Writing
Selected Texts by Carolee Schneemann
In 1963 to use my body as an extension of my paintingconstructions was to challenge and threaten the psychic territorial power lines by which women were admitted to the Art Stud Club, so long as they behaved enough like the men.
The texture of the work is contrapuntal. The movement is a set of object equivalences, consisting of three sorts
By the year 2000, no young woman artist will meet the determined resistance and constant undermining which I endured as a student.
“Istory” has been my solution to the History/Herstory tug and pull. Whenever possible I use a neutral noun or pronoun instead of a specific gender
The intimate and at times violent imagery is anchored in a tension of contrasting focal planes linking the exposed Illinois landscape to the devastation of Vietnam.
Lateral Splay functioned as an explosive and linear refrain, a propulsive jet movement coughing through the sequences of other works and the materials of the environment.
Bullets of projection are aimed into our bodies: trajectories of phallocratic apprehension produce our “wounds.” A smoking gun grasped in that frozen hand
I recognize familiar posturing: the heroic at the expense of the domestic; authoritarian delusion at the expense of ecological common sense.
They had enacted performance ritual—its personal depth, and archetypal density, aspects of collaboration and self-revelation—and organized their dream events into real space and time. This is an alchemical process, just as paint is blood for us—a medium, an essential fluid that carries psychic exchange.