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Soundings for Carolee

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Journal Article

Introduction: Carolee Schneemann (1939–2019)

Kenneth White
Camera Obscura (2021) 36 (2 (107)): 126–127.
DOI: https://doi.org/10.1215/02705346-9052830
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...
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<span class="search-highlight">Carolee</span> Schneemann, Glass Environment for <span class="search-highlight">Sound</span> and Motion , the Living Th...

Carolee Schneemann, Glass Environment for Sound and Motion , the Living Th...

in On Carolee > Camera Obscura: Feminism, Culture, and Media Studies
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 More
Journal Article

Thoughts on Making Films with Barbara Hammer

Lynne Sachs
Camera Obscura (2021) 36 (3 (108)): 129–135.
DOI: https://doi.org/10.1215/02705346-9349441
Published: 01 December 2021
... in New York City. Sachs initially discusses her experiences making Carolee, Barbara and Gunvor (US, 2018), which includes Hammer, the conceptual and performance artist Carolee Schneemann, and the experimental filmmaker Gunvor Nelson. She then discusses her 2019 film, A Month of Single Frames , which uses...
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Journal Article

Schneemann Sounding: Embodied Sonic Systems

Melissa Ragona
Camera Obscura (2021) 36 (2 (107)): 151–163.
DOI: https://doi.org/10.1215/02705346-9052886
Published: 01 September 2021
...Melissa Ragona Abstract This essay examines the central position the medium of sound played in the work of the artist Carolee Schneemann (US, 1939–2019). By exploring a few key early works such as Glass Environment for Sound and Motion (1962), Chromelodeon (1963), and Noise Bodies (1965), it traces...
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Journal Article

On Carolee

Yvonne Rainer
Camera Obscura (2021) 36 (2 (107)): 129–133.
DOI: https://doi.org/10.1215/02705346-9052844
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...
FIGURES
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Journal Article

Carolee Schneemann's Sonic Shadow

Peggy Phelan
Camera Obscura (2021) 36 (2 (107)): 135–143.
DOI: https://doi.org/10.1215/02705346-9052858
Published: 01 September 2021
...Peggy Phelan Abstract This commemorative essay considers Carolee Schneemann's voice as expressed through performative utterances and written words, with particular focus on Interior Scroll (1975). The essay argues that the performance's documentation in photographs, the primary means...
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Journal Article

Imagining Future Gardens of History

Jackie Hatfield
Camera Obscura (2006) 21 (2 (62)): 184–191.
DOI: https://doi.org/10.1215/02705346-2006-008
Published: 01 September 2006
... and video, sound and performance from the late twentieth century that should be central to this history and visible to the world, I list a few significant ones: Carolee Schneeman’s Night Crawlers (US, Camera Obscura 62, Volume 21, Number 2 doi 10.1215/02705346-2006-008  © 2006 by Camera...
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Journal Article

Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist

Emily Watlington
Camera Obscura (2022) 37 (1 (109)): 91–113.
DOI: https://doi.org/10.1215/02705346-9561437
Published: 01 May 2022
... being a woman and experimental video artist, Rist was an instant crowd-pleaser. She draws on the work of abject feminist artists before her, like Carolee Schneemann's Interior Scroll (1975) or Shigeko Kubota's Vagina Painting (1965), but renders such imagery alluring using bright colors, slow motion...
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Journal Article

Performing Essentialism: Reassessing Barbara Hammer's Films of the 1970s

Greg Youmans
Camera Obscura (2012) 27 (3 (81)): 101–135.
DOI: https://doi.org/10.1215/02705346-1727473
Published: 01 December 2012
... in loincloths — approach the central pair from various points offscreen. They help the rst gure lift the initiate into the air, as choral music momentarily swells on a sound track that otherwise presents only the sound of wind and of feet moving through the brush. After the initiate has been set...
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Journal Article

Afterlife and Afterimage: Maya Deren in “Transfigured Time”

Lucy Fischer
Camera Obscura (2013) 28 (3 (84)): 1–31.
DOI: https://doi.org/10.1215/02705346-2352139
Published: 01 December 2013
....) The simplest Deren mashups are usually attempts to impose a sound track on a silent film, ostensibly to update it for a younger generation. Thus one user posts a visually accurate version of At Land (US, 1944) to which is added abstract new music from Jonny Greenwood’s album Bodysong.21 Alternately...
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Journal Article

Intimate Connections: Alternative Communication Threads in Nina Sobell’s Video Performances and Installations (1974–82)

Cristina Albu
Camera Obscura (2020) 35 (1 (103)): 39–75.
DOI: https://doi.org/10.1215/02705346-8085111
Published: 01 May 2020
...). 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 of this visceral medium bears even more resonances with Suzanne Lacy s conceptual photographic series...
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Journal Article

Feminism 101: The New York Women's Video Festival, 1972-1980

Melinda Barlow
Camera Obscura (2003) 18 (3 (54)): 3–38.
DOI: https://doi.org/10.1215/02705346-18-3_54-3
Published: 01 December 2003
... ever won an Oscar for best director, cinematography, or sound design; by 1987, 2.4 percent of major films made in this country were directed by women, and by 1999, that percentage had risen only to 4 percent; and a mere 19 per- cent of all executive producers, directors, writers, cinematogra...
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Journal Article

“Dated Sexuality”: Anna Biller's Viva and the Retrospective Life of Sexploitation Cinema

Elena Gorfinkel
Camera Obscura (2011) 26 (3 (78)): 95–135.
DOI: https://doi.org/10.1215/02705346-1415443
Published: 01 December 2011
... of “antiquated” gender conventions evokes a certain form of masochistic performative endurance that can be seen as co-­extensive with traditions of feminist artistic practice, from Carolee Schneemann to Cindy Sherman. Viva  is conversant with some of the contemporary spectato- rial...
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