PRINT May 2019



Carolee Schneemann, Eye Body #26, 1963, gelatin silver print, 14 × 11". From the series “Eye Body: 36 Transformative Actions for Camera,” 1963.

“WE ARE GOING TO WORK TOGETHER,” she would tell me self-assuredly, whenever we met on various occasions. I often ran into her in New York, whether on the streets or at Electronic Arts Intermix, where she was perpetually, or so it seemed, editing the video of her 1964 performance Meat Joy. In the 1990s and 2000s, when I was a young curator beginning to explore experimental cinema and radical art by women, and later during my time as director of the Generali Foundation in Vienna, Carolee Schneemann was always on my mind. My earliest exposure to her work was Fuses, 1964–67, a silent 16-mm film shot over three years whose footage (singed, collaged, painted on, and acid-drenched) featured Carolee and her longtime partner Jim Tenney lolling, caressing, and having sex—that, and the legendary Interior Scroll, in which she reflected on the underrecognition of women artists. The latter

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