Carolee Snowman

from Wikipedia, the free encyclopedia
Carolee Snowman (2008)
Video: Carolee Schneeman, keynote speech at the Center for 21st Century Studies Since 1968 conference , October 23, 2008, Union Theater , University of Wisconsin-Milwaukee

Carolee Schneemann (born October 12, 1939 in Fox Chase , Pennsylvania , † March 6, 2019 in New York , NY) was an American artist who became internationally known for her contributions to the social discourse on physicality, sexuality and gender roles . From questions of painting she developed a well-founded and groundbreaking artistic exploration of visual traditions and taboos . Performances and experimental films that address the relationship between the individual and the social body and the differences between eroticism and politics became particularly well known . The oeuvre , created on the basis of broad art-historical knowledge, contains culturally formative works of the genres assemblage , experimental film and performance and is considered important for feminist aesthetics .

Especially in the 1960s and 1970s, the artist contributed to the development of action arts with happenings and performances in which she combined different media with body, movement, language and text . Her performance Interior Scroll (1975) became a model for crossing artistic boundaries and for female art .

The extensive oeuvre is related to Neo-Dada , Beat Generation and Fluxus . It is collected and presented in institutions such as the Museum of Contemporary Art (MOCA) , the Museum of Modern Art (MoMA) , the Center Georges Pompidou and the National Film Theater London. In 2017 she was awarded the Golden Lion for her life's work at the Biennale di Venezia .

Carolee Schneemann has taught at the California Institute of the Arts , the School of the Art Institute of Chicago , Hunter College, and Rutgers University . In 2011, Carolee Schneemann was elected a member ( NA ) of the National Academy of Design in New York .

education

Carolee Schneemann received a full scholarship to New York's Bard College and was the first woman in the family to attend college . Her father, a country doctor, advised her against training as an artist. At college, where she painted nude self-portraits and acted as a nude model for her boyfriend, she grappled with the differences in male and female perceptions of the body of the opposite sex. After getting a Bachelor of Arts (BA), she received another scholarship to Columbia University . There she met James Tenney , a composer and music theorist, with whom she then lived for 13 years. She made her first experiences with experimental films through Stan Brakhage , who was friends with her and Tenney . At the University of Illinois , Schneemann studied painting in the late 1950s and graduated with a Master of Fine Arts (MFA).

Oeuvre

The extensive oeuvre of painting, collage , assemblage, sculpture , installation art , print and artist book , photography , happening and performance, film art and video art can be interpreted as an exploration of artistic topics on the basis of a broad knowledge of art history.

Carolee Schneemann is known as an artist and feminist who cannot be narrowed down thematically and ideologically. The fact that her work was criticized from a feminist point of view indicates its cross-discourse quality. Annette Kubitza writes about this in her book Fluxus, Flirt, Feminismus? - Carolee Schneemann's body art and the avant-garde that Schneemann “has been marginalized, criticized and censored again and again by artist colleagues, civil servants and feminist critics alike since the beginning of her career”.

Many of the works show recurring characteristic references to the artist's personal life context. Her temporary husband James Tenney is the composer of the film music in Viet Flakes (1965), the filmed sexual partner in the later film Fuses (1967) and an expressly named participant in several other works (see Falling Bodies and Body Rotations ).

In addition to dealing with the human body and sexuality, the emphatic relationship between Snowmen and their cats becomes visible in several films and photo installations. So Kitch, one of the artist's cats, appears in works like Fuses and Kitch's Last Meal (1978). In the film Fuses , Kitch played the role of the "objective observer" who observed snowmen and Tenney's sexual activities ("objective" observer to her and Tenney's sexual activities, as she stated that she was unaffected by human mores) In Infinity Kisses (1986), a wall-sized collection of 140 photos, documents snowman kisses with Vesper, one of her later cats.

The professor of art history Kristine Stiles claims that Schneemann's oeuvre is dedicated to the exploration of concepts of the figure-ground relationship, relationality (both through the use of her body), and similarity (through the use of cats and trees). At the same time, she thinks that in Schneemann's work the subject of sex and politics would dictate how art is formed rather than the formal concepts behind it (cf.).

As far as Schneemann's work consists of happenings and performances, it could only be received by the wider public through photographs, video documentation, drawings and notes by the artist (cf.).

painting

External illustration

Carolee Schneemann described herself as “a painter who left the canvas to activate the space of the present and lived time”. She viewed her photographic and body-related works as derived from painting, although on the surface they make a different impression. Studies with Paul Brach taught her to understand “the brushstroke as an event in time” and to “think of colors in three dimensions” with the performers she employs (cf.). Schneemann related the colors and movements designed in fuses to brush strokes in painting (cf.) The artist transferred ideas from her figurative abstract painting of the 1950s, in which she cut and destroyed layers of paint from the surfaces of images, into her photographic work Eye Body . The performance Up to and Including Her Limits (1976), at the University Art Museum, Berkeley, in which the snowman swung through the room hanging from ropes and scribbled on various surfaces with colored pencils, also refers to the gestural brushstrokes of the Abstract Expressionists.

Feminist perspective

Schneemann's art is more about sexual expression and emancipation than about the chicane and oppression of women. According to the artist and lecturer Johannes Birringer , Schneemann's oeuvre resists political correctness , which is represented by some branches of feminism, as well as ideologies that feminists see as misogynous , such as psychoanalysis . It is difficult to analyze and classify because it combines concepts of constructivism and painting with their body and their energy. In her book Cézanne, She Was A Great Painter (1976), Schneemann writes that she used nudity in her artistic work to break taboos that have to do with the moving human body and to show that “the life of the Body expresses itself in more different ways than a society that has a negative attitude towards sexuality can admit ”.

In the 1980s, the artist found that her work was not considered sufficient by some feminist groups as an answer to feminist issues of the time. However, she confidently defines her own contribution: "In a sense, I made a gift to other women with my body by giving our bodies back to ourselves". It wasn't until the 1990s that it began to be recognized that her work contained work important to feminist art.

Early work

Carolee Schneemann began her career as a painter in the late 1950s. She reports that the artists at that time were unaware of their bodies and that the mood among the artists was misogynous .

Through collages of material , which she combined with an expressionist brush gesture, characteristics of Neo-Dada came into her painting. Her material pictures show textures that are similar to the work of artists like Robert Rauschenberg . In addition, influences from late Impressionists such as Paul Cézanne and themes from Abstract Impressionism painting (see Informel ) were integrated. The artist relied on expressiveness instead of adaptation and elegance . Unlike feminist artists who distanced themselves from male-oriented art history, she always described herself as a formalist .

In the early 1960s, Schneemann founded the Kinetic Theater , a group of experimental dancers, musicians, visual and performing artists. During the preparatory work for the piece A Journey through a Disrupted Landscape , she came into contact with Happening . She invited the other players to crawl through mud, climb and conquer rocks. Shortly afterwards she met Allan Kaprow , who was one of the main characters of the happening scene alongside the artists Red Grooms and Jim Dine . Through Simone de Beauvoir , Antonin Artaud , Wilhelm Reich and Kaprow, Schneemann turned from the panel painting to the new art forms.

When her partner James Tenney got a job as an experimental composer at Bell Laboratories , Schneemann and Tenney left their joint residence in Illinois in 1962 and went to New York. Through a colleague of Tenney's at Bell Laboratories, Billy Klüver , Snowman met Claes Oldenburg , Merce Cunningham , John Cage , and Robert Rauschenberg, whom she involved in the activities of the Judson Dance Theater arts program at Judson Memorial Church . There she took part in works such as Claes Oldenburg's Store Days (1962). In Robert Morris Site (1964) she played a live version of Édouard Manet's Olympia . Aware of liberating her body from the status of a cultural asset and appropriating it again for herself, she used it naked in works of art. Schneemann came into contact with New York artists, musicians and composers such as George Brecht , Malcolm Goldstein , Philip Glass , Terry Riley , and Steve Reich . She was interested in the art of the Abstract Expressionists of the time, such as Willem de Kooning , but Schneeman's own pictorial constructions, despite their connections in the art scene, hardly met with interest from New York art dealers.

The first support for Schneemann's art came from poets like Robert Kelly , David Antin , and Paul Blackburn , who published Schneemann's texts. As an aesthetic influence for himself and James Tenney, Schneemann names the poet Charles Olson , despite his occasional sexist comments, because of his interest in deeply felt imagery and strong metaphors , especially for her collage Maximus at Gloucester (cf.).

Assemblages

Although her work in the 1960s developed more dramatically, the artist continued to produce assemblages such as the Joseph Cornell- influenced Native Beauties (1962–1964), Music Box Music (1964), and Pharaoh's Daughter (1966). Her Letter to Lou Andreas Salome (1965) expressed Carolee Schneemann's philosophical interests by combining scrawled Nietzsche and Tolstoy quotes with Rauschenberg-like shapes.

Performing works

Eye Body 1963

External illustration

Schneemann created a “loft environment” filled with broken mirrors, motorized umbrellas and rhythmic color units. To become part of the work of art, she wrapped herself in materials such as grease, chalk and plastic. With the help of the Icelandic artist Erró , she created 36 “Transformative Actions” photographs of herself in her constructed environment . Among these pictures is a frontal nude showing snakes crawling on Snowman's torso. The picture attracted attention because of its "archaic eroticism" and the visible clitoris . Snowman says she did not know the symbolic meaning of the serpent in ancient cultures at the time, such as that of the Minoan serpent goddess , and only really understood it years later.

When it was presented to the public in 1963, the work was perceived by art critics as lewd and pornographic. Artist Valie Export found Eye Body remarkable for the way Snowman showed "how random fragments of her memory and personal components of her surroundings overlay her perception".

Works like Eye Body show a strong feminine presence, even though they were meant as an exploration of painting and assemblage processes rather than addressing feminist issues.

Meat Joy (1964)

External illustration

In Meat Joy , performed at the Festival of Free Expression, Paris, eight scantily clad performers danced and played with objects and substances such as raw fish, plucked chickens, sausages, liquid paint and scrap paper. Meat Joy was first performed in Paris and was later filmed and photographed performing by Schneemann's Kinetic Theater Group on the Judson Memorial Church arts program. Schneemann describes the piece as an " erotic rite " and as a Dionysian "celebration of meat as material" without borders . Meat Joy is similar to a happening , because the piece is more of a conceptually guided improvisation than a precisely worked out concept.

Fuses (1964-1967)

External illustration

In her several years with a 16-mm - Bolex recorded camera film fuses , snowman shows herself and her then boyfriend James Tenney during sex. She changed the film by a mixture of painting and collage, drawing directly on the celluloid, applied paints, stains and scorch marks. Parts of the film that had been edited for different screening speeds were reassembled. She partially superimposed her and Tenney's body and sexual activities with filmed nature photographs.

Fuses emerged from Schneemann's question of whether a woman's description of a woman's own sexual act is different from pornography and classical art and in response to Stan Brakhage's short film Window Water Baby Moving (1959). As a poetic, but at the same time very concrete documentation of a water birth, the film broke the taboos of the time. In the meantime, the forerunner of later artistic birth films is easy to find on the WWW. Schneemann showed her film Fuses to her friends and acquaintances while she was working on it in 1965 and 1966 and received mostly positive comments. Still, the film has been described by many critics as " narcissistic exhibitionism " and as rampant. There was a particularly strong reaction to the cunnilingus scene. While Fuses is viewed as a "proto-feminist" film, Schneemann considers it largely ignored by feminist film history . The film does without the fetishization and objectification of the female body that is often seen in male-oriented pornography. Two years after its completion, the film won the Cannes Film Festival Special Jury Selection Prize. Andy Warhol , whom Snowman met while staying at his factory , jokingly remarked that she should have brought the film to Hollywood . Fuses became the first part of Carolee Schneemann's Autobiographical Trilogy . Like other of her work in the 1960s, this one was in line with many of Fluxus ' ideas . Snowman, however, remained independent of any particular group or movement. Schneemann points out that for many viewers the formal and structural aspects of the film take a back seat because of the sexuality shown. The work was nonetheless a fundamental contribution to the feminist art movement of the late 1960s and 1970s.

Plumb Line (1968)

Schneemann later included the film in her Autobiographical Trilogy . At the beginning it shows the still image of a man's face behind an installation pipe (eng .: plumb line). The picture goes up in flames. Image series with the man and snowman shown at the beginning run to a confusing audio backdrop of music, sirens (mythology) s , cat sounds and noises in the four-part film image. While Schneemann finally tells of a time of physical and emotional illness, the sound and images become more intense as the film progresses. The film ends with the Snowman physically assaulting a series of projected images and repeating the film's opening sequence.

Interior Scroll (1975)

External illustration

Carolee Schneemann showed the performance Interior Scroll in front of an audience that consisted mainly of female artists. In the Fluxus- influenced performance, she created a new relationship between text and body. Dressed and with two handkerchiefs, she approached a long table illuminated by two dimmed spotlights, took off her clothes, wrapped herself in one of the handkerchiefs and stepped on the table. There she announced that she would read from her book "Cezanne, She Was A Great Painter" (published 1976), but first dropped the cover, picked up a large brush and applied dark-colored strokes to her face and body. Only then did she read from her book and, like the model in a nude class, take on changing “model poses”. After taking off the book and brush, she slowly pulled a long strip of paper rolled up in it from her vagina , from which she read aloud (cf.).

The performance theorist Jeanie Forte commented that Schneemann's feminist “role lecture” gave the impression that the artist's vagina itself reported sexism (Schneemann's feminist scroll speech, according to performance theorist Jeanie Forte, made it seem as if “Schneemann's vagina itself is reporting […] sexism ”). The art critic Robert C. Morgan states that in order to understand this performance it is necessary to take into account the time in which it was created. He explains that by defining the female genitalia as a source of artistic creativity , Snowman transformed the masculine overtones of minimalism and conceptual art into a feminist exploration of her body. Interior Scroll , along with Judy Chicago's The Dinner Party , pioneered ideas later made famous by the off-Broadway show Vagina Monologues .

Kitch's Last Meal (1978)

With Kitch's Last Meal, Schneemann ended her film series later called "Autobiographical Trilogy". The cat "Kitch" was a main character in Snowman's work for almost 20 years. The film documents routines of daily life: As time passes, a relationship dissolves. Death is getting closer. The recordings end when the old cat dies. In the soundtrack , personal memories are mixed with sounds from the household and the text presented at Interior Scroll .

Installations

Cycladic Imprints (1991-1993)

The multimedia installation (art) uses 17 motorized violins , 360 slides , 2 fade controls and 4 synchronized projectors . Images of Cycladic sculptures , stringed instruments and human torsos are continuously projected onto a wall-filling assemblage of automated violins and painted hourglass-shaped outlines . A sound collage by Malcolm Goldstein runs as a 15-minute loop . The projected imagery consists of a series of art-historically significant representations of the female body from painting, sculpture and photography. Schneemann creates a space in which she questions the story of the female nude as a muse and creates her own erotic theory of forms (cf.).

Mortal Coils (1994)

With Mortal Coils, Carolee Schneemann commemorates her 15 friends and colleagues who died between 1993 and 1994, including Charlotte Moorman , Hannah Wilke , John Cage , Derek Jarman and Paul Sharits . The installation consisted of a rotating mechanism from which coiled ropes hung while portraits of the artists were projected onto a wall behind.

Terminal Velocity (December 2001)

Terminal Velocity shows people jumping to their deaths from the World Trade Center on September 11, 2001 . As in Dark Pond , another work with the same photographs, the artist tries to make the victims of the terrorist attacks on September 11, 2001 tangible as people . Therefore, with the help of a computer, she enlarged the images so much that the falling person can be perceived as a person detached from the environment.

More Wrong Things (2001)

The installation “More Wrong Things” consists of video monitors that are suspended from the ceiling in an exhibition room and are conspicuously networked with cables. They show chaotic scenes with injured bodies, environmental disasters and political anarchy . When leaving the installation, the visitor discovers wall-sized projections of the artist with her deceased cat. The public “other” connects with the private “I” in a feeling of sadness.

Devour (2003-2004)

Devour refers to the hustle and bustle of the voracious pseudo-media of the present and the dependence of media consumers . Depending on the version, Devour is a two- or multi-channel video projection as an installation. Scenes of uncertain danger, political catastrophes, recent wars and domestic intimacy in the USA are shown, with shrinking, fragile elements in contrast to brutal, harrowing and accelerating fragments. A two-channel version, 8:40 minutes, is dated April 2003.

Other works

  • 1965: Viet Flakes
  • 1973-1976: Up to and Including Her Limits
  • 1981: Fresh Blood: A Dream Morphology
  • 1981-1988: Infinity Kisses
  • 1986: Hand / Heart for Ana Mendieta
  • 1986-1988: Venus Vectors
  • 1987–1988: Vesper's Pool
  • 1991: Ask the Goddess
  • 1995: Vulva's Morphia

Exhibitions and presentations

(* Solo exhibition)

  • 1971: Electronic Activation Room , part of the exhibition “Happening & Fluxus”, Kölnischer Kunstverein, Cologne.
  • 1976: Judson Dance Theater Exhibit and Archives , Judson Church, NYC.
  • 1977: La Boutique Aberrante , exhibition, Center Ceorges Pompidou, Paris.
  • 1984: Salvaged - The Origins of Assemblage (with Arman, Kienholz, Rauschenberg, G. Brecht, Tinguely). PS1, Long Island City, NY.
    • Shame! The Explosion of Pop, Minimalism and Performance 1958–1964 , Whitney Museum, New York City.
  • 1989: The Theater of the Object, 1958–1972: Reconstructions, Re-creations, Reconsiderations . Kinetic installations and video installations (artists: Higgins, Kaprow, Knowles, Ortiz, Paik, Kubota, Patterson). Alternative Museum, New York City.
    • International Experimental Film Congress, Toronto. Panels: "The Interface Between the New Technology and Avant-Garde Film", and "Issues of Sexuality in Contemporary Experimental Film"; film screenings.
  • 1996: Up To and Including Her Limits . The retrospective , named after a work from 1973, took place at the New York City New Museum of Contemporary Art ( curator Dan Cameron). With this exhibition, the importance of the complete works was recognized more generally. Before that, her works were often viewed by critics, collectors and art institutions as narcissistic or exaggeratedly sexualized forms of expression that were to be rejected (cf.). The theorist Jan Avgikos wrote afterwards (1997): “Before Schneemann, the female body in art had no voice of its own. It worked almost exclusively as a mirror of male pleasure. "
  • 2007: Wack! Art and the Feminist Revolution at the MOCA Museum of Contemporary Art, Los Angeles was an exhibition focused on the historical legacy of feminist art of the period 1965-1980, to whose Lesbian Art Project Carolee Schneemann contributed.
  • 2010: Within and Beyond the Premises (February 6 - July 25), Samuel Dorsky Museum of Art, State University of New York, New Paltz, NY.
  • 2012, exhibition participation: Danser sa vie. Danse et Arts visuels aux 20e et 21e Siècles. Center Pompidou , Paris
  • 2015 Feminist avant-garde of the 1970s. Works from the Verbund collection, Vienna , Hamburger Kunsthalle .
  • 2017: Carolee Schneemann. Kinetic painting , Museum of Modern Art , Frankfurt am Main
  • 2017 WOMAN. Feminist avant-garde of the 1970s from the Verbund collection , MUMOK , Vienna.
  • 2017–2018 Feminist avant-garde of the 1970s from the Verbund collection, Vienna . Center for Art and Media , Karlsruhe, DE.
  • 2018–2019 Feminist Avant-garde / Art of the 1970s SAMMLUNG VERBUND Collection, Vienna , The Brno House of Arts, Brno, Czech Republic.
  • 2020: Up to and Including Limits: After Carolee Schneemann , Muzeum Susch , Engadin, Switzerland

External overview:

Awards

literature

Artist books, documentations

  • Carolee Schneemann: Cézanne: She Was a Great Painter. Trespass Press, New York 1974, 1975, 1976 (different editions of 50 copies each, plus artist editions).
  • Carolee Schneemann, Bruce R. McPherson (Eds.): More Than Meat Joy. Performance Works and Selected Writings. 2nd ed. Kingston, NY 1997, ISBN 0-929701-54-2 . / 1st edition Documentext, New Paltz, NY 1979, ISBN 0-914232-16-9 .
  • Carolee Snowman: Vulva's Morphia. Granary Books, New York City 1997. Limited artist edition.
  • Carolee Schneemann: Imaging Her Erotics: Essays, Interviews, Projects. MIT Press, Cambridge MA 2003 (c2002), ISBN 0-262-19459-7 . Full preview of Google books (Accessed June 22, 2010).
  • Carolee Schneemann: Carolee Schneemann - Performance Photographs from the 70s. Carolina Nitsch Photograph Projects, New York, NY [2009].

Secondary literature

German:

  • Annette Kubitza: Fluxus, Flirtation, Feminism? Carolee Schneemann's body art and the avant-garde. Reimer, Berlin 2002, ISBN 978-3-496-01264-1 . At the same time Hamburg, University, dissertation 1998.
  • Kathleen Bühler: Autobiography as Performance. Carolee Schneemann's experimental films. Schüren, Marburg 2009, ISBN 978-3-89472-520-4 ( Zürcher Filmstudien. 20) - (filmography pp. 252–254; bibliography pp. 255–269).

English:

  • Julia Ballerini, Ted Castle: Carolee Schneemann: Early & Recent Work. McPherson / Documentext, Kingston, NY 1983. ISBN 0-914232-56-8
  • Elisabeth Denny: loosing "site." Courtauld Institute of Art, London University 2006. Dissertation.
  • Kristine Stiles (Ed.): Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle. Duke University Press, Durham (NC) 2010, ISBN 978-0-8223-4500-8 , ISBN 978-0-8223-4511-4 .

Web links

References and comments

  1. ↑ a b c d e f g h i j k l m Robert C. Morgan: Carolee Schneemann: The Politics of Eroticism . In: Art Journal . 56, No. 4, pp. 97-100. doi : 10.2307 / 777735 .
  2. ^ A b Petra Reichensperger: Carolee Schneemann re-visited. Humanities and Social Sciences Net Online, October 2003, accessed May 8, 2009 (book review by Annette Kubitza, “Fluxus, Flirt, Feminismus?”).
  3. ^ A b Bonnie Marranca: Performance, a Personal History . In: PAJ . 28, No. 1, 2005, p. 16. Retrieved November 7, 2007.
  4. ↑ a b Chris Thompson, Katarina Weslien: Pure Raw: Performance, Pedagogy, and (Re) presentation - Marina Abramovic . In: PAJ . 28, No. 1, 2005, p. 40. Retrieved November 7, 2007.
  5. ^ Jeanie Forte: Focus in the Body: Pain, Praxis and Pleasure in Feminist Performance. In: Critical theory and performance. Janelle G. Reinelt, Joseph R. Roach, p. 248 ff , accessed on April 5, 2010 (English).
  6. ↑ a b Carolee Schneemann. Retrieved October 20, 2008 .
  7. ^ Biennale: US artist Schneemann receives life's work lion. Der Standard , April 13, 2017, accessed April 13, 2017 .
  8. ↑ nationalacademy.org: Living Academicians "S" / Schneemann, Carolee, NA 2011 ( Memento of the original from March 20, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on July 14, 2015) @1@ 2Template: Webachiv / IABot / www.nationalacademy.org
  9. ↑ a b c ND: Interview with ND . In: Imaging Her Erotics: Essays, Interviews, Projects . MIT Press, 2001, ISBN 0-262-69297-X , p. 113.
  10. ↑ Linda Montano: Interview with Linda Montano . In: Imaging Her Erotics: Essays, Interviews, Projects . MIT Press, 2001, ISBN 0-262-69297-X , pp. 132-133.
  11. ↑ Kate Haug: Schneemann, Carolee, 1939-: An Interview with Carolee Schneemann . In: Wide Angle . tape 20 , no. 1 . The Johns Hopkins University Press, January 1998, ISSN  0160-6840 , pp. 26 , doi : 10.1353 / wan.1998.0009 (English).
  12. ↑ [ Internet source: archiv-url invalid Inventory of the Carolee Schneemann Papers, 1959–1994. ] In: Online Archive of California (OAC). The Getty Research Library, archived from the original ; Retrieved May 31, 2009 (Biographical Note).
  13. ↑ Annette Kubitza: Fluxus, Flirt, Feminism? Carolee Schneemann's body art and the avant-garde. Dietrich Reimer, Berlin 2002, ISBN 978-3-496-01264-1 , p. 13 .
  14. ↑ Filmography / Videography. In: caroleeschneemann.com. caroleeschneemann.com, accessed on May 11, 2010 (English).
  15. ↑ Heike Fuhlbrügge: Love and other relationships: blurring the boundaries between humans and animals. In: Textem. Textem Verlag, May 23, 2008, accessed on May 11, 2010 : "The American artist Carolee Schneemann, on the other hand, deals with her empathic relationship with her cats in the part of her work in which she makes biographical references."
  16. ^ A b c Caroline Koebel: From Danger to Ascendancy: Notes Toward Carolee Schneemann . In: Wide Angle . 20, No. 1, 1998, pp. 50-57. Retrieved November 5, 2007.
  17. ↑ Carolee Schneemann: “Remains to Be Seen: New and Restored Films and Videos” . In: Time Out New York . October 25, 2007. Retrieved November 9, 2007.
  18. ↑ a b c d e f g h Scott MacDonald: Carolee Schneemann's "Autobiographical Trilogy" . In: Film Quarterly . 34, No. 1, pp. 27-32. doi : 10.1525 / fq.1980.34.1.04a00060 . Retrieved November 9, 2007.
  19. ↑ Stiles, p. 8.
  20. ↑ Stiles, p. 11.
  21. ↑ "A painter who has left the canvas to activate actual space and lived time."
  22. ^ Kristine Stiles: The Painter as an Instrument of Real Time . In: Imaging Her Erotics: Essays, Interviews, Projects . MIT Press, Cambridge, Massachusetts 2003, ISBN 0-262-69297-X , p. 3.
  23. ↑ a b c d e f g h i Amy Newman: An Innovator Who Was the Eros of Her Own Art . In: New York Times , February 3, 2002. Retrieved November 1, 2007. 
  24. ↑ a b c d e f g h i j Kate Haug: An Interview with Carolee Schneemann . In: Wide Angle . 20, No. 1, 1998, pp. 20-49. Retrieved February 3, 2007.
  25. ↑ Stiles, p. 4.
  26. ↑ a b c d Grace Glueck: Of a Woman's Body as Both Subject and Object . In: New York Times , December 6, 1996. Retrieved November 24, 2007. 
  27. ^ Bonnie Marranca: Book Review: Bodies of Action, Bodies of Thought: Performance and Its Critics . In: PAJ . 21, No. 1, 1999, p. 20. Retrieved November 7, 2007.
  28. ↑ a b Birringer, pp. 34–35, 44.
  29. ↑ a b Cezanne, She Was A Great Painter as quoted in Joan Semmel, April Kingsley: Sexual Imagery in Women's Art . In: Woman's Art Journal . 1, No. 1, August, p. 6. Retrieved November 8, 2007.
  30. ↑ a b c R. M. Vaughan: Still crashing borders after all these years; The monstrous and the mundane collide in a massive survey of Carolee Schneemann's taboo-busting art . In: The Globe and Mail , April 14, 2007, p. R18. 
  31. ↑ Jane Harris: Review / Carolee Schneemann . In: plexus . 1996. Retrieved November 8, 2007.
  32. ↑ a b ND, p. 114.
  33. ^ ND, pp. 116-117.
  34. ↑ ND, p. 118.
  35. ↑ Carolee Schneemann Speaks , New England Journal of Aesthetic Research . Posted Oct. 11, 2007.
  36. ^ A b c Nancy Princenthal: The arrogance of pleasure - body art, Carolee Schneemann . In: Art in America . October 1997. Retrieved November 24, 2007.
  37. ^ A b c Carolee Schneemann: The Obscene Body / Politic . In: Art Journal . 50, No. 4, pp. 28-35. doi : 10.2307 / 777320 . Retrieved January 31, 2007.
  38. ↑ Eye Body: 36 Transformative Actions 1963 . In: Caroleeschneemann.com . Retrieved January 31, 2007.
  39. ↑ ND, p. 121.
  40. ^ Valie Export : Aspects of Feminist Actionism . In: New German Critique . 47, pp. 69-92. doi : 10.2307 / 488108 .
  41. ↑ Hear Her Roar: Carolee Schneemann transforms art and discourse on the body, sexuality, and gender . In: American Sexuality . National Sexuality Resource Center. March 22, 2005. Archived from the original on November 22, 2007. Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved March 27, 2007. @1@ 2Template: Webachiv / IABot / nsrc.sfsu.edu
  42. ^ Johannes Birringer: Imprints and Re-Visions: Carolee Schneemann's Visual Archeology . In: PAJ . 15, No. 2, May 1993, pp. 45-46. Retrieved November 9, 2007.
  43. ↑ ND, p. 125.
  44. ↑ Carolee Schneemann: More Than Meat Joy , p. 235
  45. ↑ Interior Scroll by Carolee Schneemann. In: Tate Online. Tate Collection, p. 1 , accessed April 23, 2009 .
  46. ↑ Carolee Snowman. Interior scroll. 1975. In: MoMA.org. The Museum of Modern Art, accessed October 19, 2008 .
  47. ↑ Kathy O'Dell: Fluxus Feminus . In: TDR (1988-) . tape 41 , no. 1 . The MIT Press, January 1997, pp. 43-60 , JSTOR : 1146571 .
  48. ↑ Kim Q. Hall: Queerness, Disability, and The Vagina Monologues . In: Hypatia . tape 20 , no. 1 , February 3, 2005, p. 99-119 , here pp. 110-111 ( jhu.edu ).
  49. ↑ J. Carlos Kase: Kitch's Last Meal . Art, Life, and Quotidiana in the Observational Cinema of Carolee Schneemann. In: Grahame Weinbren (Ed.): Millennium Film Journal . No. 54 . Millennium Film Workshop, New York, NY October 1, 2011, pp. 72-83 (American English, readperiodicals.com [accessed August 26, 2012]).
  50. ↑ Carolee Schneemann: Cycladic Imprints. P. 1 , accessed on April 13, 2009 (English).
  51. ^ Sarah Valdez: Carolee Schneemann at PPOW . In: Art in America . . Retrieved November 9, 2007.
  52. ^ Cate McQuaid: Taking control with her bodies of work . In: The Boston Globe , November 8, 2007. Retrieved November 9, 2007. 
  53. ↑ Snowman as translated in Ilka Scobie: Corporeal . In: artnet.com . Retrieved November 9, 2007: "The sequences personalize individuals who in their normal workday were thrown by impact into a gravitational plunge, or chose to escape incineration by leaping into space."
  54. ^ Stephanie Buhmann: Carolee Schneemann: PPOW . In: The Brooklyn Rail . February 2006. Retrieved November 9, 2007.
  55. ↑ Barbara Leon: Carolee Schneemann Exhibit: More Wrong Things. In: caroleeschneemann.com. May 21, 2001, pp. 1,2-1,11 , accessed May 8, 2009 (English).
  56. ^ Electronic Arts Intermix: Devour, Carolee Schneemann. (No longer available online.) Electronic Arts Intermix, formerly the original ; accessed on May 8, 2009 .  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.eai.org  
  57. ↑ Wack! Audio Tour: Lesbian Art Project, Carolee Schneemann, Suzy Lake, Judith F. Baca. (No longer available online.) MOCA, Museum of Contemporary Art Los Angeles, July 15, 2007, archived from the original on July 6, 2010 ; accessed on April 5, 2010 (English). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.moca.org
  58. ↑ Charlie Finch: CAROLEE THE PAINTER. artnet.com, accessed April 30, 2010 .
  59. ↑ [1]
  60. ↑ a b badische-zeitung.de , August 5, 2017, Christian Gampert: Energie und Fleischeslust (August 5, 2017)
  61. ↑ [2]
  62. ↑ [3]
  63. ↑ [4]
  64. ↑ [5]
  65. ↑ Up to and Including Limits: After Carolee Schneemann , Muzeum Susch, Engadin, Switzerland, 2020
This article can not be adequately illustrated due to copyright reasons . At the moment there are no or only individual suitable images available, which are sufficiently licensed for further use .
Externally linked images may not be subject to free licenses such as GNU FDL or Creative Commons . See also the FAQ on images and image rights .
personal data
SURNAME Snowman, Carolee
BRIEF DESCRIPTION American artist
DATE OF BIRTH October 12, 1939
PLACE OF BIRTH Fox Chase , Pennsylvania
DATE OF DEATH March 6, 2019
Place of death New York , New York