PRINT May 2019



I FEEL THAT EVEN a dedicated special issue of Artforum would be insufficient to grapple with the loss of an artist of Carolee’s stature. Despite Kristine Stiles’s proclamation, more than a decade ago, that Carolee represented one of the “great women artists” for whom Linda Nochlin had longed, art history has generally failed to recognize the true breadth of her achievement. As was most clearly revealed to me while working with Sabine Breitwieser on the traveling retrospective “Carolee Schneemann: Kinetic Painting” (2015–18), Carolee’s body of work was as intricately interconnected—recursively developing certain themes, ideas, and motifs over more than six decades—as it was expansive. That so many critics and historians continue to overlook the consistency and complexity of her production derives, in part, from the misperception that just a few major works—Meat Joy, 1964,

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