{"id":258,"date":"2008-11-03T16:14:56","date_gmt":"2008-11-03T22:14:56","guid":{"rendered":"http:\/\/blogs.saic.edu\/cate\/?p=258"},"modified":"2025-01-10T08:19:43","modified_gmt":"2025-01-10T14:19:43","slug":"screening-november-6th-6pm","status":"publish","type":"post","link":"https:\/\/sites.saic.edu\/cate\/2008\/11\/03\/screening-november-6th-6pm\/","title":{"rendered":"Carolee Schneemann: Film & Performance"},"content":{"rendered":"

\t\t\t\tThursday, November 6, 6pm<\/strong> | Carolee Schneemann in person!<\/em><\/p>\n

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Carolee Schneemann, Fuses (1964\u201467). Image courtesy of Electronic Arts Intermix.<\/figcaption><\/figure><\/dt>\n<\/dl>\n<\/address>\n

Since the early 1960s, legendary multimedia artist Carolee Schneemann has blazed a groundbreaking, taboo-busting path through the art world. Expressive, exuberant and intelligent, her work ranges from hand-made diary films and politically charged performances to painting, poetry, and installation, all the while exploring and overturning preconceived notions of sexuality, gender, and the body. Tonight, Schneemann will present a collection of recently restored films, performance videos, and new work, including the first two installments of her landmark\u00a0Autobiographical Trilogy<\/em>: Fuses<\/em> (1964\u201467), in which she painted, scratched, and collaged self-shot footage of herself and then-partner James Tenney\u2019s erotic explorations, and Plumb Line<\/em> (1971), along with the influential performance pieces Body Collage<\/em> (1967) and Americana I Ching Apple Pie<\/em> (1978\u20142007) and her latest video Infinity Kisses\u2014The Movie<\/em> (2008). Co-presented by SAIC\u2019s Visiting Artists Program and Department of Performance and the University of Chicago\u2019s Film Studies Center, which will present a second program of Schneemann\u2019s work on Friday, November 7. 1964\u20142008, Carolee Schneemann, USA, multiple formats, ca 80 min.<\/p>\n

Mutidisciplinary feminist artist Carolee Schneemann<\/strong> is 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 exhibited internationally, including a full retrospective at the New Museum of Contermporary Art, and retrospective screenings at the the Centre Georges Pompidou, MoMA, and Whitney. 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. She is the recipient of numerous awards, including: a 1999 Art Pace International Artist Residency, San Antonio, Texas; Pollock-Krasner Foundation Grant (1997, 1998); 1993 Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship. Honorary Doctor of Fine Arts, Maine College of Art, Portland, ME. Lifetime Achievement Award, College Art Association, 2000. Additionally, she has published widely, including,\u00a0Cezanne, She Was A Great Painter<\/em> (1976),\u00a0More Than Meat Joy<\/em>:\u00a0Performance Works and Selected Writings<\/em> (1979, 1997),\u00a0Imaging Her Erotics: Essays, Interviews, Projects<\/em> (2003). A selection of her letters edited by Kristine Stiles is forthcoming.<\/p>\n

More<\/strong><\/p>\n

CaroleeSchneemann.com<\/a><\/p>\n

New York Times<\/em>: Carolee Schneemann<\/a>\t\t<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, November 6, 6pm | Carolee Schneemann in person! Since the early 1960s, legendary multimedia artist Carolee Schneemann has blazed a groundbreaking, taboo-busting path through the art world. Expressive, exuberant and intelligent, her work ranges from hand-made diary films and politically charged performances to painting, poetry, and installation, all the while exploring and overturning preconceived […]<\/p>\n

Read More… from Carolee Schneemann: Film & Performance<\/span><\/a><\/p>\n","protected":false},"author":198,"featured_media":8119,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13],"tags":[180,225,450,468],"class_list":["post-258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-13","tag-early-video-art","tag-feminist","tag-non-fiction","tag-performance"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/258","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/users\/198"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/comments?post=258"}],"version-history":[{"count":1,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/258\/revisions"}],"predecessor-version":[{"id":8732,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/posts\/258\/revisions\/8732"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media\/8119"}],"wp:attachment":[{"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/media?parent=258"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/categories?post=258"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.saic.edu\/cate\/wp-json\/wp\/v2\/tags?post=258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}