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Meat Joy

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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 More
Image
Published: 01 September 2021
Figure 5. Meat Joy (1964). Judson Memorial Church, New York. Photograph by Al Giese More
Journal Article
Camera Obscura (2021) 36 (2 (107)): 129–133.
Published: 01 September 2021
... select works produced by Schneemann at Judson, including Lateral Splay (1962) and Meat Joy (1964). The essay reflects on the relation between the dance workshops and Schneemann's work in painting. It gives particular focus to Schneemann's canonic “solo” Interior Scroll (1975) and the author's experience...
FIGURES
Journal Article
Camera Obscura (2021) 36 (2 (107)): 165–173.
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 ...
FIGURES
Journal Article
Camera Obscura (2021) 36 (2 (107)): 151–163.
Published: 01 September 2021
... directly, a particular “source of compression”—tension, expansion, resistance. 1 That's why in several of her most renowned works, such as Meat Joy (US/France, 1964) and Snows (US, 1967), she introduces the idea of a “body package”—packages that work, to borrow from Antonin Artaud, as “philosophical...
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Journal Article
Camera Obscura (2021) 36 (2 (107)): 198–210.
Published: 01 September 2021
...Figure 5. Meat Joy (1964). Judson Memorial Church, New York. Photograph by Al Giese ...
FIGURES | View All (12)
Journal Article
Camera Obscura (2021) 36 (2 (107)): 126–127.
Published: 01 September 2021
.... Goldstein searched Judson Church with his violin. His strings tore out at us, found our departed friend amid the assembly. He lifted us into the rafters; we saw Meat Joy as it had been on the same floor decades ago, and we could hear Schneemann's voice for a moment, in the clear, radiant sound: “I assume...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 185–197.
Published: 01 September 2021
... they had lived and worked together from 1964 until 1968, the period in which Carolee produced some of her greatest works, including Meat Joy (France/UK/US, 1964), Fuses (US, 1964–67), and Snows (US, 1967); the house that, in 1970, Carolee had not resided in for almost a year and to which she would...
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Journal Article
Camera Obscura (2021) 36 (2 (107)): 175–183.
Published: 01 September 2021
... 2021 Carolee Schneemann Foundation / Artists Rights Society (ARS), New York 1. Carolee Schneemann, “ Meat Joy ,” in Imaging Her Erotics: Essays, Interviews, Projects (Cambridge, MA: MIT Press, 2002), 61. What is it that we want of mothers? This question, according to Jacqueline Rose...
FIGURES
Journal Article
Camera Obscura (2020) 35 (1 (103)): 39–75.
Published: 01 May 2020
... used a chicken carcass as a character alterna- tively embodying the role of a mother and a baby (fig. 3). Her often- times sensual engagement with raw animal meat is reminiscent of Carolee Schneemann s Meat Joy (1964), especially at the level of both artists interrogation of sexual norms. Sobell s use...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 24–53.
Published: 01 January 1989
... of maggot-infested meat functioning as the symbol of this particular man- agement’s disregard for its workers. After a group of sailors have refused to eat soup containing the meat, officers order another group of sailors to shoot them. They eventually refuse, and the bonds of revolutionary...
Journal Article
Camera Obscura (1999) 14 (3 (42)): 124–159.
Published: 01 September 1999
... enough [meat] fillings for the pies we have on order. [They whine]. Remember, this is a family business! Auntie Lee in Auntie Lee's Meat Pies' The consolidation of the negotiation of difference in the cannibal body...
Journal Article
Camera Obscura (2019) 34 (3): 63–95.
Published: 01 December 2019
... a climax somewhat heavy-handedly when Canez raises a glass to the world-famous merry girls of Vienna! as Greta collapses from fatigue in front of the butcher shop. Marie perseveres until morning only to learn that the meat supply has run out. From this point forward, Joyless Street becomes...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 1–31.
Published: 01 December 2013
.../archives_exhibition_history_list (accessed 22 February 2012). 79. Thanks to Neepa Majumdar for pointing this out to me. 80. The exhibition included Hammer’s Bent Time (US, 1983), Friedrich’s Cool Hands, Warm Heart (US, 1979), and Schneemann’s Meat Joy (US/France, 1964...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 149–187.
Published: 01 May 2002
..., television frames the space in which barn- yard animals both escape deadly objectification as essentially meat and engage in their own subject-formations outside the lim- ited terms of human being or existence. While the assumption that Babe is a postmodern text struc- tures this analysis...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 124–160.
Published: 01 September 1993
... by the midwest meat-packing plant that just laid off him and his buddies, a social context on which Kelly elaborates in her essays and interviews but condenses to the personal dilemma of castration in her gleaming narrative: “Yes, age had affected his reaction time, he thought, that’s how it happened...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 47–67.
Published: 01 May 2008
.... Confidential reminded audiences that a meat-eating man who allows his rage to get the best of him once in a while is really the only type of male who can grab a woman by the neck and keep ahold of her long after she’s left the theater.”20 Reinforcing the connection between aggressive masculinity...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 1–23.
Published: 01 September 2012
... cannot tolerate milk to those who will not tolerate meat. Cooking for families and friends has always been a central end result of the instruction agenda. In today’s cooking shows, we often see the actual recipients enjoying the fruits of the labor, be it Nigella Lawson’s children, Jamie Oliver’s...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 99–131.
Published: 01 December 2016
... and Ireland in October 1970.46 In this address, Beer invites his audience to consider the global flows of commodi- ties, labor, and capital as crystallized in the image of a meal eaten in a “London restaurant,” with “Belgian cutlery,” and “Scandina- vian chairs”; consisting of tinned meat from...