IMAGING HER EROTICS: Essays, Interviews, Projects.

Integrates Schneemann’s paintings, collage, drawings and video sculptures with material from her journals, dream diaries, essays and lectures. It includes her response to other artists’ use of the work of Jacques Lacan, Georges Bataille and Jacques Derrida. Carolee Schneemann (b. October 12, 1939 in Fox Chase, Pennsylvania) is an American visual artist, known for her discourses on the body, sexuality and gender. She received a B.A. from Bard College and an M.F.A. from the University of Illinois. Her work is primarily characterized by research into visual traditions, taboos, and the body of the individual in relationship to social bodies. Her works have been shown at the Los Angeles Museum of Contemporary Art, the New York Museum of Modern Art, and the London National Film Theatre. Schneemann has taught at several universities, including the California Institute of the Arts, the School of the Art Institute of Chicago, Hunter College, and Rutgers University, where she was the first female art professor hired. Additionally, she has published widely, producing works such as Cezanne, She Was a Great Painter (1976) and More than Meat Joy: Performance Works and Selected Writings (1997). Schneemann’s works have been associated with a variety of art classifications including Fluxus, Neo-Dada, the Beat Generation, and happenings. PERFORMANCE ART

Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement’s sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women’s studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments. Imaging Her Erotics” integrates images from Schneemann’s works in painting