Carolee Schneemann Foundation
Carolee Schneemann (1939-2019) employed various artistic media and objects to develop a rich and influential body of work concerning politics, narrative, sexuality and the representation of women in art and society. Emerging from experimental film, dance, poetry, Fluxus, Happenings and environments, the artist’s early painting, collage, assemblage and box constructions were partly an effort to free artistic practice from the static object. Incorporating her nude body into performances extended that investigation into the liberation of the female image. Known for her legendary, visceral and taboo performances, including Meat Joy (1964), Up To and Including Her Limits (1973-76), and Interior Scroll (1975), Schneemann paved the way for generations of feminist artists. She documented her performances using film, created kinetic painting-sculptures and video art on such diverse topics as gender, eroticism, desire, disasters and war.
Schneemann received her BA from Bard College, Annandale-On-Hudson, NY and an MFA from the University of Illinois, Urbana, IL. Recent selected solo exhibitions include body-house: Dialogues between Carolee Schneemann, Diego Bianchi and Márcia Falcão, Pivô, São Paulo, Brazil (2024); Carolee Schneemann: Body Politics, Barbican Art Gallery, London, UK (2022); After Carolee: Tender and Fierce/Carolee’s Room, Artpace, San Antonio, TX, USA (2021); Paint Like I Move (Precarious), les Abattoirs, Toulouse, France (2017); and Kinetic Painting, Museum der Moderne Salzburg, Austria (2015); Museum für Moderne Kunst, Frankfurt, Germany (2017); MoMA P.S.1 (2017). In 2017, she was awarded the Golden Lion for Lifetime Achievement at the 57th International Art Exhibition of La Biennale di Venezia, Venice, Italy.
Recent, current and forthcoming projects
‘Love is Louder’, BOZAR/Centre for Fine Arts, Brussels, Belgium, 12 October 2024 – 5 January 2025
‘The Lives of Animals’, MuHKA, Antwerp, Belgium, 8 June - 22 September 2024
Carolee Schneemann Foundation
One Window Is Clear - Notes to Lou Andreas Salome, 1965
Oil paint, cloth, recording tape, paper, gloves, canvas and photographs of Salome, Rilke, and Nietzsche on masonite panels
196.9 x 121.9 x 8.9 cm
77 1/2 x 48 x 3 1/2 in
Signed, recto; C. Schneeman / 69
Carolee Schneemann Foundation
For Yvonne Rainer’s Ordinary Dance (from the Fire Series), 1962
Burnt wooden box, glass, mirrors, paint
22.9 x 38.1 x 20.3 cm
9 x 15 x 8 in
Signed, titled and dated, back; Schneeman / For Yvonne Rainer’s Ordinary Dance / 1962
Carolee Schneemann Foundation
Hand - Crank - Movie - Lebanon, 1983
Construction on board, xerox on fabric, lights, rollers, crank
110.5 x 120.7 x 13.3 cm
43 1/2 x 47 1/2 x 5 1/4 in
Carolee Schneemann Foundation
Souvenir of...Tyre...Sidon...Damour (for Bruce McP.), 1982
Diptych, acrylic paint, mylar, fabric, photographs, glass, collaged on board, aluminium frame
297.2 x 175.3 x 6.4 cm
117 x 69 x 2 1/2 in
Carolee Schneemann Foundation
Gift Science, 1965
Paint, slides, mirrors, lights, and bird constructed in a wooden box
104.8 x 39.4 x 12.7 cm
41 1/4 x 15 1/2 x 5 in
Signed, titled and dated, verso; Carole Schneeman / Gift Science / 1964-65
Carolee Schneemann Foundation
Untitled, 1958
Watercolour on paper
45.7 x 57.2 cm
18 x 22 1/2 in
Framed: 52.4 x 61.6 x 3.8 cm
Framed: 20 5/8 x 24 1/4 x 1 1/2 in
Carolee Schneemann Foundation
Untitled (London Collage), 1971
Newspaper collage with ink and stamps, type written text on verso
29.8 x 21 cm
11 3/4 x 8 1/4 in
Carolee Schneemann Foundation
Exercise For Couples, 1972
Ten hand colored gelatin silver prints with collage mounted on paper
Each print: 15.2 x 25.4 cm
Each print: 6 x 10 in
Overall: 99.1 x 60.3 cm
Overall: 39 x 23 3/4 in
Signed and dated, recto; CS / 72