Synopses & Reviews
Carolee Schneemann is one of the most important artists of her generation, with a career spanning seven decades, and work in media as diverse as painting, sculpture, performance, film, and video. Known to many for her ground-breaking feminist performance and film works, such as
Meat Joy, 1964,
Fuses, 1967,
Interior Scroll, 1967,
Body Collage, 1967 and
Up To And Including Her Limits, 1973-76, Schneemann still considers herself a 'painter', a reflection on her first accomplished works dating from the 1950s where she experimented with figurative abstraction, with works such as
Three Figures after Pontormo, 1957, and
Personae: JT and Three Kitch's, 1957. Her interest in painting has continued through to the present, both in terms of her approach to working and in its result, seen most recently in her exhibition,
Flange 6rpm, at PPOW, New York, 2013. Her work in the politicised domain span her career including the anti-Vietnam performance
Snows, 1967 to the 9/11 inspired
Terminal Velocity, 2001 and
Devour, 2003-04.
An artist known for her experimental approach and political convictions, both as a pacificist and one of the most outspoken feminist artists of the 1950s to the present, Carolee Schneemann has been the subject of numerous exhibitions and publications throughout her career, with work in the collections of the Museum of Modern Art, Tate Modern, The Museum of Fine Art, Montreal, the San Francisco Museum of Modern Art, the Commune di Milano, Hamburger Bahnhof Museum and the Pompidou Centre, Paris, amongst many others.
In addition to the most thorough visual overview of Schneemann's work to date Carolee Schneemann: Unforgivable comprises contributions from an exclusive group of writers familiar with the artist's work, including Melissa Ragona (Flange 6rpm), Kristine Stiles, Amelia Jones, Robert Morgan (Vet-Flakes and War Mop), Thomas McEvilley (Vesperand#8217;s PoolFuses< the="" on="" biography="" and="" bibliography="" comprehensive="" up-to-date="" most="" as="" well="" times,="" york="" new="" voice="" village="" the="" from="" pieces="" 1960s="" reprints="" include="" will="" book="" furthermore="" alloway.="" lawrence="" white,="" ken="">
Synopsis
Carolee Schneemann is one of the most important artists of the postwar period. Her work in a range of media--painting, film, video, dance and performance, constructions and installations, the written word, and assemblage--presents an unparalleled catalogue of radical aesthetic experimentation. Meat Joy, 1964, Fuses, 1964-66, Up To and Including Her Limits, 1973-1976, and Interior Scroll, 1975, are now considered canonical projects, required entries in any meaningful account of contemporary art, belying their once notoriety as feminist challenges of the very concept of the art historical canon.
Throughout the last fifty years, Schneemann has participated in the most significant formulations of the avant-garde, having made crucial contributions in Fluxus, happenings, expanded cinema, and performance cultures, while complicating generic definitions that might cohere to her work. Schneemann has been the subject of numerous exhibitions and publications throughout her career, and her work is in the collections of Tate Modern, Commune di Milano, Centre Georges Pompidou, Muzeum Wspoczesne Wroclaw, Whitney Museum of American Art and the Museum of Modern Art.
Carolee Schneemann: Unforgivable is the most thorough visual overview of Schneemann's work to date. Organized by five interrelated categories--Interviews and Correspondence, Painting, Cinema, Sites, and Technological Processes--this volume brings together previously published essays and interviews by authorities on the artist's work. The texts, many scarce or out of print, examine the significance of Schneemann's work in its historical context, and its vital urgency for our present.
Contributors: Stephane Aquin, Emily Caigan, R Bruce Elder, Ron Hanson, Juan Carlos Kase, Brett Kashmere, Anette Kubitza, Erica Levin, Scott MacDonald, Thomas McEvilley, Ara Osterweil, Melissa Ragona, Maura Reilly, Kristine Stiles and Kenneth White.
Synopsis
*Carolee Schneemann is the recipient of the Golden Lion for Lifetime Achievement Award at the 57th Venice Bienalle 2017*
Carolee Schneemann is one of the most important artists of the postwar period. Her work in a range of media--painting, film, video, dance and performance, constructions and installations, the written word, and assemblage--presents an unparalleled catalogue of radical aesthetic experimentation. Meat Joy, 1964, Fuses, 1964-66, Up To and Including Her Limits, 1973-1976, and Interior Scroll, 1975, are now considered canonical projects, required entries in any meaningful account of contemporary art, belying their once notoriety as feminist challenges of the very concept of the art historical canon.
Throughout the last fifty years, Schneemann has participated in the most significant formulations of the avant-garde, having made crucial contributions in Fluxus, happenings, expanded cinema, and performance cultures, while complicating generic definitions that might cohere to her work. Schneemann has been the subject of numerous exhibitions and publications throughout her career, and her work is in the collections of Tate Modern, Commune di Milano, Centre Georges Pompidou, Muzeum Wsp czesne Wroclaw, Whitney Museum of American Art and the Museum of Modern Art.
Carolee Schneemann: Unforgivable is the most thorough visual overview of Schneemann's work to date. Organized by five interrelated categories--Interviews and Correspondence, Painting, Cinema, Sites, and Technological Processes--this volume brings together previously published essays and interviews by authorities on the artist's work. The texts, many scarce or out of print, examine the significance of Schneemann's work in its historical context, and its vital urgency for our present.
Contributors: St phane Aquin, Emily Caigan, R Bruce Elder, Ron Hanson, Juan Carlos Kase, Brett Kashmere, Anette Kubitza, Erica Levin, Scott MacDonald, Thomas McEvilley, Ara Osterweil, Melissa Ragona, Maura Reilly, Kristine Stiles and Kenneth White.