Edited by art historian Branden W. Joseph, the texts span diverse formats: included are journal entries, criticism, poems, essays and performance notes culled primarily from short-run magazines such as Caterpillar, Film Culture, The Fox, Manipulations and Matter, as well as academic journals such as Performing Arts Journal and Art Journal and mainstream media outlets including the New York Times and the Village Voice. The book serves as a companion to Schneemann's two earliest books - 'Parts of a Body House Book' and 'Cézanne, She Was a Great Painter' - offering new perspectives on the artist's life, work and ideas through many writings that have never been reproduced in their original form. It features Schneemann?s reflections on her own works, including 'Meat Joy,' 'Divisions and Rubble,' and 'Kitch?s Last Meal.'--Artbook& website (viewed on February 12, 2018).
An epistolary history of the international avant-garde of happenings, Fluxus, and performance and conceptual art emerges from decades of correspondence between Carolee Schneemann and other artists and intellectuals.
Schneemann began as an early Happenings artist, a choreographer at New York's Judson Dance Theater, a painter who collaborated with the composers as James Tenney & Philip Corner, & an experimental filmmaker whose explorations of the body continue to be groundbreaking. An outspoken artist on social issues, she has been at the forefront of the gender debates since the late 1960s. More Than Meat Joy is a labor of love, a superbly designed marriage of pictures & text that is simply one of the essential volumes in modern art history. Here are selections from the artist's notebooks, 1958-1977, & documentation of dozens of important performance pieces, placed in context by manifestos, letters, descriptions, scripts, notes, contemporary documents, & wonderful photographs on almost every page. In an appendix, there are notes on unperformed works, a chronology, a filmography (her short erotic film, Fuses, is a landmark in modern avant-garde film), a bibliography, & a collection of tributes from her admiring artist contemporaries: Robert Kelly, Paul Blackburn, Dick Higgins, Jonas Mekas, John Cage, Amos Vogel, Jerome Rothenberg, Alison Knowles, & others."-Michael Perkins, Woodstock Times
Carolee Schneemann is one of the most important artists of her generation, with a career spanning seven decades, and work in media as diverse as painting, sculpture, performance, film, and video. Known to many for her ground-breaking feminist performance and film works, such as Meat Joy, 1964, Fuses, 1967, Interior Scroll, 1967,Body Collage, 1967 and Up To And Including Her Limits, 1973-76, Schneemann still considers herself a 'painter', a reflection on her first accomplished works dating from the 1950s where she experimented with figurative abstraction, with works such as Three Figures after Pontormo, 1957, and Personae: JT and Three Kitch's, 1957. Her interest in painting has continued through to the present, both in terms of her approach to working and in its result, seen most recently in her exhibition,Flange 6rpm, at PPOW, New York, 2013. Her work in the politicised domain span her career including the anti-Vietnam performanceSnows, 1967 to the 9/11 inspired Terminal Velocity, 2001 and Devour, 2003-04. An artist known for her experimental approach and political convictions, both as a pacificist and one of the most outspoken feminist artists of the 1950s to the present, Carolee Schneemann has been the subject of numerous exhibitions and publications throughout her career, with work in the collections of the Museum of Modern Art, Tate Modern, The Museum of Fine Art, Montreal, the San Francisco Museum of Modern Art, the Commune di Milano, Hamburger Bahnhof Museum and the Pompidou Centre, Paris, amongst many others. In addition to the most thorough visual overview of Schneemann's work to date Carolee Schneemann: Unforgivable comprises contributions from an exclusive group of writers familiar with the artist's work, including Melissa Ragona (Flange 6rpm), Kristine Stiles, Amelia Jones, Robert Morgan (Vet-Flakes and War Mop), Thomas McEvilley (Vesper's PoolUp To And Including Her LimitsFuses
An epistolary history of the international avant-garde of happenings, Fluxus, and performance and conceptual art emerges from decades of correspondence between Carolee Schneemann and other artists and intellectuals.
Publié à l'occasion de l'exposition éponyme au Musée départemental d'art contemporain de Rochechouart, d'octobre à décembre 2013. Artiste majeure de l'art américain et international Carolee Schneemann (née en 1939 à Fox Chase, Pennsylvanie) a pris part dès le tournant des années 1960 à l'effervescente scène artistique new-yorkaise. Son oeuvre de peintre et sa participation aux premiers happenings s'inscrivent dans la mouvance néo-dadaïste et Fluxus. En 1964, sa performance de groupe Meat Joy est jouée à l'American Center à Paris, puis au Kinetic Theater à New York : cette mise en scène orgiaque et dionysiaque où des danseurs dénudés dansent avec des objets, de la peinture mais aussi de la viande ou des poulets, est un moment crucial pour le body art et la libération du corps et des moeurs.
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