Visual Arts Center’s long tradition of presenting the medium. “But the List, at an institution as forward-thinking as MIT, is exceptional,” writes McQuaid.
Matthew Guerrieri of The Boston Globe writes about “Open Tunings,” a three-month project at the MIT List Visual Arts Center to “explore the various ways in which the ephemeral forms of sound and performance can inhabit the exhibition space.”
In a piece for The Guardian, Charles Darwent looks back at the life and work of Professor Emeritus Otto Peine, the former director of the MIT Center for Advanced Visual Studies. Peine, who died last week in Berlin at the age of 86, was one of the pioneers of the ‘Zero’ art movement in postwar Germany.
Cate McQuaid of The Boston Globe writes about artist Sergei Tcherepnin’s multi-sensory installation at the MIT List Visual Arts Center. The exhibit features copper sculptures that emit sound and can be interacted with.