new-york

Carolee Schneemann

P.P.O.W./Carolina Nitsch Project Room

Carolee Schneemann is an original, and a nexus. Lissome banshee-progenitrix of Body Art and downtown doyenne whose influences span the New York School, the Judson Dance Theater, and contemporary performance, she can connect, say, Joseph Cornell (she met him when she was around twenty) and Matthew Barney (see Up To And Including Her Limits, 1971–76, her drawing-in-a-harness performance). After fifty years and counting of exhibiting, she remains “Carolee, naked and maenadian,” as Lucy Lippard apostrophized her in 1979. “Painting, What It Became” at P.P.O.W., curated by Maura Reilly, surveyed the development of Schneemann’s work from paintings of the late ’50s to the various media she contends with today. It bespoke an eminence already anointed not as seminal—that would be wrong, of course—but, to quote Jerome Rothenberg, as “germinal.”

Can we opine, then, that Schneemann is at last safely

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