that art would transcend into film, and therefore when the technology presented itself .
with the Sony Portapak, transcend into Video. The canvas since the turn of the 20th .
Century has suffered due to technology. Artists felt the need to express themselves .
with moving images rather than static images, recorded on tape or not. Amongst the .
Surrealists film became an interest, in the early 30s Salvador Dali and Bunuel's film .
"Un chien andalou" changed the way film was looked at and seemed to put art onto .
another level beyond the canvas. Dali said of his film, "That foul thing which is .
figuratively called abstract art fell at our feet, " and indeed it did with the opening .
scene depicting a girl's eye being sliced by a razor blade. Whilst this shock value .
present only in the moving image indeed separated film from canvas, it also laid the .
foundation for Video Art.
Joan Jonas as well as being a pioneer of Performance Art, incorporates video into her .
performance. However, her video work serves its purpose as part of the Performance, .
rather than being the artwork itself, as in Video Art. Performance Art by nature of its .
title consists of the use of a human actor forming part or all of the work. This maybe .
the artist or it may not. Jonas adopted the pseudonym Organic Honey. As Organic .
Honey, Jonas saw her work "Organic Honey's Visual Telepathy" as a depiction of .
Organic Honey's imagination. Jonas said in a 1995 interview, "I was barely in my .
early performance pieces; I was in them like a piece of material, or an object that .
moved very stiffly, like a puppet or a figure in a medieval painting ".
The slight use of the artist performing which can be seen in "Organic Honey's Visual .
Telepathy" distinguishes it as being a Performance piece rather than that of Video Art .
and an assemblage of sculptures. .
Whilst performance art may incorporate video art, it is not video art as it includes .
performers as the name suggests.