Carolee Schneemann

November 24, 1996 - January 26, 1997

The New Museum of Contemporary Art, New York Carolee Schneeman: Up To And Including Her Limits Exhibition

Organized by Dan Cameron Curator Dan Cameron The New Museum of Contempora1·y Art Exhibition coordinator Melanie Ft·anklin Novembet· 24, 1996 - Janua1·y 26, 1997 Exhibition supervision John Hatfield Installation coordinator Patt·icia Thornley © 1996 The New Museum of Contemporary Art, New York Programs coordinator Raina Lampkins-Fieldet· Curatorial interns Mani Ozgilik, Sefa Saglam All t·ights rese1·ved. No pa1·t of this book may be 1·eproduced in any form by electronic 01· Video editing Diete1· Froese mechanical means (including photocopying, 1·eco1·ding, or infonnation sto1·age and 1·et1·ieval) without pel'l11ission in writing from the publishet·. Catalogue

Production Melanie Ft·anklin Libra1·y of Congress Catalog Card Number: 96-71007 Des(gner Tony Mo1·gan, Step Gt·aphics ISBN 0-915557-80-0 Editor l

The New Museum of Contempot·ary At·t 583 Broadway New Yot·k, NY 10012

Title page: Up ToAnd Including Her Limits, Feb1·ua1·y 13-14, 1976, The l

�ack cover: Up To And Including Her Limits, June 10, 1976, Studiogalet·ie, Bel'lin, pe1·fol'l11ance view. Photo: Henrik Gaat·d Table of Contents

4 Acknowledgements

5 Intl'Oduction Marcia Tucker

7 In the Flesh Dan Cameron

15 Schlaget Auf: The Pl'Dblem with Cal'Olee Schneemann's Painting Kristine Stiles

26 Love Rides Aristotle Thl'Dugh the Audience: Body, Image, and Idea in the Work of Carolee Schneemann David Levi Strauss

35 Catalogue of Selected Works

55 Works in the Exhibition

58 Biog1-aphy

60 Selected Bibliography

3 Acknowledgements

Because the nature of Carolee Schneemann's wo1·k has been to address I would like to acknowledge the contributions by the following pe1·sons to issues of a more or less transient nature - perfo1·mance, love, mortality the separate projects in Up ToAnd Including Her Limits: lArts for thei1· genernusdonations to this unde1·taking. We would I am ve1·y grnteful to Melissa Moreton, Joan Hotchkis, Kristine also like to thank Alexandra Anderson-Spivy and Eileen and Pete,- No1·to11 Stiles, Kathy Brew, Jay Murphy, Sara Seagull, James Tenney, Lauren who have graciously lent works to the exhibition. Pratt Tenney, Robert Mo1·ga11, Anthony McCall, Peter Huttinger, Bruce Although there are many col leagues at The New Museum whose McPherson, and Gale Elston, Esq. for thei1· suppo1·t. Very special thanks support of this exhibition and prngrams has been critical to its successful to James Schaeffer, Vesper, Oskar l

Dan Camernn

4 Introduction

In the early 1960s, as a graduate student in art history at NYU's Institute sculptural object blurred the boundaries between a,-t and artifact, private of Fine A1·ts, I was immersed by day in G 1·eek and Roman monuments, and public; and Meredith Monk's multiple-sited sound and movement Medieval manuscripts, and ea1-ly Flemish painting; by night, I was a pieces ,-efused categorization as opera, theater, music, 01· dance. habituee of Judson Memorial Church, the City Hall Cinema, Max's lHappenings, and became controversial and ultimately marginalized because of the way she filmsby artists such as Robert Whitman, Robert Morris, Claes Oldenburg, used her own body; her style was direct, sexual, autobiographical, and con­ Stan Brakhage, Robert Rauschenbe1·g, and Andy Warhol we1-e seen and frontational. Her wo1·k couldn't be called "conceptual" because it was too enthusiastically debated. By the mid 1960s, pedo,-mance played a major ,-aw, too emotive, too immediate. Nor did people perceive its connection to role in the New YDl'k a1-t wo1-ld, yet women were a conspicuous minority on "action" painting, which was firmly rooted in the heroic, male tradition. the scene. It was only afte1· 1968, when the first wave of the Women's And the1·e was very little familiarity on the pa1·t of the New York art world Movement hit New Yo1·k, that pieces by Meredith Monk, Yoko Ono, Rachel with the work of he,- European counterpa1·ts - Valie Export, Hermann Rosenthal, Yvonne Rainer, Hannah Wilke, Shigeko lJoan Jonas, Carolee Schneemann, and others began to take on Pane in Fi-ance and Marina Ab,·amovic in Yugoslavia. the accumulated force of a shift in collective thinking about a1·t. Schneemann's work, in the context of early feminist art activities, Certain things stand out in my mind about that period, from around was viewed by many at that time as libe,-ating; nonetheless, it ran counter 1968 to the mid-1970s. One was how p1·evalent the body had become as to prevailing feminist politics because it didn't seem to constitute a the mate1·ial of art. It was, after al I, a period when phenomenology was in critique of patl'iarchy. It had a little too much pleasu1·e, a little too much the air (pa1-ticularly through the writings of French philosopher Maurice (hetero)sexuality, and an uncompromising refusal on the part of the artist Me1-leau-Ponty), with its focus on the immediate experience of the corpo­ to justify herself to anyone. real body rather than rational thought as the primary means of under­ The New Museum's earlier exhibitions and programs provide a con­ standing the world. Brnce Nauman's films, video and "performance" text and rationale for p1·esenting Schneemann's wo,-k now, when it is pos­ pieces, which used such commonplace activities as pacing his studio floor, sible to see clearly not only the tl'ajectory of her ideas and the context in we,-e becoming well known in Europe and America; Yvonne Raine1·'s which they evolved, but their importance and influence for a younge1· gen­ dances, in which people walked, bent ove1-, sat and moved things from one eration of artists. Issues centering on the relationship of art to everyday part of the room to another, were hotly debated in terms of traditional life, as manifested in performance work of all kinds, have always been dance movement; Joan Jonas's investigation of he1- body as a centi-al to The New Museum's programming, from the presentation of Jeff

5 Way's metamo1-phic "dance" pieces in New Work/New York (1978), to Choices: Making An Art of Everyday Life (1986), to Bob Flanagan and Sheree Rose's Visiting Hours (1994). Simila1-ly, the inte1-face between art, feminism and pe1-formance has been explo1-ed in a variety of contexts at The New Museum, ranging from Gina Wendkos's Four Blondes (1980), a performance on the sidewalk out­ side our 14th Street Window, to presentations by Carmelita Tropicana and Penny Arcade. In between, we've presented innovative pieces by Jo Ha1-vey Allen, Linda Montano, Jana Sterbak, Ann Hamilton, the V-Girls, Adrian Piper, Ethyl Eichelberger, DanceNoise, Jen-i Allyn, Reno, the Living Paintings, Marina Abramovic, Mona Hatoum, Alva Rodgers, and Lau1-ie Pai-sons, as well as major exhibitions that centered on specificfeminist issues, such as Difference: On Representation and Sexuality (1984-85); Girls Night0ut(l988); Mary l

Marcia Tucker, Director

6 In the Flesh Dan Camernn

This presentation of Carolee Schneemann's work, more than three the work directly decades afte1· her leap to the fo1-efront of the cultural establishment's explMes the possibility awareness with the watershed perfo1·mance work Meat Jov (1964), is of inclusion, whether by inspired by the need to meaningfully assess the inftuence her work has way of gender, race, had and continues to have on a1·tists who have emerged during the p1·esent and/or sexuality. decade. The urgency of this need is perhaps an authentic example of those P1·ecisely because she raI-e occasions in art history when an artistic development that challenges pioneered the brnadter­ accepted practice and has thereby been deliberately and systematically rain of artistic practice confined to the margins of collective discourse is suddenly 1·ushed to the that is encompassed in fo1•efront decades after the fact, carried aloft on the shoulders of a new today's terms in pei-for­ genei-ation eager to identify with the purported act of transgression that .a. Meat Joy, N ove111be1·, 1964, Judson M ernorial Church, mance, installation, and led to the earlier artist's exclusion in the first place. New Yot·k, pedor111ance view. Photo: Al Giese video, as well as my1·iad While this interpretation has the added attraction of maintaining uses of the body, feminist issues and sexuality, Schneemann's work becomes the old avant-garde mechanism for valorizing the present generation's key to a larger mission -to gain uedibility for these areas today. The con­ taste and insight at the expense of our forebears' lack of same, it does not tinuing refusal to include her art in historical reappraisals of the period in seem sufficient to address the range of issues that arise when the artist is which Schneemann's work was at its most "transgressive" -the 60s and a woman, and he1· search fo1- artistic meaning leads her to employ her 70s -reftects a numbingly conformist art historical interpretation of the own body as both the vehicle for her art and the locus of its exp1·ession. same period. This unfortunate set of conditions has not only left the public Among these issues, one of the most pertinent in terms of the motivation i I I-equipped to experience Schneemann's equally cha Ilenging works of the behind this exhibition is an attempt to come to tem1s with the art wo1·ld's past decade, but has also obstructed the current genei-ation's attempts to continuing exclusionist policies, especially in cases when the content of articulate its unique relationship to the recent cultural past.

7 This last point bears emphasizing because in order to understand The historical weight of these questions would have felt much lighte1- the role that issues of meaning and its exclusion play in the present exam­ on ly ten yeaI-s ago. Before Carolee Schneemann's example, the Ii kel ihood ination of Schneemann's art, it seems necessary to offer the possibility of artists transforming themselves into vehicles for thei1- own art seemed that the current collective impulse to re-think her work of the 60s and remote. Although the practice became more commonplace in the 1970s, 70s stems from a desi1-e to look at how and why Schneemann's develop­ continuity was lost between that experimental decade and the more ment took the turns it did. In so doing, it is possible to pinpoint its radi­ assertive 1980s. In the more distant past, those visual artists who occa­ cality to provide insight into ways in which the issues her work addressed sionally stl'ayed into the aI-ea of live self-po1-traiture, or who predate then continue to be manifested in the output of artists working today. It is Schneemann in their use of live pe1-formance as a vehicle for public provo­ vital, therefo1-e, that these works not be read as an effort to convey a nos­ cation - Salvador Dali, Yves l

8 studies at Bard College and the Unive1·sity of Illinois. In retrnspect, how­ continually feeding off another in a prncess of layered, ritualistic revela­ ever, a strnng case can be made for this stylistic identity being precisely tion. This connection influences the way we see Schneemann's 60s box what Schneemann kept fighting against as a means of forging her own constructions today. At first they seeminfluenced both by the strong pres­ artistic identity. Once the leap into ence of col I age and assemblage in the trends of the moment, as we! I as by mixed media took place in 1960, her he1· admii-ation fat· (and later friendship with) Joseph Cornell. Still, the work's slow metamorphosis from ,·apid evolution that takes place in the studio work from 1962 to 1966, static art into an increasingly perfor­ pa1·allelling Schneemann's bt·eakthrough as a performance artist, tempts mance-like idiom was still regularly us to view constntctions like Native Beauties 0962-64) and Music Box punctuated by apparent attempts to Music (1964) as something like miniature settings where experiments in

._ Music Box Music, 1964, Wood, glass, findsolace in pure painting. But even movement and interaction are shared with an audience that is as much a 111irrnrs, paint and 117usicboxes, two in ce1·tain earlier works, there a1·e part of the experience as the performers.1 units: 12 x 16½ x 9" and 11 x 15½ x 10". Photo: Cha1·lotte Victoria unmistakable hints of what is to fol- One of the most significantoutside factors in Schneemann's move low. The strength and sensuality radiating from her 1958 portrait of Jane towa1·ds performance as a natural vehicle for her sensibility was the close Brakhage Wodening, nude with her arms akimbo, suggests the artist in interaction among the avant-garde art, poetry and music communities in the midst of an action performance which is still years in the future, just the ea1·ly l 960s.2 Within those same communities, the almost Utopian as a 1957 painting based on a Ponto1·mo d1·awing contains gestu1·es that stntctu1·e of Allan l(aprow's Happenings from the artist would put to use in her later preparato1·y d1·awings for actions 1959-62 had provoked a number of other and events. younger visual artists to begin looking It is no coincidence that the yea1· of Schneemann's transition into towards performance and environments. full-blown box constructions, 1960, was the same as that of her fit·st pub­ Claes Oldenburg's The Store environment lic pedormance, Labyrinths. This fundamental connection, in fact, under­ (1961-63) and his accompanying Store Days lies most of het· oeuvre: from the beginning, the uniqueness of performance (in which Schneemann partic­ Schneemann's wo,·k as a performe,- stemmed from her painte1·'s vision of ipated), as well as Jim Dine's The Car Crash space as an expanded combine/assemblage, with he1· physical self becom­ (1960) were the most spectacular examples ing an active element within the larger composition. To be more specific, of how a new artistic spirit, which would later the kinds of liberties that she has taken with herself and her co-pe1·form­ be divided up between Pop, environments and • Claes Oldenburg, Store Days/, ers, while evidently grnunded in the experiments of Happenings and the new performance vocabularies, was first [with Carolee Schnee111an as per­ Fluxus, appear to liave even deeper roots in the primordial material the making its presence felt. Between for111er], Febi-uary 23-24, 1962, New York, perfor111anceview. Abstract Expressionists wrested from the subconscious, with one image Schneemann's fit-st foi-ay into participato,·y Photo: Robert R. McElrny

9 and event-based work in 1960 and the fast of three years Schneemann well as the production of her

spent choreographing and later performing regularly as part of the ftedg­ first film, Fuses (1964-67), ling Judson Dance Theater in 1963, this pre-existing element of inte1-est suggest the totality of

on the part of the art world had begun to ferment into a truly crossover Schneemann's conversion into

aesthetic. performer. In retrospect, it is

Judson, in particular, brought together the expe1-imental vanguards clear that this is also the point

in theater, music, dance, and art. It began in 1962 as an offshoot of at which her immersion into classes then being given at the New School for Social Research by chore­ more ephemeral fo1-ms of

ographer and dance educator Robert Dunn. Held intermittently in the expression began to defini­ basement of Judson Memorial Church, the loosely-knit group who per­ tively separate her from the

formed at Judson Dance Theater would later include visual artists such as inc1-easingly object-oriented

Robert Rauschenberg, George Brecht, and Robert Morris - who added movements of the mid-l 960s. to Schneemann's notoriety by featuring her as Manet's Olvmpia in a Whereas most of her (male)

1965 tableau vivant. But its more recognized histo1-ical impact is as the Ji,,. WaterLightM!aterNeedle, Ma1·ch 1966, colleagues from the visual arts venue that first presented the postmodern choreog1-aphy of Yvonne St. Mai-l<'s Chu1·ch-in-the-Bowe1·y, New York, pet·- (Dine, Oldenburg, Morris, and fon11a11ce view. Photo: © 1966 A. V. Sobolewski Rainer, Trisha Brown, Steve Paxton, Elaine Summers, Lucinda Childs, to a lesser degree,

Debo 1-ah Hay, and others. Rauschenberg) chose to de-emphasize Happenings after their early Although Judson did not efforts, most of her (female) col leagues from dance had al ready begun to serve as Schneemann's sole immerse themselves in full-time choreography/production (Brown,

outlet for event-based Summers, Childs). Neither of these positions, however, suited

environments, it was the fast Schneemann's growing interest in multimedia - in particular, the combi­ to provide a sympathetic nation of film, performance, environmental sculpture, and autobiography, context in which her double which occupied her from 1965 to the end of the 1970s . As a result, forg­

Ji,,.G/ass Environment for Sound and Motion, identity as visual artist and ing a new medium to contain her expanding artistic identity remained a [with Yvonne Raniet· as pedormer] May 12, 1962, performer began to fully struggle through the late 1970s; at which point the art world's growing Living Theatre, New York, pe1·fon11ance view. Photo: Steve Shapi 1·0 coalesce. response to performance and feminist issues began to lend her work a By the end of this first important phase in Schneemann's work, the long-overdue legitimacy. complex spatial designs, sculptural elements and other visuals for perfor­ One of the most striking characteristics linking Schneemann's mances Ii ke Ghost Rev Cl 965) and Water Light/Water Needle Cl 966), as early career as a painter and assemblagist with her later development as

10 a perfo1-mance, video and installation artist is the strong interest in recy­ which her body could be cling her everyday life into art, beginning with literal bits of detl'itus and viewed, and in so doing evolving through more complex interp1-etations. Rather than serving as ensuring that her work mere props, howevet', these veiled refe1-ences to het' own life soon grew to would be misconstrned. encompass a personal artistic mandate emphasizing the use of physical Setting aside more obvi­ intimacy as one of the primary vehicles for Schneemann's poetics and ous antecedents Ii ke politics. This metamorphosis in the years 1963-65, from a diaristic pres­ Mai-eel Duchamp's game ence within the box-constrnctions to the orgiastic scenarios of Meat Joy, of chess with a nude might seem a stretch were it not for the ea1-ly but unmistakable signs of woman and Yves lwomen artists; one of Water Needle did not interact so much as they entangled themselves in the closest historical comparisons would be Mei-et Oppenheim's 1959 one anothe1-'s space and bodies, becoming part of a collective activity in tableau Spring Feast, incorpo1-ating a full-scale female nude reclining on which touching or otherwise crossing the threshold of physical distance a table surrounded by fruit and male "diners." (At its private viewing, was fundamental to the process of communication. Seen in this light, one both diners and model were flesh and blood.)3 of the unique features of this stage of Schneemann's work is the extent to In Schneemann's own milieu of the mid-60s, an evening of avant­ which performance enabled her to blow up a p1-eviously intimist aesthetic ga1-de performance could hardly be conside1-ed complete without a live nude to public scale. In the same literal way that the obvious tactile pleasure woman appearing at some point in a piece, invariably one authored by a of her constl'uctions 1-eappears with het' arrangements of spatial elements man. By contrast, one of Schneemann's vet'Y fi1-stworks incorporating in early performances such as Chromoledon, Eye Body and Lateral Splay performance, Eye Body, features the artist nude, displaying a keen erotic (all 1963), this part of her identity takes on a third aspect in the more imagination as she inte1-acts with various studio materials, using her own elabOl'ate, mixed-media visualizations realized for breakthrough film­ painting constructions as the tableau's setting. The direct projection of the performance works such as Ghost Rev and Snows (1967). a1-tist's sexual energy towards the viewer marks it as a turnabout on the The transgressive aspect of Schneemann's nudity was a key ele­ voyeuristic angle of Duchamp's Etant Donnes, as well as one of a turbu­ ment in the way these issues transcended sculpture and became political lent decade's most significant transgressionsin the accepted canons of acts, charged by the public spectacle of a woman dictating the terms by modern art. Other works, such as l 964's MeatJoy, may have been more

11 area - Schneemann's art is probably the most consistent in terms of her focusing her performance persona in such a way that the act of being exposed to the world (and vice versa) never failed to be understood as a highly charged seizing of disputed territory. It was an outrageous act of public eroticism that not only reversed the gender-based hierat·chies of representation, but actually challenged the historical dynamic of posses­ sion and control between the a,·tist and (her) subject. Despite the fact that certain twentieth-century artists whose wo,·k pa,·tly prefigures Schneemann's have ,·eceived, albeit belatedly, some of the 1-ecognition due them for their accomplishments (Meret Oppenheim, Ft·ida lCharlotte Moorman, implies a casting out of unnecessary accoutrements, a rejection of the Valie Export and Hannah Wilke seem the most notable pioneers in this props and artifice of Happenings and spectacles, and a return to the most

12 basic tools of the visual artist: the sensate self, a surface, a mark. That the early 1990s, the continued reliance of these pieces on established per­ this work first took place in interaction with an apple tree growing in her formative modes did little to endear them to the emerging generation of front yard suggests that Schneemann was also decades ahead of her time the late 70s/early 80s, whose ambivalent relationship to desire would be in a1-ticulating the te1-i-ito1-y of "real-life" bodily and psychic ordeals that most aptly expressed by the birth of a period phenomenon known as the a1-tists of the SOs and 90s would claim as their own. For many years after art world "mainstream." it was produced, Up ToAnd Including Her Limits existed as a kind of leg­ Schneemann's photo-based and installation works of the late sos end within the art world, a rumor that was never quite verified because and 90s loosely demarcate a third distinct period in her work, one the content of the piece was so unspeakably real that young artists and which is grounded in a renewal of her viewers had a difficult time accepting or articulating their own fascina­ artistic ideas through gradual recog­ tion with it. nition of her ties to the histories of If we can draw an inference about the metamorphosis of subject representational practice. From the matter from the cumulative impact made in the last decade by the work photo and drawing-based Hand Heart of artists as different as Cindy She1-man, Janine Antoni, Marina forAna Mendieta (1986) to the semi- Abramovic, Bob Flanagan, Ana Mendieta, lMatthew Barney - each of whom have worked in a direct historical represented by the installation work dialogue (acknowledged or not) with Carolee Schneemann's art- it is Video Rocks (1989), Schneemann's that major pa1-adigm shifts sometimes take place yea1-s before they are art has begun to directly address even 1-ecognized as such. Broade1' sociocultural changes also play a con­ questions of time, particularly the siderable role in these shifts within thresholds of tolerance; but except in pa1-simonious way it is measured out the most blatant a1-eas of sexual taboo, they have been a less impo1-tant by art history. G1-anted, the look and factor in the 1-eassessment of Schneemann's art than one might hope. One feel of 1-ecent room-sized pieces .6. Hand Heart for Ana Mendieta, 1986, of the explanations for this relative neglect appears generational: the might seem unfamilia1' to viewe1-s pe1·fo1·mance view. Photo: Dan Chichester candor of Schneemann's perfon11ance works took on a more overtly whose awareness of the roots of installation art does not encompass politicized feminism during the mid-1970s, at precisely the same moment early instances of video-based performance, Happenings and environ­ Barbara l

Up To And Including Her Limits have no doubt cemented Schneemann's bring some of these generational connections to light, the clear tl'ace of reputation with young video, pedormance and/01' installation artists of Schneemann's histo1-y is unmistakable throughout her most ambitious

13 work of the past decade. Even so, the combination of painting, sculp­ works such as Meat Jov takes on another pe1-spective here, as the impres­ ture, video and performance in a single work like Video Rocks entails sions of those who have passed on swirl through the darkened space, an unprecedented degree of risk for an American artist in while unfurled lengths of rope lick at the tiny piles of ftour that serve as a Schneemann's position, suggesting that she is still finding ways to metaphor for the space whe1-e we live out ou1- earthly lives. experiment further in the application of her life experience to the pro­ By clearly identifying itself as a summing-up expe1·ience, Mortal jection of new artistic horizons. Coils deliberately risks being perceived stl'ictly as a work based on an The largest space in the present exhibition is given over to a single occasion, lacking the customary affirmation that works of art are gene1-­ recent wo1-k, Mortal Coils (1994), which was originally presented as a ally expected to be permanent. Having emerged from a formative career solo project at Penine Hart Gallery, New York. Linking her own artistic in which the creation of ephemeral moments and expe1·iences was under­ identity with the lives and visions of numerous artists and cultu1-al inno­ stood as an honorable way of refuting art's intl'ansigent materialism, vators, all friends who had died within the preceding two years, the work Schneemann pays homage to those dea1- to her by characte1·istical ly is blatantly idealistic in the way it links its meaning with an interrelation­ choosing anti-immortality as a means of embracing the knowledge that ality of artistic endeavor that runs counter to the image of a community creating art about temporal ity and creating art about the body are ulti­ founded squarely on the principle of individual genius. For its author, the mately the same thing. Pei-haps it is also the summarizing lesson behind principle of mutual entanglement which was brought to the fore in early Schneemann's art: the fast step towards creating something which will last forever is to adamantly refuse to accept our time together as any­ thing more 01- less than the single fteeting glimpse of a moment which is gone fo1-ever the moment it occurs.

Dan Ca111ernn, Senior Cu1-ato1·

Notes 1. It is wo1·th pointing out that this is not the way in which Schneemann herself thinks of these particular works. 2. For example, by 1960, the first Living Theater performances staged by Julian Beck and Judith Malina we1·e gene1·ally interp1·eted as brnad manifestoes to liberate theate1· and per­ fon11ance in gene1·al, and as such had almost as powerful an impact on the art community of the time as did the early manifestations of the Fluxus movement. A Cycladic Imprints, 1991, Mixed media, installation view from the San Francisco 3. Adrian Henri, Tota/Art. (New Yoi-lc P1·aeger, 1974), p. 60. Museum of Modern Art, March-May 1991

14 Works in the Exhibition

All works are courtesy of the artist unless otherwise noted. 10. Six watercolors, one drawing for Partitions, June 1963 Wate1-colors, 7 x 10" each; cha1-coal and graphite on papeI', 9¼ x 9" Al PAINTINGS, COLLAGES, CONSTRUCTIONS, PHOTO-GR/OS (approximate) [unrealized project, shown with text]

1. Landscape, 1959 11. Four sketches mounted on single sheet from Eye Body, February Oil on canvas; 32 x 35" 1964 Ink and white paint on paper towel; 12½ x 14¾" (approximate) 2. Native Beauties, 1962-64 Constl'uction in wooden box: photographs, Limoges cup, bones, dead 12. Three drawings fo,, Bottle Music for Philip Corner, 1964 bi1-d; 24 x 24½ x 7½" Ink on paper; 10 x 7" each 13. Six watercolors, two drawings fo1' Water Light/Water Needle, June 3. Music BoxMusic, 1964 1965-February 1966 Wood, glass, mirrors, paint, music boxes; two units: 12 x 6½ x 9", One watercolo1-, 12 x 17"; one watercolor, 12 x 18"; three watercol­ 11 X 15½ X 10" ors, 12½ x 20" each; one watercolor, 20 x 26"; pencil, oil pastel and 4. Letter to Lou Andreas Salome, 1965 felt-tip marker, 12 x 18" each Mixed media on masonite; 77½ x 48 x 3½" 14. Four watercolors from Parts of a Body House, 1966

5. Pharaoh's Daughter, 1966 11 Heart Cunt Chamber," 17 x 14"; "Genital Play Room Cutaway Construction in wooden box: lights, slides, paint, clock; 20 x 19½ x 10" View," 18¾ x 22"; "Genital Play Room," 22 x 22½"; "Liver P1'ivate collection, New York Room," 22 x 23¼" [shown with text]

6. Infinity Kisses, 1982-86 15. Five watercolors, two drawings for Snows, Octobe1' 1966 Photo grid: color photocopies on linen paper; 9 x 6½' (approximate) Wate1-colors, 12½ x 20" each; ink and chalk, 11 x 8½" each

7. Hand Heart for AnaMendieta, 1986 16. Drawing for unrealized installation, January 1970 Center panel: chrnmaprints of action: paint, blood, ashes, syrup on Wate1-color and felt-tip marke1'; 14 x 20" snow. Side panels: acrylic paint, chalk, ashes on paper; 136 x 46" 17. Drawing for installation with WarMop, 1982 (tl'iptychl Pencil and watercolo1-; 14 x 17" Bl DRAWINGS 18. Drawing for installation of ABC-We Print Anything-In the Cards, 8. 3 at One (for Jim}, 1958 1978 Ink wash, charcoal and watercolor on paper; 22¼ x 17½" Ink and watercolor; 18 x 23¾"

9. Th1-ee d1-awings for Chromolodeon, 1963 19. Di-awing fo1- Cycladic Imprints, August 1992 Crayon and pen on paper; 11 x 7" each Colored pencil, watercolor and felt-tip ma1-ker; 11½ x 18"

55 C) PERFORMANCE WORKS DOCUMENTED THROUGH Shilling, and Charlotte Victoria; three black-and-white pho­ PHOTOGRAPHS, NOTES, EPHEMERA tog,·aphs by Paolo Buggiani; two black-and-white photographs by Peter Moore; two black-and-white photogrnphs by Alex 20. Eye Body(Thirty-six Transfot·mative Actions), December 1963, Sobolewski; five black-and-white photographs by Charlotte artist's studio, New York Victoria; five black-and-white photographs by Ted Wester; ftye,· by Twenty-eight unique black-and-white pt·ints by En·6, text Carolee Schneemann, program, text [see also 26] 21. Meat Joy, Novembet· 1964, Judson Memorial Church, New Yot·k D) PERFORMANCE WORKS DOCUMENTED ON FILM OR VIDEO [previously performed in Paris and London] with Sandra Chew, [Note: Most films to be shown as excerpts in video vet·sions only, Robert D. Cohen, Stanley Gochenouer, Tom O'Donnell, Irina Posner, except for scheduled screenings at the Anthology Film Archives] Dorothea Rockburne, Carolee Schneemann and James Tenney 24. Meat Joy, first performed May 29, 1964, Festival de La Libre Eighty digitized, color photographs by Arman, Al Giese, Robert Expression, Paris McElroy, Peter Moore, and Harvey Zucket·; seven vintage black-and­ Color film, sound, 16mm, 12 min. white photographs mounted by the photog1·apher Hat·vey Zucker; Filmed by Pierre Dominick Gaisseau, edited by Bob Giorgio [see also seven black-and-white photog1·aphs by Pete,· Moore; six black-and­ 21] white photographs by Al Giese; one black-and-white photograph by T. Ray Jones; one black-and-white photograph by Chat·les Rotenburg; 25. Water LightNl/ater Needle, March 1966, St. Mark's Church-in-the­ flyer by Carolee Schneemann, program, text [see also 24] Bowery, New York Color film, sound, 16mm, 16 min. 22. Water LightNl/aterNeedle, March 1966, St. Mark's Church-in-the­ Filmed by John Jones and Sheldon Rochlin, edited by John Jones and Bowe,·y, New Yot·k with Mark Gabor, Tony Holdet·, Meredith Monk, Carolee Schneemann [see also 22] Yvette Nachmias, Phoebe Neville, Tom O'Donnell, Dorothea 26. Snows, January-Febt·uary 1967, Martinique Theater, New York Rockburne, Joe Sch Ii chter, Carolee Schneemann, and Larry Siegel Black-and-white film, silent, 16mm, 24 min. Eighty digitized, color photog1·aphs by Arman, John Weber, Herbert Filmed by Alphonse Shilling, unedited [see also 23] Migdoll, and Charlotte Victoria; nine black-and-white photographs by Charlotte Victoria; five black-and-white photographs by Tet·ry 27. Illinois Central Transposed, March 1969, The Ark, Boston Color film, silent, 16mm, 5 min. Schutte; three black-and-white photographs by Alex Sobolewski; two Filmed by Robert Dacey, rough edit black-and-white photographs by Peter Moore; unique contact sheet by unknown photographe1·; flyer by Carolee Schneemann, program, 28. Up To And Including Her Limits, June 10, 197 6, Studiogalerie, text [see also 25] Berlin Color videotape, sound, 29 min. 23. Snows, January-February 1967, Mat·tinique Theater, New Yo,·k Taped by Mike Steiner with Shigeko lBrooklyn Eighty digitized, color photogrnphs by Herbet·t M igdoll, Alphonse Museum, New York

56 Black-and-white videotape, sound, 60 min. Schneemann, 1982; dimensions variable Taped by Ricky Slater 37. Interior Scroll, first performed August 1975, Women Here and Now 30. Fresh Blood-A Dream Morphologv, 1983, University of Iowa Festival, East Hampton, New York Theater Festival, Iowa City Photograph, box with pape1- scroll; 50 x 30 x 10" (approximate) Color videotape, sound, 40 min. Collection Eileen and Peter Norton Edited by Carolee Schneemann Fl INSTALLATIONS 31. Catscan, fit-st pei-formed 1987, Medicine Show, New Yo1-k 38. Video Rocks, 1989 Color videotape, sound Handmade "rocks" (cement, ashes, sawdust, urine, ground glass), Taped by Victo1-ia Vesna, unedited lighting rods, four video decks with eight monitors, and wall-scale 32. Ask the Goddess, first performed 1991, Canadian Centre of the canvas (ashes, cement, paint and sand); dimensions variable Arts at Owen Sound 39. Mortal Coils, 1994 Color videotape, sound, unedited Fout' slide projectors, two dissolve units, motorized mirrors, sixteen 33. Center for Creative Photographv Lecture, October 1992, Tucson, motorized¾" manila ropes, photo blueprint text, lights, booklets, Arizona and fiour; dimensions variable Color videotape, sound, unedited G) FILMS 34. Vulva's School, January 29, 1995, Western Front, Vancouver [Note: All films to be shown in video versions only, except for sched­ Color videotape, sound, edited uled screenings at the Anthology Film Archives;* indicates Anthology screenings only] 35. Interior Scroll: The Cave, Summer 1994, Widow Jane Cave, Rose-n­ dale, New York 40. Viet-Flakes, 1965 Color videotape, sound Black-and-white toned film, sound collage by James Tenney, 16mm, Edited and produced by Maria Beatty 11 min.

El PERFORMANCE WORKS RECONFIGURED THROUGH MIXED­ 41. Fuses (Part I of Autobiographical Trilogy), 1964-67 MEDIA INSTALLATION Color film, silent, 16mm, 22 min.

36. Up To And Including Her Limits, first performed December 1973, 42. Plumb Line (Part II of Autobiographical Trilogy), 1968-71 Avant-Garde Festival, Grand Central Terminal, New York Color film, sound, s8 step printed to 16 mm, 18 min. Two large scale drawings, 72 x 96" (approximate), harness with 43.* Kitch 's Last Meal (Part III of Autobiographical Trilogy), 1973-78 manila rope, two video decks with six monitors, 8mm film projector, Color film, separate sound, s8 dual projection, variable units from 20 video compilation of various pedormaces edited by Carolee minutes to 2 hours

57 Biography Kunsthallen Brandts l(laedefabrik, Odense, Denmark. "The Body as a Membrane." January-March 1996 SELECTED ONE-PERSON EXHIBITIONS Galerie Samuel Lallouz, Montreal. "Drawings and Maquettes by Sculptors." Galerie Samuel Lallouz, Montreal. September-October 1996 Janua1-y-Februa1-y 1996 Elga Wimmer Galle1-y, New York. May-June 1996 Annika Sundvik Gallery, New Yo1-k. "Estro Turf." January-February 1996 Mount Saint Vincent University Gallery, Halifax, Nova Scotia. September 1995 Whitney Museum of American Art, New York. "Beat Cultu1·e and the New Kunstraum, Vienna. Apri I-M ay 1995 Ame1·ica: 1950-1965." November 1995-February 1996, traveling Galerie I<1-inzinger, Vienna. Ap1·il-May 1995 exhibition Fine Ai-ts Center Gallery, University of Rhode Island, Wakefield,Rh ode Lombard/Freid Fine Arts, New York. "Wheel of Fortune: Artists Interpret Island. March 1995 the Tarot." December 1995-January 1996 Penine Ha1·t Gallery, New York. March 1994 Centre Georges Pompidou, Paris. "Feminin/Masculin: le sexe de l'art." Syracuse University, Syracuse, New York. February 1994 October 1995-January 1996 Randolph St. Gallery, Chicago. Novembe1- 1992 Museum of Contemporary Art, Tokyo. "Revolution: Art of the Sixties from Walter/McBean Gallery, San F1-ancisco A1-t Institute, San Francisco. 1991 Warhol to Beuys." September-December 1995 Emily Harvey Galle1-y, New York. 1990 Elga Wimmer Gallery, New Yo1-k. "Women on the Verge (Fluxus 01-Not)." Emily Harvey Gallery, New York. 1988 September-October 1995 Hemi Gallery, Washington, DC. 1986 Craig Krnll Gallery, Pasadena, California. "Action/Performance and the Max Hutchinson Gallery, New York. 1985 Photog1·aph." August 1995 lRutgers University, Douglass College, New Brunswick, New Jersey. 1983 Exit Art, New York. "Endu1-ance." Ma1·ch-Ap1-il 1995 Max Hutchinson Gallery, New York. 1982 Museum of Modern Art, New York. "Recent Acquisitions: Photography." Real Art Ways, Ha1-tfo1-d, Connecticut. 1981 Janua1·y-April 1995 Washington Project for the Arts, Washington, DC. 1981 Unive1-sity Art Museum, Unive1·sity of California at Berkeley, Matrix Gallery. Stichting De Appel, Amsterdam, the Nethe1·lands. 1979 "In a Different Light." January-Apri 1 1995 Natalie Karg/Josh Baer Gallery, New York. "Acconci, Antoni, Burden, SELECTED GROUP EXHIBITIONS Mendieta, Nauman, Schneemann, Wilke." Janua1·y-Ap1·il 1995 Elga Wimmer Gallery, New York. "Fifth Year Celebration." July-August 1996 The Equitable Galle1-y, New York, organized by the American Fede1-ation of Museum of ContemporaI-y Art, Los Angeles. "Hall of Mirro1·s: Art and Film Arts, New Yo1·k. "Neo-Dada: Redefining A1-t." January-March 1995, Since 1945." Mai-ch-July 1996, traveling exhibition traveling exhibition UCLA Armand Hammer Museum, Los Angeles. "Sexual Politics: Judy Cent1·e Georges Pompidou, Paris. "Hors Limites 1960-1995." Octobei- Chicago's Dinner Party in Feminist Art History." April-June 1996 1994-January 1995

58 lPerformance Art and the Theatre of the Object." 1988 Photograph." July-August 1993 Everson Museum, Syracuse, New York. "Saci-ecl Spaces." 1987 Cai-la Stellweg Galle1-y, New York. "Living Rites." June 1993 Artists Space, New York. "Dark Rooms." 1987 David ZwirnerGallery, New York. "Coming to Powei--25 Years of Sexually X­ Ceres Gallery, New York. "The Political is Personal." 1987 Plicit Art by Women." May-June 1993 Clocktower, New Yo1-k. "Lette1-s." 1986 Walker A1-t Cente1-, Minneapolis. "In The Spirit of Fluxus." February-June Whitney Museum at Philip Morris, New York. "Modern Machines; 1993, traveling exhibition Recent lMinimalism and Perforn1ance1958 -1964." 1984 Apri I 1993 P.S.l, Long Island City, New York. "Salvaged - The Origins of Penine Hart Gallery, New York. "Bodily." February-March 1993 Assemblage." 1984 Contemporary Arts Center, Cincinnati, Ohio. "Performing Objects." Franklin Furnace, New Yo,-k. "Carnival lVenice Biennale, Italy. "The Avant-Garde 1950-1990." June-September State University of New York, Buffalo. "Pe1-fo1-ming the Person: 1990 Displacements of Life Narrative." 1982 Stacltische lManhattan Center Galle1-y, New York. "T1-acking, Tracing, Marking." Emily Harvey Gallery, New York. "Christmas Group Exhibit." 1990 1982 Salvatore Ala, New York. "Fluxus Closing In." 1990 Tibo1- de Nagy Gallery, New York. "Broken Surface." 1981 Jan l

59 Palazzo Reale, Milan, Italy. "Camere Incantate/Espansione dell'Immagine." Bumsicle, Madeline. "Carolee Schneemann." Arts Magazine 1980 ( Feb!'Llat'Y 1980) Cooper-Hewitt Museum, New York. "The Museum of Di-awe1-s." 1978 Cameron, Daniel J. "Object vs. Persona: Early Work of Carolee Los Angeles Institute of Contempo1-ary Art, Los Angeles. "Artworcls and Schneemann." Arts Magazine (May 1983): 122-125. Bookworks." 1978 Canaday, John. "Art: Unforgivable Assemblages." New York Times F,-anklin Furnace, New York. "Artists' Books." 1978 (May 14, 1963) Centre Georges Pompiclou, Pa,-is. "La Boutique Aberrante." 1977 Castle, Frederick Teel, and Lisa McClure. Review(June 1996): 13-14, 27. Castle, Ted. "The Woman who Uses her Body for Art." Artforum (November Selected Bibliography 1980): 64-70. Chin, Daryl. "Those Little White Lies." M/E/A/N/1/N/GJournal, no. 13 MAGAZINE, JOURNAL ANO NEWSPAPER ARTICLES, SCHOLARLY (1993): 26-27. PAPERS Cohn, Terri. "A Grace Silence: From Hitler to Helms." Artweek (November Allara, Pamela. '"Mater' of Fact: Alice Neel's Pregnant Nudes." American 7, 1991): 8. Art(Spring 1994): 17. Cole, Robert. "Carolee Schneemann: More than Meat Joy." Performance Alloway, Lawrence. "Carolee Schneemann: The Body as Object and Art, (Mai-ch 1979): 8-15. Instrument." Art in America (March 1980): 19-21. Costantinicles, lHappening?" Dance Magazine (1967) Lightbulb?" Lightbulb (Summer 1994):11,21. Anderson-Spivy, Alexand,-a. "The Return of Aphrodite." The Argonaut Crowder, Joan. "The Encl." Santa Barbara News-Press (April 12, 1996): Journal, no.2 (1993): 21-22. 21. Antin, David. Review. Art News (1967) Drucker, Joanna. "Visual Pleasure: A Feminist Perspective." M/E/A/N/1/N/G Baker, l

60 Glassne1-, V. "Interviews with Three Filmmakers." Time Out (March 1972): 47. ------. "The Return of the Feminist Body." M/E/A/N/1/N/G Journal Glueck, Grace. "Exploring Six Yeat'S of Pop and Minimalism." New York (November 1993): 3-6. Times (September 28, 1984) Joselit, David. "Projected Identities." Art in America (November 1991) ------. Review. New York Times (Febl'Lla1-y 24, 1984) l

61 ------. "An Interview with Carolee Schneemann." Afterimage (March Rahmani, Avira. "A Conversation on Censorship with Carolee Schneemann." 1980): 10-11. M/E/A/N/I/N/G Journal(November 1989): 3-7. Martin, Henry. Review. FlashArt(l981) Reveaux, Tony. "Mopping Up: Carolee Schneemann at SFAI." Artweek Martin, Maureen. "Challenging Distortions of the Dominant Male (November 7, 1991) Imagination." VOX: Magazine of ContemporaryArt and Culture (Spring Rich, B. Ruby. "Sex and Cinema." NewArt Examiner(Spring 1979) 1992): 12-14. Rickels, Laurence A. "Act Out Turn On." Artforum (April 1994): 70-73, 127. McDonagh, Don. "Carolee Schneemann." Artforum (May 1976): 73-75. Robinson, Lou. "Subvert Story." American Book Review (February-March ------. 11 Un- Expected Assemblage!" Dance Magazine (June 1965): 1991): 9. 42-44. Sanborn, lWalker Art Center, Minneapolis, 1993. 120-128. Orloff, l

62 Youngblood, Gene. "U nde1-ground Cinema." Los Angeles Free Press (July Caws, Mary Ann. Joseph Cornell: Selected Diaries, Letters and Files. New 19, 1968) Yo1-k: Thames and Hudson, 1993. Celant, Germano. Architecture by Artists. Venice: La Biennale di Venezia, BOOKS, EXHIBITION CATALOGUES 1976. AlternativeMuseum. Disinformation: The Manufacture of Consent. New Chicago, Judy, and M i1-iam Schapiro, Anonymous Was a Woman. Valencia: York: AlternativeMuseum,1985. Feminist Arts Prog1-am, California Institute of the Arts, 1974. Ande1-son, Patricia. All of Us. New Yo1-k: Bantam Doubleday Dell, 1996. Conz, Francesco, lHunter College Art Gallery, 1988. Museum Moderner lArlene Raven, eds. New Feminist /'Art. Paris: Centre Georges Pompidou, 1995. Criticism. New York: Hai-per Collins, 1994. Bloch and Celender. Mortal Remains, New York/Minneapolis: 0.1<. Han-is Gaelan, Elinor. The Once and Future Goddess. New York: Harper & Row, Gallery/lntermedia Arts Minnesota, 1996. 1989. Bongard, Nicola, Hedwig Saxenhuber, and Astrid Wege. Oh Boy, It's a Girl: Gibbs, Michael. "Introduction to Erotic Films by Women." In Deciphering Feminismen in der Kunst. Munich: lSomething Else Press, 1966.

63 Hapgood, Susan. Neo-Dada: Redefining Art 7958-7962. New York: Press, 1990. American Fede1-ation of Arts, 1994. ------. Art-Events and Happenings. London: Ma thews Mi I !er Dunbar, Haskell, Barbara. Blam! The Explosion of Pop, Minimalism and 1971. Performance 7958-7964. New York: The Whitney Museum of American ------. Art and Life. New York: Praeger, 1970. Art, 1984. Labelle-Rojoux, Arnaud. L'Acte pour /'Art. Paris: Ecliteurs Evident, 1988. Henri, Adrian. TotalArt: Environments, Happenings, Performance. London: Lebel, Jean-Jacques. Happenings, Interventions et Actions Diverses 7962- Thames and Hudson, 1974. 7982. Paris: Cahiers Locques, 1982. Hoffmann, Katherine. Explorations: The Visual Arts Since 7945. New York: Levy, Marl<. Technicians of Ecstasy: Shamanism and the Modern Artist, Harper Collins, 1991. Bramble Books, 1993. Howell, John, ed. Breakthroughs: Avant-Garde Artists in Europe and Lippard, Lucy. The Pink Glass Swan: Selected Feminist Essays on Art. New America 7950-7990. Columbus: Wexner Center for the Arts, 1991. York: The New Press, 1995. Institute for Art & Urban Resources. Salvaged: Altered Everyday Objects. ------. A Different War - Vietnam in Art. Bel I ingham, Washington: New York: Institute for Art & Urban Resources, 1984. Whatcom Museum of H istoi-y and A1-t, 1990. James, David. Films Against the War in Vietnam. New York: Whitney ------. Overlay: Contemporary Art and the Art of Prehistory. New Yoi-lc Museum of American Art, 1990. Pantheon Books, 1984. ------. Allegories of Cinema: American Film in the Sixties. Princeton: Lucie-Smith, Edward. Race, Sex and Gender in Contemporary Art. London: Princeton University Press, 1989. Abrams, 1984. Jones, Leslie C. "Transgressive Femininity." In Abject Art: Repulsion and ------. Art Now. Milan: Mondadori Editore, 1977 [reprinted 19891 Desire in American Art. New York: The Whitney Museum of American MacDonald, Scott. Avant-Garde Film: Motion Studies. London: Cambridge Art, 1993. University Press, 1993. Jowitt, Deborah. Time and the Dancing Image. Berkeley: University of ------. A Critical Cinema. Berkeley: University of California Press, 1988. California Press, 1988. McDonagh, Don. The Complete Guide to Modern Dance. New Yo1-k: Juno, Andrea, and V. Vale, eds. Re/Search 73: Angry Women. San Doubleday, 1976. Francisco: Research Pub I ications, 1991: 66-77. Moore, Sylvia, and C. Navaretta. Artists and their Cats. New York: Mid­ Kaprow, Al Ian. Allan Kaprow: Essays on the Blurring of Art and Life, edited March Arts P1-ess, 1990. by Jeff Kelley. London: University of California Press, 1993. Morgan, Robert C. Essays on Conceptual Art. Cambridge: Cambridge Katz, Robert. Naked by the Window. New York: Atlantic Monthly Press, University Press, 1996. 1990. ------. Conceptual Art: An American Perspective. New York: McFarland Kent, Sarah, and J. Morreau, eels. Women's Images of Men. London: & Co., 1994. Pandora Press, 1984 [reprinted 19901 ------. After the Deluge: Essays on Art in the Nineties. New York: Red Kohler, Michael, and Gisela Barche. Oas Aktfoto, Munich: Munchne1- Bass Publications, 1993. Stacltmuseum, 1985. Murphy, Jay. Imaging Her Erotics: The Body Politics of Carolee l

64 Nahas, Dominque. "Venus Vectors." In Sacred Spaces. Syracuse: Everson Routledge, 1996. Museum of Art, 1987. The Sculpture Center. Sound/Art. New York: The Sculpture Center, 1983. Nead, Lynda. The Female Bodv. London: Routledge Press, 1992. Sitney, P. Adams. "Inte1-view with Stan B1·akhage." In Film Culture Reader. Neiman, Cat1·ina. "Woman Pionee1·s of American Experimental Film." In New York: Praeger, 1983. Feministische Streifzuge durch 's Punkte-Universum. Vienna: Film Solomon, Deborah. Utopia Parkwav: The Life of Joseph Cornell. New York: Werkstatt, 1993. Fan-ar Straus, 1994. ------. Women in Film. Do1·tmund: 1992. Sontag, Susan. Against Interpretation. New York: Farrar, Straus and Girnux, Oldenbu1·g, Claes. Store Davs. New York: Something Else P1·ess, 1966. 1966. Pen-on, Wendy, and Daniel J. Cameron, eds. Judson Dance Theater: 1962- Stiles, lExpanded Cinema. New York: Dutton, 1970. Rosen, Randy, eel. Making their Mark: Women Artists Move into the Mainstream. New York: Abbeville Press, 1989. WRITING, PUBLICATIONS BY THE ARTIST Roth, Moira, ed. The Amazing Decade: Women and Performance Art 1970- 1980. Los Angeles: Astra Artz, 1983. ABC-We Print Anvthing-ln the Cards. Beuningen, Holland: Brummense Rothenberg, Jerome. Technicians of the Sacred. New Yo1·k: Doubleday & Co., Uitgeverij Van Luxe We1·kjes, 1977. 1968. "Ages of the Avant-Garde." Performing Arts Journal (January 1994): Sanford, Ma1·iellen R. Happenings and Other Acts. New York: Routledge, 18-21. 1995. "Ame1·icana I Ching Apple Pie." High Performance (Winter 1982): 74. Say1·e, Henry M. The Object of Performance: the American Avant-Garde "Autobiographical T1·ilogy." Sheldon Film Theater(l981): 80-85. Since 1970. Chicago: University of Illinois Press, 1989. "Cat Scan (New Nightmares/Old History)." Caprice Magazine (August Schneider, Rebecca, and Paul l

65 " ...Cat To1-ture in the Liquid Gate." International Experimental Film Write about Mothering. Minnesota: Spinsters Ink, 1994. Congress (May-June 1989): 38, 46-47. "Mother Lexicon." Flux Scan: A Collection of Music and Sound Events. Den Cezanne, She was a Great Painter. New Yol'ic Trespass Press, 1974 Bosch Holland: Slowscan Editions, 1993. [reprinted 1976]. The Music of James Tenney. Peter Gal'iand, ed. Santa Fe: Soundings Press, "Christmas Tree in Uteri." Whitewalls: AJournal of Language andArt 1984. (Fall/Winter 1994): 90-91. "Notes." Performing Arts Journal(Fall 1977): 21-22. "Cycladic Imprints." Tema Celeste (Fall 1992) "Notes from the Underground: A Female Pomog1-aphe1- in Moscow." The "Das A and O-Hidden and Found in an Attic." In TopTen Review. Bremen: lndependent(Winter 1992): 23-35. H&H Schierbok Edition, 1986. "The Obscene Body/ Politic." CollegeArtJournal(Winter1991): 28-35. "Death Has No Fat" and "Infinity Kisses." In Hommage aJoseph Beuys, "On Waite,- Gutman." In "Letters." Field of Vision (1985): 31. edited by Klaus Staeck. Kassel: 1986. Parts of a Body House. Devon, United Kingdom: Beau Geste Press, 1972. "Dirty Pictures." High Performance. (Summer 1981): 72. "Parts of a Body House." In FantasticArchitecture, edited by Dick Higgins Early and Recent Work. Kingston, New York: Documentext, 1983. and Wolf Vostell. New Yol'ic Something Else P1-ess, 1969. "Emergency Sauce Scena1-ios for Unexpected F1-iends and Lovers." In Food "Rain Stops afte1- Seven Days." Unmuzzled Ox, vol. IV, no. 1 (1976) SexArt: The Starving Artists' Cookbook. New Yo1-k: Eidia Books, 1991. "Re: A1-t in the Da1-k." In "Letters." Artforum (August 1983): 2. " ...Enter Vulva." October: FeministArt and Critical Practice (Winter 1995): "Selected Text and D1-awings from the Performance Work Dirty Pictures." 40-41. Heresies (1989): 23, 54-55. "ExceqJts from More than Meat Joy." High Performance (1979): 5-16. "Seven Recipes." In Cookpot, edited by Barbara Moo1-e. New York: Re-Aux "F1-esh Blood-A Dream Mo1-phology-The Blood Link." Leonardo Magazine Editions, 1985. (Winter 1994): 23-28. "Shadow Capture." In Seeing in the Dark. London: Serpentstail, 1990. "Fresh Blood-A Dream Morphology." Dreamworks Journal(Fall 1981): "Snows." I-KON (March 27, 1968): 24-29. 67-75. "Snows." In Notations, edited by John Cage and Alison Knowles. New York: "F1-esh Blood-A Dream Morphology." New WildernessLetter(September Something Else Press, 1967. 1981): 42-56. "Unexpectedly Research." TheArgonaut Journal (1993): 22-25. "From a Letter." ldiolects (Summer 1981): 18. "Unexpectedly Research." Lusitania (Fal I 1992): 143-145. "From Fresh Blood-A Di-earn Morphology." ldiolects (Winter 1980-81): "Venus Vectors." Leonardo: Journalof theArts, Science and Technology 27-30. (Fall 1992) "Ice Music." In Fluxus, edited by l

66 Board of Trustees The New Museum of Contemporarv Art Staff

Dr. Dieter Bogner Atteqa Ali Development Assistant Saul Dennison, Vice President and Treasu1·e1· l

67