A visual and written record of the work of pioneer painter-performance artist Carolee Scheemann.
Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement's sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women's studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments.
 Imaging Her Erotics integrates images from Schneemann's works in painting, collage, drawing, and video sculptures with written material drawn from the artist's journals, dream diaries, essays, and lectures. Encompassing four decades of her work, it demonstrates her profound influence on artists in all media. An opening essay by Kristine Stiles presents Schneemann's major themes and places her work in a historical context. Among other topics, the book covers Schneemann's response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani.

Imaging Her Erotics: Essays, Interviews, Projects (Writing Art)

Arts & Photography

Schneemann, Carolee

History & Criticism

Mit Pr

Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann. Over forty works spanning the career of pioneering painter, filmmaker, writer, and performance/installation artist Carolee Schneemann are featured in this edition of the Dorsky Museum’s Hudson Valley Masters exhibition series. Schneemann’s multidisciplinary, deeply personal investigations explore the incomprehensibly complex dynamics between mind and body. As Brian Wallace states in his introduction, “What distinguishes Schneemann’s investigations―and what characterizes the varied and interconnected works that constitute them―is their insistent challenge to powerful cultural mechanisms that perpetuate (and rely upon) this mind-body split. These mechanisms include epistemological positions that value thought over the senses ... [and] also involve related positions―in ethics and aesthetics―that favor the visual and the abstract over the physical and personal and involve the gender-b(i)ased notions of psychology, behavior, and history that waves of feminisms have sought to describe and challenge.”

Carolee Schneemann: Within and Beyond the Premises (Samuel Dorsky Museum of Art)

Samuel Dorsky Museum of Art

Individual Artists

State University of New York Press

Schneemann's remarkable "More Than Meat Joy" documents a large portion of this performance artist's career: 1958 to 1977. The book is particularly rich because it uses the artist's own documentation: photos, notes, sketches, commentary, and script-like documents. Hardback, 285 pp. cloth over boards with a sewn binding. Over 300 b&amp;w illustrations. Released with dustjacket. With Chronology, Bibliography, Filmography.

More Than Meat Joy: Complete Performance Works & Selected Writings

McPherson, Bruce R.

Humor & Entertainment

McPherson & Co

A new edition of the only book that documents Schneemann's complete works up to 1978. As performance art books go, this one is especially unusual for its integration of large numbers of photographs with performance scores as well as descriptive texts. Schneemann -- one of the original creators of performance art -- began making events and "happenings" in 1960. Over thirty works are documented here (this book was originally published in 1979). The range of her work has been substantial and broadly influential: from solo improvisations to large group ensemble pieces, from starkly bare stagings to multi-media and multi-sensory extravaganzas. Schneemann's performance works -- direct extensions of her equally important work as a painter and filmmaker -- have been performed throughout Europe and the United States. This book includes sections of her selected writings gathered from art and literary magazines, diaries, and journals; and it completed by a festschrift of tributes from notable artists, poets, and critics. More Than Meat Joy is vital to an understanding of the origins and intentions of performance art, as well as being the expression of an enormously important artist.

More Than Meat Joy: Performance Works and Selected Writings

McPherson

Art Of Mary Beth Edelson, The

From the 70s ritual performances to the post-feminism of the new century, Mary Beth Edelson has been destabilizing preexisting representations of women. Whether in her version of the "Last Supper," in which Georgia O'Keeffe plays Christ to disciples Lee Krasner, Nancy Graves, Louise Bourgeois, and Yoko Ono; or in her performance "Cliffhanger," in which she hangs off a precipice; or in isolating images of "femmes fatales" of Hollywood films to project another narrative on their stereotyped scripts, Edelson never loses sight of what is at stake in her work: the construction, representation, and consumption of images of women. This book, a virtual scrapbook of the feminism movement, includes conversations between Edelson and such seminal feminist figures as Carolee Schneemann, Nancy Spero, and Miriam Schapiro. Designed by the artist and full of 30 years' worth of her multidisciplinary feminist and community-based work, The Art of Mary Beth Edelson offers Edelson the ultimate control over the construction of her own image in the present and the opportunity to recontextualize her past.

Aleci, Linda

Bloodgood, Paul

Cottingham, Laura

Friedman, Alissa

Kaplan, E. Ann

Edelson, Mary Beth

Spero, Nancy

Seven Cycles

Disputes over free expression in the arts have always loomed as struggles between creativity and repression, transgression and outrage, candor and hypocrisy. But while high-profile shootouts at art museums and less visible skirmishes at schools, libraries, and theaters persist, overt censorship is no longer the only, or the most dire, threat to free expression. On the one hand, society has become more accepting of provocative imagery, with media conglomerates often leading the way in the depreciation of taboos. On the other hand, artists, while enjoying some unprecedented liberties, are hemmed in by new constraints that often fall beyond the range of First Amendment protection. The current terrain bears little resemblance to the culture wars of a decade ago, much less to what the First Amendment's Framers could have imagined. And since Sept. 11, 2001, the frontlines of the free-expression debate have been shifting once again. Based on a Columbia University conference organized by the National Arts Journalism Program, The New Gatekeepers explores the reconfigured ranks of those who decide what the public gets to see, hear and read, from struggles over intellectual property and copyright, to continuing debates about acceptable and offensive content in the cultural marketplace, to the less visible biases of the arts funding system. This heavily illustrated book also includes a historical overview of censorship and contributions by 40 scholars, artists, experts and journalists from around the United States. Discussed and participating artists include Edouard Manet, Jake and Dinos Chapman, Robert Mapplethorpe, Richard Serra, Damien Hirst, Jeff Koons, Andres Serrano, Carolee Schneemann, Dread Scott, Gran Fury, Joel-Peter Witkin, Kara Walker, Jock Sturges, Chris Ofili, and Tom Sachs.

The New Gatekeepers: Emerging Challenges to Free Expression in the Arts

Menand, Louis

Manet, Édouard

Walker, Kara

Mann, Charles

HIRST, Damien

Newman, Roger

SERRA, Richard

Chapman, Jake

Brenson, Michael

Koons, Jeff

Becker, Carol

Sunstein, Cass

Ofili, Chris

RODIN, Auguste

Sachs, Tom

Adler, Amy

Cahill, Timothy

Gurstein, Rochelle

Tepper, Steven

Godfrey, Marian

Chapman, Dinos

Ferguson, Laura

Scott, Dread

Serrano, Andres

National Arts Journalism Program

In 1975, Alison Knowles (born 1933), founding member of Fluxus, and experimental composer Annea Lockwood (born 1939) co-edited and self-published Womens Work, a magazine of text-based and instructional scores written by women primarily for music and dance performance. The magazine appeared in two issues between 1975 and 1978. This superb facsimile edition, comprising a book and poster housed in a printed folder, gathers the work from both issues, by artists Beth Anderson, Ruth Anderson, Jackie Apple, Barbara Benary, Sari Dienes, Bici Forbes, Simone Forti, Wendy Greenberg, Heidi Von Gunden, Fran oise Janicot, Christina Kubisch, Carol Law, Mary Lucier, Lisa Mikulchik, Pauline Oliveros, Takako Saito, Carolee Schneemann, Mieko Shiomi, Elaine Summers, Carole Weber, Ann Williams, Julie Winter and Marilyn Wood. This is an important reissue, collecting as it does works in a field whose "classics" are typically confined to male-dominated publications.

Womens Work

Anderson, Beth

Greenberg, Wendy

Anderson, Ruth

Law, Carol

Oliveros, Pauline

Forti, Simone

Kubisch, Christina

Apple, Jackie

Benary, Barbara

Dienes, Sari

Forbes, Bici

Janicot, Françoise

Lucier, Mary

Mikulchik, Lisa

Saito, Takako

Shiomi, Mieko

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