Estate of Carolee Schneemann
Carolee Schneemann
Eye Body #11, 1963/1983
signed and inscribed, verso: "1/2 C Schneemann 3/3 '83 DG"
silver gelatin print
sheet: 14 1/2 x 11 3/4 ins.
36.8 x 29.8 cm
P·P·O·W will present a solo-booth of historical and rarely seen works by Carolee Schneemann. A painter, filmmaker and pioneer of extended media – from her earliest painting-constructions through her provocative group performance Meat Joy, 1964 and influential performance piece Interior Scroll, 1975 – Schneemann has fearlessly engaged and influenced five decades of art making always defying easy categorization.
This significant historical survey aims to explore Schneemann's departure from the flat canvas and development of movement in her work as an extension of painterly gesture, into the concept of the body as tactile material (Body Collage, 1967) and the 'enlarged canvas' of kinetic theatre (Meat Joy, 1964). The installation will comprise of Carolee Schneemann’s painting-constructions from the 1960s (Quarry Transposed, 1960, Sir Henry Francis Taylor, 1961, Fur Wheel, 1962) as well as, the monumental Four Fur Cutting Boards 1963—the kinetic painting-construction in front of which the artist performed her famous photographic series, Eye Body (Thirty Six Transformative Actions) 1963.
Carolee Schneemann
CS in her studio, 1963
giclee on archival paper
40.1 x 50.8 cm
15 3/4 x 20 in.
Schneemann’s multidisciplinary work continues to be shown at innumerable venues around the world and most recently at Rochechouart Museum of Contemporary Art in France on view until December 15th A full length film about her life and work entitled “Breaking the Frame” directed by Marielle Nitoslawska screened, most recently at NYFF51: Views From the Avant-Garde at Lincoln Center and Wroclaw WRO Art Centre, Poland. Her letters are the subject of Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle, edited by Kristine Stiles (Duke University Press, 2010) and Carolee Schneemann: Unforgivable will be released with Black Dog Publishing in 2014. The Museum of Modern Art, NY, featured Carolee Schneemann’s installation Up To And Including Her Limits in the exhibit “On Line: Drawing Through the Twentieth Century” and recently acquired the installation. A retrospective, including multi-channel video projections and kinetic installations, is currently being planned to open at Museum der Moderne Salzburg 2015.
Carolee Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois. She holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited worldwide, at institutions including: the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art, New York; the Centre Georges Pompidou, Paris; The Reina Sophia Museum, Madrid; The Museum of Modern Art, New York, and the National Film Theatre, London. In 1997, a retrospective of her work entitled Carolee Schneemann - Up To And Including Her Limits was held at the New Museum of Contemporary Art, New York. Awards received include: Art Pace International Artist Residency; two Pollock-Krasner Foundation Grants; Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship; Rockefeller Foundation Fellowship; and a Lifetime Achievement Award from the College Art Association. Her published books include: Cezanne, She Was A Great Painter (1976); Early and Recent Work (1983); More Than Meat Joy: Complete Performance Works and Selected Writings (1979), and Imaging Her Erotics - Essays, Interviews, Projects (2002). She has taught at many institutions, including: New York University; California Institute of the Arts; Bard College; and the School of the Art Institute of Chicago.
Carolee Schneemann
Tenebration, 1960
signed and dated on front
oil on canvas, paper, wood strips, cloth, photographs of Landowska, Brahms, and Beethoven
52 1/2 x 46 in.
133.35 x 116.84 cm
Carolee Schneemann
Sir Henry Francis Taylor, 1961
signed
oil paint, photographs, plaster structure, underpants, swing, glass, photograph of Sir Henry Francis Taylor by Julia Margaret Cameron on masonite panels
54 1/2 x 39 x 6 1/2 in.
138.43 x 99.6 x 16.51 cm
Carolee Schneemann
Quarry Transposed (Central Park in the Dark), 1960
signed on front
oil paint, wood strips, photograph of N.L., red glass pitcher, nails, wire, and paper on masonite panels
57 x 34 x 4 in.
144.78 x 86.36 x 10.16 cm
Carolee Schneemann
Parts of a Body House - Guerrilla Gut Room I (b), 1966
watercolor and ink on paper
22 3/4 x 34 1/4 in.
57.8 x 87 cm
Carolee Schneemann
Parts of a Body House - Genitals Playroom III / Wall Section (c), 1966
watercolor and ink on paper
framed: 26 1/4 x 26 in.
66.7 x 66 cm
sheet: 22 x 21 1/2 in.
55.9 x 54.6 cm
Carolee Schneemann
Parts of a Body House - Genitals Playroom I / Genitals Playroom, Cut-Away Section (a), 1966
watercolor and ink on paper
framed: 23 1/4 x 26 1/2 in.
59.1 x 67.3 cm
sheet: 18 3/4 x 22 ins.
47.6 x 55.9 cm
Carolee Schneemann
Interior Scroll, 1975
gelatin silver print
13 x 9 1/2 in.
33.2 x 24.13 cm
Carolee Schneemann
Eye Body #2, 1963/1985
signed, titled and dated on verso
gelatin silver print
14 1/2 x 11 1/2 in.
36.83 x 29.21 cm
Carolee Schneemann
Meat Joy Collage, 1964
mixed media collage on paper
16 3/4 x 12 3/4 in.
42.5 x 32.4 cm