Schneemann’s art actions laid bare the continuity between the female body, feminist writing, and sociopolitical acts of protest.
Produced under the artist’s supervision, this version of Parts of a Body House Book raises fascinating questions about what it means to reproduce something originally so handmade.
For the last 30 years, Alexandra Juhasz has interviewed members of her own art and art activist communities about why deserved recognition often comes too late for feminist artists.
“Ordinarily, I feel a sense of solidarity in isolation with other artists. I feel it even more during our enforced isolation.”
Schneemann died from breast cancer on March 5 at the age of 79, and the art world that once criticized her has lauded her a pioneer and influential feminist force to be reckoned with.
MoMA’s latest exhibition on the Judson Dance Theater feels like a long overdue thesis on how to correctly present performance within a museum.
This unusual documentary on the artist is screening on Saturday at Metrograph, where Schneemann will also be in attendance.
In which Schneemann discusses rejecting academic language, reveling in flesh, how any respectable gallery needs a “token cunt,” and, naturally, cats.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
For those who wake up hungry for art, the Museum of Modern Art is opening its doors at 7:30am every Wednesday in October.
Kate Just, an American-born Australia-based artist, has long been committed to making feminist work that examines the human body experience.
Forty years ago on August 29, 1975, the thirty-six-year-old artist Carolee Schneemann pulled a scroll from her vagina. The performance, titled Interior Scroll, is an essential moment in performance art history, and an important milestone in the artist’s provocative and influential oeuvre.