Schneemann, Carolee, 1939-

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Schneemann, Carolee, 1939-

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Surname :

Schneemann

Forename :

Carolee

Date :

1939-

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Schneemann, Carolee 1939-

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Name :

Schneemann, Carolee 1939-

Schneemann, Carolee

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Name :

Schneemann, Carolee

Carolee Schneemann.

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Name :

Carolee Schneemann.

Schneemann, Carolee.

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Schneemann, Carolee.

Schneemann, C.

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Schneemann, C.

Schneemann, Carolee (American photographer, performance artist, and video artist, born 1939)

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Schneemann, Carolee (American photographer, performance artist, and video artist, born 1939)

Schneeman, Carolee, 1939-

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Schneeman, Carolee, 1939-

Schneeman, Carolee

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Name :

Schneeman, Carolee

Carolee Schneemann

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Name :

Carolee Schneemann

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1939

1939

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1939-10-12

1939-10-12

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Biographical History

Carolee Schneemann actively engaged in performance art, experimental film-making, the Fluxus movement and feminist theory in the 1960s-1970s. The artist is best known for the provocative use of her nude body to explore personal expression, sexual taboos and feminism in both multi-media performances and solo improvisational work. Born in 1939, Schneemann studied painting at the University of Illinois and Bennington College in the late-1950s. Her performance work evolved out of a desire to express more than she could within the confines of her paintings, and retains some of the gestural qualities of abstract expressionism and the cluttered look of assemblage. In addition to choreographing her own scripts, Schneemann participated in some of the most influential events of the 1960s, including: Philip Corner's "An Environment for Sound and Motion" at the Living Theater (1962), Claes Oldenburg's "Store Days" (1962), Robert Rauschenberg's theater experiments, Robert Morris' "Site" (1964), and in Fluxus concerts.

Schneemann has made many films, some of an experimental nature and others which document her performances. "Fuses" (1964-67), her most notorious film, presents a woman's perspective of intimacy and eroticism. The film was edited for two years, during which time Schneemann burned, scratched, painted, glued, and layered its images to create a fluid sense of sexuality. In the 1970s, Schneemann conducted research on earth goddesses and ancient mythology in search of female power structures. She realized that a certain component of her work had always explored these themes, such as the use of snakes in "Eye Body" (1963). Schneemann's studies permeate her writings, and she has taught classes on feminist art and theory. Since the mid-1970s, Schneemann has performed infrequently, preferring instead to concentrate on painting, exhibiting, lecturing and teaching.

From the guide to the Carolee Schneemann papers, 1959-1994, (Getty Research Institute)

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External Related CPF

https://viaf.org/viaf/93535716

https://www.worldcat.org/identities/lccn-n78043895

https://id.loc.gov/authorities/n78043895

https://www.wikidata.org/entity/Q299662

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Languages Used

eng

Zyyy

Subjects

Art, Modern

body art

Censorship in art

Censorship in art

Dreams in art

Experimental films

Experimental films

Feminism and art

Fluxus (Group of artists)

Happening (Art)

Painters

Performance art

Performance art

Performance artists

Photographers

Sex in art

Nationalities

Americans

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Photographers

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United States

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New York (State)

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<conventionDeclaration><citation>VIAF</citation></conventionDeclaration>

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w68t5cwp

83386629