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Carolee Schneemann: Within and Beyond the Premises

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Carolee Schneemann: Within and Beyond the Premises CAROLEE SCHNEEMANN: WITHIN AND BEYOND THE PREMISES Introduction by Brian Wallace Cézanne does not try to use color to suggest the [ 9 ] tactile sensations that would give shape and depth. These distinctions between touch and sight are unknown in primordial perception. —Maurice Merleau-Ponty1 Over the course of her career, Carolee Schneemann interrelated aspects of Schneemann’s practice that, has produced an extensive, diverse body of work while active together to a greater or lesser extent based upon her research into the broad, deep across that entire practice, can be examined sepa- connections between the activities of the mind and rately—sequentially—as a way to outline the artist’s those of the body. Schneemann’s multi-disciplinary, way of working. deeply personal investigations—and their realization in writings, performances, films and videos, objects, Research installations, images, and hybrid forms2—celebrate Over the first decade of her mature practice, Sch- the richness, and also mourn the loss, of these neemann’s continuing recourse to research was connections among mind and body. This exhibition articulated, at first, in the language of painted form presents a range of works resulting from research (perhaps not surprisingly, given the prominence in which Schneemann has delved intensively into a of then-recent developments in so-called Abstract place she lives and works in order to investigate the Expressionism or Action Painting). Even at the very incomprehensibly complex dynamics between mind beginning, however, a drive to bring painting into the and body. world—and a concomitant drive to bring the world into the painting—is visible: paintings and construc- In her essay for this publication,3 Maura Reilly as- tions lean in to the viewing space (1961’s Sir Henry serts that Schneemann has articulated “the em- Francis Taylor; 1962’s Fur Wheel), and objects and bodied subject.” Reilly homes in on the specifics of projects are populated with traces of life and work Schneemann’s consistent deployment of the formal (accidental fire damage to 1960’s Animal Carnage concerns of painting as a medium of expression, & Kitch’s Dream leads to the intentional burnings connecting Schneemann’s artistic strategies with in the Fire Series works).4 In 1960, chance and the her political objectives while showing how the artist weather (and a proto-performance work set on a has maintained the primacy of the former in the storm-damaged tree) led to Schneemann’s early, course of articulating the latter. In the interview with crucial encounter with Artaud’s Theatre and Its the artist commissioned for this publication, Emily Double,5 and its call for a profoundly reintegrated Caigan discusses with Schneemann the ways her for(u)m of expression reuniting performance and house and her land have sustained (and challenged) audience with gesture. That Schneemann respond- her ability to live her life and make her work, and the ed to this call with vigor—and that this notion ways that art, place, and life connect to and nourish continues to resonate with the artist—can be seen one another. In this short introduction I identify four in works ranging from 1963’s Untitled (Four Fur Cut- Untitled, 1960 (detail) © 2010 State University of New York Press, Albany CAROLEE SCHNEEMANN: WITHIN AND BEYOND THE PREMISES ting Boards) to Vesper’s Pool (2000). While I do not to appreciate the audacity of Schneemann’s leap see Schneemann’s works tending toward the state of from painted objects to photographed scenarios. It is the total work of art, these works do have a multi- can be equally difficult to see a naked female in an sensory immediacy conveyed through built elements artwork representing a step toward gender equality, and found objects and images and texts organized but so it was. around the research behind them, rather than the spaces around them. (To me, the gesamtkunst- In 1963-4, Schneemann took control of the means werk’s integrated display of self-contained power is of production and did not turn back. She pursued a at odds with Schneemann’s processual approach host of projects that have elements of photography and carries with it the danger of audience desensi- or film as well as objects (or sets—which occa- tization that Schneemann has already written about sionally receive projections or carry images) and [10 ] in connection with her performance-based works.)6 performers (who do, or do not, interrupt or other- wise interact with films, etc.). Of the works from this While the artist prepares to leave the picture plane period, Meat Joy (1964) is the best documented behind, she carries painting’s profound problems and—acknowledging the artist’s statement that the and its proffered solutions with her into the next work “developed from dream sensation images phases of her research. Take Partitions (1962-3), gathered in journals dating back to 1960”—prob- a project mentioned briefly in Schneemann’s early ably the most extensively researched. So what does writings.7 The proposed work, published here in full Schneemann’s research consist of? Looking and for the first time, consists of two typewritten pages drawing, dreaming and drawing, recording and edit- (“For five performers in an environment constructed ing street sounds, working to connect conscious and within the shelves, partitions and sliding doors at unconscious content through wordplay, and finding the Feigen-Herbert Gallery”) and six watercolors inspiration in artists as different as Soutine, The on visual aspects of the proposed production (a Supremes, and the Judson Dance Theatre dancers. sequence of scenes, stances, stagings, and transi- During the height of this research, Schneemann tions). The description and images delineate and wrote, “it was often difficult to leave the loft for my depict just how the artist, adumbrating changes job or errands. My body streamed with currents of in her overall approach at this key moment in her imagery: the interior directives varied from furtive career, is going to allow the agency of the figures to to persistent: either veiling or so intensely illuminat- overtake the suppressed expressivity of the back- ing ordinary situations that I continually felt dis- ground or landscape. In other words, a surrealist- solved, exploded, permeated by objects, events, inspired psychological intensity encoded in land- persons outside of the studio, the one place where scape (a painterly mode that reaches an apotheosis my concentration could be complete.”9 The result- in Abstract Expressionism) is being jettisoned for ing work—the exhibition includes film-to-video something plainer but of much greater expressive documentation of the event and related studies and potential: the figure, or more precisely (had Parti- images—is overwhelmingly energetic and almost un- tions been realized), the body. controllably ecstatic. The climax of the piece relieves an intensity that is almost unbearable even across Ecstasy thirty-five years. A 1962-3 diary excerpt excitedly asserts Schnee- mann’s visual/corporeal-blurring belief “that the eye Many works subsequent to Meat Joy, notably, Up benefits by exercise, stretch, and expansion towards To And Including Her Limits (1973-6) and Interior materials of complexity and substance.”8 Eye/Body: Scroll (1975), as well as relatively recent projects 36 Transformations (1963), a suite of eighteen such as Devour Lights (2005), are explications and photographs taken by artist Erró in collaboration with explorations of the ecstatic; that these works could Schneemann, incorporates Untitled (Four Fur Cut- also be included under the headings of Research, ting Boards) into mise en scènes that insist upon the or Dwelling, or Furies demonstrates the consistency visibility of this artist’s own body. These works also with which the artist confronts situations, comes to insist upon the artist’s right—and the viewers’—to conclusions, and then embodies those conclusions consider that body an expressive element (a politi- in works that circle back to and further illuminate cized, and politicizing, claim, to be sure) on par with (and complicate) the initial situation. the Four Fur Cutting Boards, the materials in the studio and the ancient cultures they evoke, and he Furies decisions made by artist and photographer. It can be The intensity of this embodied research, however, difficult, now, after wave upon wave of photographic could not be maintained. Unable to ignore the hor- practice specifically and art and theory generally, rors of the Vietnam War, and following a police raid © 2010 State University of New York Press, Albany CAROLEE SCHNEEMANN: WITHIN AND BEYOND THE PREMISES on a supposedly indecent performance by close Dwelling colleagues Charlotte Moorman and Nam Jun Paik, A sizeable number of Schneemann’s works make Schneemann, in the first extended description she use of architectural and domestic references, writes for Snows (1966), notes, simply, “My life is combining references to the body with references to sweet and my skin is crawling.”10 built structures, and aggregating images of the body within or against grids that emulate built structures. Snows was built around a film, Viet-Flakes, which These works address, through subject matter, melded re-filmed photographs of Vietnam and process, and/or format, the artist’s relationships with American pop songs and other sounds with exten- significant partners and places, while they present, sive hands-on work upon the film itself.11 Snows was as a visual back-story, a capsule narrative on their more than a performance to accompany a film; it own making (I would name Hand/Heart one of these became—or perhaps was always destined to be—a works were it not for the unalloyed anger embedded [ 11 ] visual-political event in a decade of visual-political in that work). Both Portrait Partials (1970) and events. Snows included an interactive component ABC – We Print Anything – In The Cards (1976) use that caused audience movements to control lighting, procedures or images derived from play to struc- sound, and performance tempos, subtle transitions ture their presentation of information and adjust the in visual and audio elements, a blurring (in organi- manner in which they divulge personal information.
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