Schneemann, Carolee

Schneemann, Carolee,

1939–2019, American multimedia artist, b. Fox Chase, Pa., B.A. Bard College, 1959, M.F.A. Univ. of Illinois, 1961. Her art encompassed numerous genres, including painting, collage, installation art, performance art, dance, photography, and film, and deals with gender politics, sexuality, and the role of feminism in overcoming social taboos. Interested in action painting and assemblage, she created environments in the early 1960s in which she posed for a series of photographs titled Eye Body: 36 Transformative Actions for Camera (1963). A theater work and film, Meat Joy (1964), featured partially clad figures interacting with paint, sausages, raw chickens, and each other. In 1964 Schneemann joined the Judson Dance TheaterJudson Dance Theater,
a loose collective of dancers, musicians, and visual artists that produced an influential series of avant-garde performance pieces at Judson Memorial Church in New York City's Greenwich Village between 1962 and 1964.
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 in New York City, where she took part in happeningshappening,
an artistic event of a theatrical nature, but usually improvised spontaneously without the framework of a plot. The term originated with the creation and performance in 1959 of Allan Kaprow's "18 Happenings in 6 Parts.
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 and other avant-garde performances. Her Autobiographical Trilogy, consisting of the films Fuses (1967), Plumb Line (1971), and Kitch's Last Meal (1978), intimately explores her life with her partners, including her cat. In the performance piece Interior Scroll (1975) she applied paint to her nude body and then read from a scroll she extracted from her vagina. Schneemann's written works include Cezanne, She Was a Great Painter (1975), More than Meat Joy (1979, 1997), Early and Recent Work (1983), and Erotics (2002).
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References in periodicals archive ?
SCHNEEMANN, Carolee. More than meat joy: performance works and selected writings.
SCHNEEMANN, Carolee. Imaging her erotics: Carolee Schneemann: essays, interviews, projects.
8 Schneemann, Carolee. "The Obscene Body/Politic." Art Journal, 50.