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Carolee Schneemann
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Journal Article
Camera Obscura (2021) 36 (2 (107)): 126–127.
Published: 01 September 2021
...Kenneth White Abstract This is an introduction to a dossier on the work and life of Carolee Schneemann (1939–2019). Schneemann was celebrated in a memorial service at Judson Memorial Church in New York. The service included Malcolm Goldstein's improvisational performance on violin titled Soundings...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 175–183.
Published: 01 September 2021
...Soyoung Yoon Abstract This essay attends to the force of aggression in Carolee Schneemann's work, emphasizing the conflicts in the artist's representation of enjoyment, knowledge, and truth in her own body, with a focus on Up To and Including Her Limits (1973–76) and the underexplored text “Anti...
FIGURES
Journal Article
Camera Obscura (2021) 36 (2 (107)): 198–210.
Published: 01 September 2021
...Kenneth White; Tess Takahashi Abstract A portfolio of select photographs featuring significant works by Carolee Schneemann, photographs of Schneemann at work, and candid photographs of Schneemann with friends and colleagues. The portfolio complements the preceding essays and illustrations collected...
FIGURES
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in Breaking at the Edges: Carolee Schneemann's Desires for Dance
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Newspaper Event (1963). Photograph by Al Giese. © 2020 Hottelet/Giese/Licensed by Artists Rights Society (ARS), NY
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in Breaking at the Edges: Carolee Schneemann's Desires for Dance
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. Carolee Schneemann, Meat Joy (1964). Photograph by Al Giese. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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Published: 01 September 2021
Figure 1. Carolee Schneemann, Glass Environment for Sound and Motion , the Living Theatre, New York (1962). From left: Malcolm Goldstein, Yvonne Rainer, and Andre Cadet. Photograph: Steve Schapiro. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York
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Published: 01 September 2021
Figure 2. Carolee Schneemann, Controlled Burning: For Yvonne Rainer's Ordinary Dance (1962). Wooden box, glass shards, mirrors, oil paint, burnt. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann
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Published: 01 September 2021
Figure 1. Robert Haller, Portrait of Carolee Schneemann (1978). Photographic print, Carnegie Museum of Art, Pittsburgh. © Robert Haller. Made available by permission. Photograph © 2021 Carnegie Museum of Art, Pittsburgh
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Published: 01 September 2021
Figure 2. Carolee Schneemann, Americana I Ching Apple Pie (1975/1977). Detail from performance documentation, text by Schneeman, photographs by Su Friedrich. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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in Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Study for Up To and Including Her Limits (1973–76). Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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in Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. Carolee Schneemann, Vole (2016). Digital image. From correspondence with the author, 28 November 2016. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society
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Published: 01 September 2021
Figure 1. Carolee Schneemann, Interior Scroll (1975). Photograph. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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Published: 01 September 2021
Figure 2. Carolee Schneemann, Interior Scroll (1975). Photograph. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 1. Carolee Schneemann, Chromelodeon (1963). Kinetic theater, Judson Dance Theater, New York. Photograph by Al Giese. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 2. Carolee Schneemann, Chromelodeon (1963). Kinetic theater, Judson Dance Theater, New York. Photograph by Al Giese. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann Foundation / Artists
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in Schneemann Sounding: Embodied Sonic Systems
> Camera Obscura: Feminism, Culture, and Media Studies
Published: 01 September 2021
Figure 3. Carolee Schneemann, Noise Bodies (1965). Avant- Garde Festival, Judson Hall, New York. Pictured: Carolee Schneemann with James Tenney. Photographs by Peter Moore. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. ©
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Published: 01 September 2021
Figure 1. Carolee Schneemann, Parts of a Body House: Genitals Playroom (II) / Genital Wall (1966). Watercolor and ink on paper, 26¼ × 26¾ in. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann
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Published: 01 September 2021
Figure 2. Carolee Schneemann, Parts of a Body House: Genitals Playroom (III) / Wall Section (1966). Watercolor and ink on paper, 26¼ × 26¾ in. Courtesy of the Carolee Schneemann Foundation; P•P•O•W, New York; Galerie Lelong, New York; and Hales Gallery, London. © 2021 Carolee Schneemann
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Published: 01 September 2021
Figure 4. Carolee Schneemann, as she appears in Fantastic Architecture , edited by Dick Higgins and Wolf Vostell (New York: Something Else Press, 1970)
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Published: 01 September 2021
Figure 5. Carolee Schneemann working on Parts of a Body House Book at Beau Geste Press, Cullompton, UK, 1972. From left to right: Allen Fisher, Elaine Fisher (obscured), Matthias Ehrenberg, Carolee Schneemann, and Felipe Ehrenberg. Photograph by Anthony McCall
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