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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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Journal Article
Introduction: Carolee Schneemann (1939–2019)
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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
Thoughts on Making Films with Barbara Hammer
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Camera Obscura (2021) 36 (3 (108)): 129–135.
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
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Camera Obscura (2021) 36 (2 (107)): 151–163.
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
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Camera Obscura (2021) 36 (2 (107)): 129–133.
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
Journal Article
Carolee Schneemann's Sonic Shadow
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Camera Obscura (2021) 36 (2 (107)): 135–143.
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...
FIGURES
Journal Article
Imagining Future Gardens of History
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Camera Obscura (2006) 21 (2 (62)): 184–191.
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...
Journal Article
Temporal Surfacing: Mosori Monika (1970) and Chick Strand's Cross-Cultural Explorations
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Camera Obscura (2022) 37 (3 (111)): 31–57.
Published: 01 December 2022
... and the moving objects in the fore seem to scan the surface of the screen, further highlighting the foreground. At first glance, this aesthetics of the surface may seem to recall the experimental film style of the sixties, exemplified most famously in the films of Stan Brakhage, Carolee Schneemann, and Jonas...
FIGURES
Journal Article
Pretty Gross: Dialectics of Desire and Disgust in the Reception of Pipilotti Rist
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Camera Obscura (2022) 37 (1 (109)): 91–113.
Published: 01 May 2022
... (as in Blutclip , 1993) and anus (as in Mutaflor , 1996), and despite 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...
FIGURES
Journal Article
Performing Essentialism: Reassessing Barbara Hammer's Films of the 1970s
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Camera Obscura (2012) 27 (3 (81)): 101–135.
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...
Journal Article
Afterlife and Afterimage: Maya Deren in “Transfigured Time”
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Camera Obscura (2013) 28 (3 (84)): 1–31.
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...
Journal Article
Intimate Connections: Alternative Communication Threads in Nina Sobell’s Video Performances and Installations (1974–82)
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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
Feminism 101: The New York Women's Video Festival, 1972-1980
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Camera Obscura (2003) 18 (3 (54)): 3–38.
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...
Journal Article
“Dated Sexuality”: Anna Biller's Viva and the Retrospective Life of Sexploitation Cinema
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Camera Obscura (2011) 26 (3 (78)): 95–135.
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...
