The Estate of Carolee Schneemann
b. 1939, Fox Chase, PA
d. 2019, New Paltz, NY
MFA, University of Illinois, Urbana, Illinois
BA, Bard College, Annandale-On-Hudson, New York
School of Painting and Sculpture, Columbia University, New York
The New School for Social Research, New York
La Universidad De Puebla, Mexico
2022 Carolee Schneemann, Barbican Museum, London, UK (forthcoming)
2021 After Carolee: Tender and Fierce, Artpace San Antonio, TX
2020 Liebeslust und Totentanz (Love’s Joy and Dance of Death), Bundner Kunstmuseum, Chur
Off the Walls: Gifts from Professor John R. Robertson, Blanton Museum of Art, Austin, TX
American Women: The Infinite Journey, La Patinoire Royale, galerie Valérie Bach
All of Them Witches, curated by Dan Nadal and Laurie Simmons, Jeffrey Deitch, Los Angeles, CA
Don’t Let this be Easy, Walker Art Center, Minneapolis, MN
Barney, Scheemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan
2019 Carolee Schneeman, les Abattoirs, Toulouse, France
Up to and Including Her Limits: After Carolee Schneemann, Museum Susch, Zernez, Switzerland
Exhibition of Edition Works, Michele Didier, Paris, France
Carolee Schneeman, mfc-michele Didier, Paris, France
2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany; MoMA PS 1, Long Island City, NY
More Wrong Things, Hales Gallery, London, United Kingdom
2016 Further Evidence – Exhibit A, P·P·O·W, New York, NY
Further Evidence – Exhibit B, Galerie Lelong, New York, NY
2015 Kinetic Painting, Museum der Moderne Salzburg, Salzburg, Austria
Carolee Schneemann: Infinity Kisses, The Merchant House, Amsterdam, Netherlands
Carolee Schneemann Residency, curated by Jenny Jaskey, Artist’s Institute at Hunter College, New York, NY
2014 Lost Meanings of the Christmas Tree, invitational performance, Whitney Museum of American Art, New York, NY
Carolee Schneemann: Her Letters, G Gallery, Kunstverein Toronto, Ontario, Canada
Carolee Schneemann at Bryn Mawr, Canaday Library, Bryn Mawr College, Bryn Mawr, PA
Water Light/Water Needle, Hales Gallery, London, England
Carolee Schneemann: Precarious, Musée departemental d’art contemporain Rochechouart, France
Carolee Schneemann: Then and Now, MUSAC, Léon, Spain
Carolee Schneemann: A Program of Short Videos, Woodstock Artists Association and Museum, Woodstock, NY
Flange 6rpm, T-Space, Rhinebeck, NY
Films and Videos by Carolee Schneemann, Anthology Film Archives, New York, NY
2013 Then and Now Carolee Schneemann: Oeuvres d’Histoire, Musee departemental d’art contemporain, Rochechouart, France
Flange 6rpm, P·P·O·W, New York, NY
Life Book, WRO Center, Wroclaw, Poland
Sweden Bienalle, Gothenburg, Sweden
Carolee Schneemann: Infinity Kisses, Galerie Samuel Lallouz, Montreal, Canada
Precarious, Sammlung Friedrichshof Gallery, Vienna, Austria
Taking Matters into Our Own Hands, Richard Saltoun, London, England
2012 Remains to be Seen, Gallery Paule Anglim, San Francisco, CA; Edinburgh Art Festival, Summerhall, Edinburgh, United Kingdom
Within and Beyond the Premises, Krannert Art Museum, University of Illinois at Urbana-Champaign, IL
2011 Carolee Schneemann: Within and Beyond the Premises, Henry Art Gallery, University of Washington, Seattle, WA
Circa 1971: Early Video & Film from the EAI Archive, Dia, Beacon, NY
2010 Carolee Schneemann: Up To and Including Her Limits, Gallery One One One, Winnipeg, Canada
Carolee Schneemann: Within and Beyond the Premises, Samuel Dorsky Museum of Art, SUNY New Paltz, NY
2009 Painting, What It Became, P·P·O·W, New York, NY
Carolee Schneemann: Performance Photographs from the 1970s, Carolina Nitsch Project Room, New York, NY
2007 A Selection of Recent and Early Work, Pierre Menard Gallery, Cambridge, MA
Breaking Borders, MOCCA, Toronto, Canada
Remains to be Seen, CEPA Gallery, Buffalo, NY
2006 Devour, Presentation House Gallery, Vancouver, Canada
CORPOREAL – Photographic Works 1963-2005, P·P·O·W, New York, NY
2005 Devour, Articule, Montreal, Canada
2004 Infinity Kisses II & SNAFU, Remy Toledo Gallery, New York, NY
2002 Embodied, P·P·O·W, New York, NY
Gallerie Anne de Villepoix, Paris, France
Interior Scroll, Center for Curatorial Studies Museum, Bard College, New York, NY
2001 More Wrong Things, Cornerhouse, Manchester, UK; White Box Gallery, New York, NY
2000 Vespers Pool, Emily Harvey Gallery, New York, NY
1999 Carolee Schneemann: Drawing Performance, Art Gallery at University of Southern Maine, Gorham, ME
Carolee Schneemann: Strike, Mark, Motion, Mabel Smith Douglass Galleries, Rutgers University, New Brunswick, NJ
1997 Schneemann in Bonn, Frauen Museum, Bonn, Germany
1996 Carolee Schneemann: Up to and Including Her Limits, New Museum of Contemporary Art, New York, NY
Fragments of Known/Unknown Plague Column, Galerie Samuel Lallouz, Montreal, Canada
Known/Unknown Plague Column, Elga Wimmer Gallery, New York, NY
1995 Carolee Schneemann: Compositions with Interior Scroll, Mount Saint Vincent University Gallery, Nova Scotia
Moral Coils and Up To and Including Her Limits, Kunstraum, Vienna, Austria
Something Special: Carolee Schneemann Recent Prints and Photographs, Galerie Krinzinger, Vienna, Austria
Recent Prints: Perceptual Pollution – Benday and Pixel, Fine Arts Center, University of Rhode Island, Wakefield, RI
1994 Mortal Coils, Penine Hart Gallery, New York, NY
Matrilineage, Syracuse University, New York, NY
1992 Cycladic Imprints, Tangeman Fine Arts Gallery, Cincinnati, OH; Randolph St. Gallery, Chicago, IL.
1991 Scroll Paintings with Exploded TV Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA
1990 Cycladic Imprints, Emily Harvey Gallery, New York, NY
1988 Self-Shot, Emily Harvey Gallery, New York, NY
1986 Recent & Early Work, Henri Gallery, Washington, DC
1985 Recent Work, Max Hutchinson Gallery, New York, NY
1984 Kent State University, Department of Fine Arts, University Gallery, Kent, OH
Maryland Institute College of Art, Baltimore, MD
Performed Paintings and Works on Paper, Kleinart Gallery, Woodstock, NY
1983 Recent Work, Max Hutchinson Gallery, New York, NY
Colby-Sawyer College, New London, NH
Works on Paper, Rutgers University, Douglass College, New Brunswick, NJ
1982 Early Work, Max Hutchinson Gallery, New York, NY
1981 Image/Texts and Debris Grid, Real Art Ways, Hartford, CT
Image/Texts, Washington Projects for the Arts, Washington, DC
Fresh Blood: A Dream Morphology, Washington Projects for the Arts, Washington, DC
1980 Dirty Pictures, A.I.R. Gallery, New York, NY
1979 ABC – We Print Anything – In the Cards, Gallery De Appel, Amsterdam, Netherlands
Forbidden Actions, C Space, New York, NY
Bard College, Annandale-on-Hudson, NY
1977 Multiples, Archives Francesco Conz, Italy
ABC - We Print Anything – In the Cards, Gallery De Appel, Amersterdam, Netherlands
1974 Up To And Including Her Limits, University Art Museum, Berkeley, CA
1964 The Sale, Artist’s Studio, New York, NY
1963 Eye Body, Artist’s Studio, New York, NY
1962 Mink Paws Turret, Artist’s Studio, New York, NY
SELECT GROUP EXHIBITIONS
2020 MY BODY, MY RULES, Pérez Art Museum Miami, FL
Off the Walls: Gifts from Professor John. A. Robertson, Blanton Museum of Art, Austin, TX
Don’t Let This Be Easy, Walker Art Center, Minneapolis, MN
Barney, Schneemann, Shiraga, Tanaka, Fergus McCaffrey, Tokyo, Japan
Dance Me to the End of Love. Ein Totentanz, Bündner Kunstmuseum Chur, Switzerland
Irregation Viens: Ana Mendieta and Carolee Schneemann, selected works 1966-1983 in collaboration with Galerie Lelong, online exhibition, P.P.O.W, New York, NY
Mapping the Collection, Museum Ludwig, Cologne, Germany
All of Them Witches, Curated by Dan Nadal and Laurie Simmons, Jeffery Deitch, Los Angeles, CA
American Women, The Infinite Journey, La Patinoire Royale- Galerie Valerie Bach, Brussels, DE
2019 Feminist Avant-Garde of the 1970s: Works from the SAMMLUNG VERBUND Collection, The Brno House of Arts, Brno, Czech Republic
Bookworks, Tufts University Galleries, Boston University, Boston
Artists Respond: American Art and the Vietnam War, 1965–1975, Smithsonian American Art Museum, Washington, D.C.
Discoteca Analitica, Kunsthalle Fribourg, Fribourg, Switzerland
Incendiary Gestures: Destruction in Art, 1950-70, Museau d’Art Contemporani de Barcelona (MACBA), Barcelona, Spain
American Women, The Infinite Journey, La Patinoire Royale – Galerie Valerie, Bach, Brussels
2018 My Silences Had Not Protected Me, Fort Gansevoort, New York, NY
Matter of Masters: 5 Years TMH, The Merchant House, Amsterdam, The Netherlands
Judson Dance Theater: The Work Is Never Done, Museum of Modern Art, New York, NY
Laid Bare in the Landscape, Nevada Museum of Art, Reno, NV
Actions in the Forest, Brandenburgischer Kunstverein, Potsdam, Germany
Feminist Avant-Garde of the 1970: Works from the SAMMLUNG VERBUND Collection, Stavanger Art Museum, Norway
Of the Self and of the Other, Galerie Lelong & Co., New York, NY
2017 Feminist Avant-Garde of the 1970s: Works from the SAMMLUNG VERBUND Collection, ZKM Zentrum für Kunst und Medien, Karlsruhe, Germany
The Everywhere Studio, Institute of Contemporary Art, Miami, FL
Person of the Crowd, Barnes Foundation, Philadelphia, PA
Visual Notes for an Upside-Down World, P·P·O·W, New York, NY
Exo Emo, curated by Vera Alemani and Antoine Catala, Greene Naftali, New York, NY
Cunt, Venus Over Los Angeles, Los Angeles, CA
Delirious: Art at the Limits of Reason, 1950-1980, Met Breuer, New York, NY
2016 Postwar: Art between the Pacific and the Atlantic, 1945-1965, curated by Okwui Enwezor, Katy Siegel, and Ulrich Wilmes, Haus der Kunst, Munich, Germany
Coming to Power: 25 Years of Sexually X-Plicit Art by Women, Maccarone, New York, NY
Feminist Avantgarde of the 1970s: Works from the SAMMLUNG VERBUND Collection, Vienna, curated by Gabriele Schor, SAMMLUNG VERBUND, Vienna, Austria
In a Dream you Saw a Way to Survive and you Were Full of Joy, curated by Elizabeth Price, The Whitworth, University of Manchester, Manchester, UK
From the Collection: The 1960s, Museum of Modern Art, New York, NY
Gimmie Gimmie Gimmie, curated by Todd Pavlisko, Alice F. and Harris K. Weston Art Gallery, Aronoff Center for the Arts, Cincinnati, OH
Shimmering Substance: Selections from Pollock-Krasner Foundation Grantees of The Hudson Valley, curated by Heather Hutchison, Doug Milford, and Portia Munson, Woodstock Byrdcliffe Guild, Woodstock, NY
Cut-Up: Contemporary Collage and Cut-Up Histories Through a Feminist Lens, Franklin Street Works, Stamford, CT
A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s, Mary and Leigh Block Museum of Art, Northwestern University, Evanston, IL; Grey Art Gallery, New York University, New York, NY
2015 The Great Mother, Fondazione Nicola Trussardi, Milan, Italy
America is Hard to See, Whitney Museum of American Art, New York, NY
Beastly / Tierisch, Fotomuseum Winterthur, Zurich, Switzerland
What We Call Love: From Surrealism to Now, IMMA the Irish Museum of Modern Art, Dublin, Ireland
2014 Go Stand Next to the Mountain, Hales Gallery, London, England
SELF-TIMER STORIES, Museum der Moderne Salzburg, Salzburg, Austria
Behind the Personal Library: Collectors Creating the Canon, The Center for Book Arts, New York, NY
Institute of Sexology, Wellcome Collection, London, England
Future Feminism, The Hole, New York, NY
Retroactive: Performance Art from 1964 –1987, Delaware Museum of Art, Wilmington, DE
Feminine Futures, Centre d'art contemporain Le Consortium, Dijon, France
SELF-TIMER STORIES, Austrian Cultural Forum New York, New York, NY
SCORE, curated by Amy Sillman and Cheney Thompson, CCS Bard Hessel Museum, Annandale-on-Hudson, NY
Woman. The Feminist Avant-Garde from the 1970s: Works from the Sammlung Verbund, Summer of Photography Edition 2014, BOZAR Expo, Center for Fine Arts, Brussels, Belgium
Readykeulous by Ridykeulous: What Liberation Feels Like, Contemporary Art Museum, St. Louis, MO
TIME: CODE, Whitebox Art Center, New York, NY
HYPER-RESEMBLANCES: Cut, Print: From Collage to Film and Back Again, Wallach Art Gallery, Columbia University, New York, NY
Known/Unknown, Zacheta Gallery, Warsaw, Poland
2013 Beyond the Cloth (The Kafiye Project), White Box, New York, NY
My Brain is in My Inkstand, Cranbrook Art Museum, Bloomfield Hills, MI
Elles: Women Artists from the Centre Pompidou, Paris Centro Cultural Banco do Brasil, Belo Horizonte, Brazil
Temptation of the Diagram, Andrea Rosen Gallery, New York, NY
One of a Kind IV: Unique Artist Books, AC Institute, New York, NY
Painting, THE BOX, Los Angeles, CA
Eclectic Mature, White Box, New York, NY
Taking Matters into Our Own Hands, Richard Saltoun, London, England
Paperwork: A Brief History of Artists’ Scrapbooks, Andrew Roth Gallery, New York, NY
2012 In the Pink, Joe Sheftel Gallery, New York, NY
Screw You, Susan Inglett Gallery, New York, NY
Happenings 1958-63, Pace Gallery, New York, NY
2011 Body Gesture, Elizabeth Leach Gallery, New York, NY
Remix: Selections from the International Collage Center, The Samek Art Gallery, Bucknell University, Lewisburg, PA; Daum Museum of Contemporary Art, Sedalia, MO; Katonah Museum of Art, Katonah, NY; Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville, TN; Bates College Museum of Art, Lewiston, ME
Modern Women: Single Channel, MoMA P.S. 1, Long Island City, NY
112 Greene Street: A Nexus of Ideas in the Early 70's, Salomon Contemporary: Project Room, New York, NY
Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY
Vanishing Art: An Intimate Festival of What May Be, Seven Pillars House of Wisdom, New Lebanon, NY
Moving On, Tiger Strikes Asteroid, Philadelphia, PA
The Body as An Event, Centre Pompidou, Paris, France
2010 On Line: Drawing Through the Twentieth Century, Museum of Modern Art, New York, NY
Experimental Women in Flux: Selective Reading in the Silverman Reference Library, Museum of Modern Art, New York, NY
Maya Deren’s Legacy: Women and Experimental Film, Museum of Modern Art, New York, NY
Pictures by Woman: A History of Modern Photography, Museum of Modern Art, New York, NY
Until Now: Collecting the New (1960-2010), curated by Elizabeth Armstrong, Minneapolis Institute of Arts, Minneapolis, MN
Women in the 21st Century: Margaret Fuller and the Sacred Marriage, curated by Lisa Paul Streitfeld, Pierre Menard Gallery, Boston, MA
The Visible Vagina, Francis Naumann Fine Art, New York, NY; David Nolan Gallery, New York, NY
2009 Daughters of the Revolution: Women & Collage, Pavel Zubok Gallery, New York, NY
Out of the Box, Elga Wimmer Gallery, New York, NY
Incheon Women’s Artists Biennale, Incheon, Korea
Animal House: Works of Art Made by Animals, SAW Gallery, Ottawa, Canada
Heaven, 2nd Athens Biennale, Athens, Greece
2008 Ego Documents – The Autobiographical in Contemporary Art, curated by Kathleen Bühler, Kunstmuseum, Bern, Switzerland
Whatever Happened to Sex in Scandinavia, Office for Contemporary Art, Oslo, Norway
Burning Down the House: Building a Feminist Art Collection, curated by Maura Reilly and Nicole Caruth, Brooklyn Museum, Brooklyn, NY
Meat after Meat Joy, curated by Heide Hatry, Daneyal Mahmood Gallery, New York, NY
Diana+Actaeon: The Forbidden Glimpse of the Naked Body, Museum Kunst Palast, Düsseldorf, Germany
Sydney Biennale, Sydney, Australia
Experiment Marathon Reykjavik, Reykjavik Art Museum, Iceland
Jack*%ss, Susan Inglett Gallery, New York, NY
Intimacies of Distant War, Samuel Dorsky Museum of Art, SUNY New Paltz, NY
High Times, Hard Times, ZKM Center for Media and Art, Karlsruhe, Germany
Comme des betes (Like animals), Musee des Beaux-Arts, Lausanne, Switzerland
Love, Elga Wimmer Gallery, New York, NY
Impermanent Markings, Pratt Manhattan Gallery, New York, NY
Female Forms and Facets: Artwork by Women from 1975 to the Present, Central Connecticut State University Gallery, New Britain, CT
Close Up, curated by Dawn Ades and Simon Baker, The Fruitmarket Gallery, Edinburgh, Scotland
2007 Out of the Box, curated by Heide Hatry, Elga Wimmer Gallery, New York, NY
Claiming Space: The American Feminist Originators, Katzen Arts Center at American University, Washington, DC
Architecture: A Borderline Case, Art Gallery of Windsor, Toronto, Canada
Ensemble, Institute of Contemporary Art, Philadelphia, PA
New York State of Mind, curated by Shaheen Merali, Haus der Kulturen der Welt, Berlin
KISS KISS BANG BANG, curated by Arakis Arakistan, Museo de Bellas Artes y de Arte Moderno de Bilbao, Bilbao, Spain
Role Play: Feminist Art Revisited 1960-1980, Galerie Lelong, New York, NY
WACK! Art and the Feminist Revolution, 1965-1980, Museum of Contemporary Art, Los Angeles, CA; National Museum of Women in the Arts, Washington, DC; MoMA P.S. 1, Long Island City, NY; Vancouver Art Gallery, Vancouver, Canada
Vertigo, Museum of Modern Art, Bologna, Italy
Battle of the Sexes, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain
Poetic Terrorism-FEM 7, Festival Edicion Madrid de Neuvos Creadores, Paseo de Prado, Madrid, Spain
2006 Primitivism Revisited, Sean Kelly Gallery, New York, NY
Big City Fall, P·P·O·W, New York, NY
Annual Benefit at the Robert Miller Gallery, White Box Gallery, New York, NY
Into Me/Out of Me, MoMA P.S. 1, Long Island City, NY; KunstWerke Institute for Contemporary Art, Berlin, Germany
Museo D’Arte Contemporanea, Rome, Italy
Taipei Bienneal 2006 – Dirty Yoga, Taipei Fine Arts Museum, Taipei, Taiwan
Primera generacion – Arte e imagen en movimiento, Reina Sofia Museum, Madrid, Spain
26 Anos – Encontros de Fotografia, Colegio des Artes, Portugal
The Message is the Medium, Jim Kempner Fine Art, New York, NY
PLANE/FIGURE (American Art from Swiss Collection), Jim Kempner Fine Art, New York, NY
High Times – Hard Times, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; American University Museum at the Katzen Arts Center, Washington, DC; National Academy Museum, New York, NY; Independent Curator’s International, New York, NY
How I Finally Accepted Fate, EFA Gallery, New York, NY
The Downtown Show: The New York Art Scene, 1974-1984. Grey Art Gallery, New York University, NY; Warhol Museum, Pittsburgh, PA; University Museum, Austin, TX
Potentially Harmful: The Art of American Censorship, Georgia State University, Atlanta, GA
The Early Show: Video from 1969-1979, Hunter College- 68th and Lexington Gallery, New York, NY
2005 Heroines, with Ana Mendieta and Valie Export, Galerie Akinci, Amsterdam, Holland
Women: Metamorphosis of Modernity, Joan Miro Foundation, Barcelona, Spain
How American Women Artists Invented Post-Modernism, Mason Gross School of the Arts Galleries at Rutgers University, New Brunswick, NJ
Including Their Limits – NY Painting 1966-1976, Independent Curator’s International, New York, NY
Multiple Strategies, Contemporary Arts Center, Cincinnati, OH
Faces in the Crowd: Picturing Modern Life from Manet to Today, Castello di Rivoli, Turin, Italy
Very Early Pictures, Luckman Gallery, California State University, Los Angeles, CA; Arcadia University Art Gallery, Glenside, PA
Feminist Redux, with Edelson, Mendieta, and Weiss, Remy Toledo Gallery, New York, NY
Up to and Including Her Limits, Macedonian Museum of Contemporary Art, Greece; Contemporary Art Center, Florence, Italy
Disembodied, Mois de la Photo, Montreal, Canada
A Kiss Isn’t Just a Kiss, Contemporary Art Gallery, University of Connecticut, Storrs, CT
Mit Haut Und Haar, with Brus, Nitsch, Nauman, West, Export, Schwarzkogler, Galerie Julius Hummel, Vienna, Austria
2004 21, P·P·O·W, New York, NY
Performance en Vivo, Museo de Arte de Puerto Rico, San Juan, Puerto RIco
Form & Contents: Corporal Identity—Body Language, Museum of Arts and Design, New York, NY
Curtain Up!, CEPA Gallery, Buffalo, NY
Global Village: The Sixties, Montreal Museum of Fine Arts, Montreal, Quebec; Dallas Museum of Art, Dallas, TX
Faces in the Crowd: Picturing Modern Life from Manet to Today (2004--2005), Whitechapel Gallery, London, England
Les Panoramiques, Optica un Centre d’art Contemporain, Montreal, Quebec, Canada
The 7th Biennial Photography Art Auction, CEPA Gallery, Buffalo, NY
Anatomically Correct, 473 Broadway Gallery, New York, NY
Sexy Beasts 1963--2004, Ethan Cohen Fine Arts, New York, NY
Constructive Engagement, Ocularis, Brooklyn, NY
The Cooper Union 3rd Annual Urban Visionaries Award Dinner & Auction, Hammerstein Ballroom, New York, NY
Postcards From the Edge Visual AIDS Benefit, Brent Sikkema Gallery, New York, NY
The Evolution Festival, Lumen, Leeds, England
2003 Skin--Deep, Il Museo d’Arte Moderna e Contemporanea di Trento e Roverto, Italy
Change of Valves, Espai d’Art Contemporani de Castello, Spain
Xscreen, Ludwig Museum, Vienna, Austria
An Exhibition Around Life, Zen, and Art, Archivio Emily Harvey, Venice, Italy
Catholic: A New Art Publication and Exhibition, Guild & Greyshkul, New York, NY
Beta Launch: Artists in Residency, Eyebeam, New York, NY
Form & Contents: Corporal Identity, Body Language, Museum for Angewandte Kunst, Frankfurt, Germany
Critical Mass: Happenings, Fluxus, Performance, Intermedia & Rutgers University, 1958-1971, Mead Art Museum, Amherst College, Amherst, MA
Women in the Same Coat by Nicola L, Briggs Robinson Gallery, New York, NY
Gloria: Another Look at Feminist Art of the 1970’s, Galleries at Moore, Philadelphia, PA
Body Politics, Elga Wimmer PCC, New York, NY
Witness: Theories of Seduction, Dorsky Gallery, New York, NY
High Performance: The First Five Years, 1978-1982, Museum of Contemporary Art, Los Angeles, CA
Various Properties, Morris & Helen Belkin Art Gallery, British Columbia, Canada
Serious Play--Metaphorical Gestures, Austrian Cultural Center, New York, NY
2002 Homage to Rudolf Schwarzkogler, Baumgartner Gallery, New York, NY
Crisis Response, The RISD Museum of Art, Providence, RI
A Short History of Performance: Part One, Whitechapel Art Gallery, London, England
Corporeal/Cuerpo Real, Photo Espana, Centro Cultural Conde Duque, Madrid, Spain
Homage to Rudolf, Schwarzkoger, Gallery Krinzinger, Vienna, Austria
Gloria: Another Look at Feminist Art in the 1970’s, White Columns, New York, NY
Invitational Exhibition of Painting & Sculpture, The American Academy of Arts and Letters, New York, NY
Women Artists: Their Work and Influence, 1950’s –1970’s, Gallery Paule Anglim, San Francisco, CA
Re: La Chinoise, Baumgartner Gallery, New York, NY
Goddesses, Galerie Lelong, New York, NY
High Performance: The first 5 years, 1978-1982, Bard Center for Curatorial Studies, Annandale-on-Hudson, NY
Textual Operations, White Box Gallery, New York, NY
Art and Outrage, Robert Miller Gallery, New York, NY
Postcards, A.I.R. Gallery, New York, NY
Happening In Actions, Ludwig Museum of Modern Art, Vienna, Austria
Fluxus Itself, Reina Sofia Museum, Madrid, Spain
Personal and Political: The Women’s Art Movement, 1969-1975, Guild Hall, East Hampton, NY
Public Affairs, Kunsthaus, Zurich, Switzerland
2001 01 01 01: Art in Technological Times, San Francisco Museum of Modern Art, San Francisco, CA
More Wrong Things, White Box, New York, NY
More Wrong Things, Cornerhouse, Manchester, UK
Les Voluptes, Borusan Art Gallery, Istanbul, Turkey
Between Sound and Vision, Gallery 400, University of Illinois, Chicago, IL
Double Trouble: CS and Sands Murray- Wassink, Gallerie Cokkie Snoei, Rotterdam, Holland
Project 1., Elga Wimmer Gallery, New York, NY
2000 MAN Body in Art from1950-2000, Arken Museum of Modern Art, Copenhagen, Denmark
Tempus Fugit: Time Flies, The Nelson-Atkin’s Museum of Art, Kansas City, MO
Unexpectedly Research, Arco Collections, Madrid, Spain
Vesper Pool, Emily Harvey Gallery, New York, NY
Here Kitty Kitty, Nexus Contemporary Art Center, Atlanta, GA
The End: An 18-Year History of Exit Art, Exit Art, New York, NY
Double Space, Apex Gallery, New York, NY
Sensuality, Love and Sexuality, Trondheim Kunstmuseum, Trondheim, Norway
The Wounded Diva, Die verletzte Diva, Stadtische Galerie im Lenbachhaus, Munich, Germany
Action/Performance and the Photograph, Sidney Mishkin Gallery, Baruch College, New York, NY
Animal, Anima, Animus, Winnipeg Art Gallery, Winnipeg, Canada
Der anagrammatische Korpe, Neue Galerie am Landesmuseum, Joanneum, Germany
Vivisection, Location One, New York, NY
Rites of Passage: Quinceneras, Blue Star Art Space, San Antonio, TX
Summerstage, Charim Klocker 2, Salzburg, Austria
“Animal Animal,” Bayly Art Museum, University of Virginia, Charlottesville, VA
1999 The American Century: Art & Culture 1950-2000, Whitney Museum of American Art, New York, NY
Out of Actions, Museum of Contemporary Art, Tokyo, Japan
Coming to Life: The Figure in American Art 1955-1965, Henry Art Gallery, Seattle, WA
Red Square, Smack Mellon Studios, Brooklyn, NY
Treatment: Women’s Bodies in Medical Science and Art, Dinnerware Gallery, Tucson, AZ
New Works: 99.1, Art Pace Gallery, San Antonio, TX
Animal, Anima, Animus, Winnipeg Art Gallery, Winnipeg, Manitoba, Canada
No limits: A Celebration of Freedom & Art, Judson Memorial Church, New York, NY; Smack Mellon Studios, Brooklyn, NY
Animal, Anima, Animus, P.S. 1 Contemporary Art Center, New York, NY
Art for Arts Sake, Bard College Center for Curatorial Studies Museum, Annandale-on-Hudson, NY
An Inadequate History of Conceptual Art, American Fine Arts Gallery, New York, NY
Calendar 2000, Bard College Center for Curatorial Studies Museum, Annandale-on-Hudson, NY
Hedge: Between Time and Inten, Thomas Healy Gallery, New York, NY
Head to Toe: Impressing the Body, University Gallery of the University of Massachusetts, Amherst, MA
1998 Promuovere l’Alluvione: Fluxus nella sua Epoca 1958-1978, Centro per l’Arte Contemporanea, Umbertide, Italy
The Tip of the Iceberg: A Response to New York Museums, Dorfman Projects, New York, NY
Animal, Anima, Animus, Porin Taidemuseo, Pori, Finland
The Theater of Cruelty, Cristinerose Gallery, New York, NY
The Bathroom, Thomas Healy Gallery, New York, NY
Techno: An Exhibition of Modern Art, Gallery Eugenia Cucalon, New York, NY
Museau d'Art Contemporani, Barcelona, Spain
Out of Actions: Between Performance and the Object 1949-1979, Museum of Contemporary Art, Los Angeles, CA
Museum voor Moderne Kunst, Arnhem, Netherlands
Re: Duchamp/Contemporary Artists Respond to Marcel Duchamp’s Influence, Abraham Lubelsky Gallery, New York, NY
Out of Actions: Between Performance and the Object 1949-1979, Osterreichisches Museum fur Angewandte Kunst, Vienna, Austria
Out of Actions: Between Performance and the Object 1949-1979, Museau d’Art Contemporani, Barcelona, Spain
1997 Women in Photography: Transforming the Mirror, Simmons College, Boston, MA
Action/ Performance and the Photograph, Craig Krull Gallery, Pasadena, CA
Video (desnudo), Art & Idea, Correos, Mexico
Making Pictures: Women and Photography, 1975 – Now, Bernard Toale Gallery, New York, NY
Drawing Performance, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
Body in the Lens, Musee des Beaux-Arts de Montreal, Montreal, Canada
Auto Portait: The Calligraphy of Power, Exit Art, New York, NY
Summer of Love, Fotouhi-Cramer Gallery, New York, NY
Drawn and Quartered, Elga Wimmer Gallery, New York, NY
Text and Touch, Art Gallery at Hunter College, New York, NY
Hall of Mirrors: Art and Film Since1945, Museum of Contemporary Art, Los Angeles, CA; Wexner Center, Columbus, OH; Palazzo delle Esposizioni, Rome, Italy; Museum of Contemporary Art, Chicago, IL
1996 Le Cirque 96: Une Manifestation d’artistes Contemporains, Cirque d’Hiver, Paris, France
(Nude): A Comparison of the Artist in Video from the 1970s and 1990s, Catharine Clark Gallery, San Francisco, CA; Trans Hudson Gallery, New York, NY
Making Pictures: Women and Photography, 1975—Now, Nicole Klagsbrun Gallery, New York, NY
Action/Performance and the Photograph, Craig Krull Gallery, Pasadena, CA; Hatton Gallery, Colorado State University, Fort Collins, CO
Virtual Reality Touching Pornography, International Center for Photography, New York, NY
Instructions Per Second, International Festival of Films on Art, Montreal, Canada; World Wide Video Festival, The Hague, Netherlands
Meet the Artist, SoHo Arts Festival, New York, NY
Fifth Year Celebration, Elga Wimmer Gallery, New York, NY
Hall of Mirrors: Art & Film Since 1945, Museum of Contemporary, Los Angeles, CA
Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History, Hammer Museum, Los Angeles, CA
The Body as a Membrane, Kunsthallen Brandts Klaedefabrik, Odense, Denmark
Devotional Writers, Biblio's Bookstore and Cafe, New York, NY
Drawings and Maquettes by Sculptors, Galerie Samuel Lallouz, Montreal, Canada
Estro Turf, Annika Sundvik Gallery, New York, NY
Beat Culture and the New America: 1950-1965, Whitney Museum of American Art, New York, NY
Wheel of Fortune: Artists Interpret the Tarot, Lombard/Freid Fine Arts, New York, NY
Feminin/Masculin: le Sexe de l’Art, Centre Georges Pompidou, Paris, France
1995 System Aesthetics: Works from the Permanent Collection, San Francisco Museum of Modern Art, San Francisco, CA
Multimediale 4, Zentrum fur Kunst und Medientechnologie, Karlsruhe, Germany
Human/Nature, The New Museum of Contemporary Art, New York, NY
Bestial Angels, William King Art Center, Abingdon, Virginia
Exhibition of Alternative Religions, First National Church of the Exquisite Panic, Inc., New York, NY
Wheel of Fortune: Artists Interpret the Tarot, Lombard/Freid Fine Arts, New York, NY
Feminin/Masculin: le Sexe de l’Art, Centre Georges Pompidou, Paris, France
Revolution: Art of the Sixties from Warhol to Beuys, Museum of Contemporary Art, Tokyo, Japan
Women on the Verge (Fluxus or Not), Elga Wimmer Gallery, New York, NY
Action/Performance and the Photograph, Craig Krull Gallery, Pasadena, CA
Phallic Symbols: Images in Contemporary Art, Hal Bromm Gallery, New York, NY
Outside the Frame: Performance & the Object, Snug Harbor Cultural Center, Staten Island, NY
Revealing Desire, Cristinerose Gallery, New York, NY
Endurance, Exit Art, New York, NY
Recent Acquisitions: Photography, Museum of Modern Art, New York, NY
In a Different Light, Matrix Gallery, University Art Museum, University of California at Berkeley, CA
Acconci, Antoni, Burden, Mendieta, Nauman, Schneemann, Wilke, Natalie Karg/Josh Baer Gallery, New York, NY
Neo-Dada: Redefining Art, organized by the American Federation of Arts, The Equitable Gallery, New York, NY
In The Spirit of Fluxus, Walker Art Center, Minneapolis, MN
Hors Limites 1960-1995, Centre Pompidou, Paris, France
1994 Blast Art Benefit, TZ’ Art & Co Gallery, New York, NY
The Return of the Cadaver Exquisite, Drawing Center, New York, NY; Corcoran Gallery of Art, Washington, DC; Fundacion para el Arte Contemporanea, Mexico City, Mexico
The Exquisite Corpse, Atlantic Center for the Arts, New Smyrna Beach, FL
Shape Your Body: Verso il Corpo Astratto, La Giarina, Verona, Italy
Oh Boy! It’s a Girl!, Kunstverein, Munich, Germany
Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art, Cleveland, OH
Neo-Dada: Redefining Art, American Federation of Arts, Philadelphia, PA
1993 Blast Benefit, X-Art Foundation, New York, NY
Faculty Artists 1981-1993, Hunter College Art Gallery, New York, NY
Abject Art, Whitney Museum of American Art, New York, NY
Action, Performance and the Photograph, Turner/Krull Gallery, Los Angeles, CA
Living Rites, Carla Stellweg Gallery, New York, NY
Coming to Power – 25 Years of Sexually X-Plicit Art by Women, David Zwirner Gallery, New York, NY
In the Spirit of Fluxus, Walker Art Center, Minneapolis, MN
1920: The Subtlety of Subversion – The Continuity of Interversion, Exit Art, New York, NY
Please Observe, Bard College, Annandale-on-Hudson, NY
Bodily, Penine Hart Gallery, New York, NY
Performing Objects, Contemporary Art Center, Cincinnati, OH
FluxAttitudes, The New Museum of Contemporary Art, New York, NY
Nine Is a Four Letter Word Cycladic Imprints: Letterpress Edition, Peninsula Fine Arts Center, Newport News, VA; Philadelphia Print Club, Philadelphia, PA; Galerie Zander, Cologne, Germany; Michael Lowe Gallery, Cincinnati, OH; Key Gallery, Richmond, VA
1992 Music for Eye and Ear, Emily Harvey Gallery, New York, NY
FluxAttitudes, The New Museum of Contemporary Art, New York, NY; Hatton Gallery, Colorado State University, Fort Collins, CO
Erotiques, AB Galleries, Paris, France
Artists of Conscience: 16 Years of Social and Political Commentary, Alternative Museum, New York, NY
Blast Benefit, X-Art Foundation, New York, NY
The Transparent Thread: Asian Philosophy in Recent American Art, curated by Gail Gelburd and Geri De Paoli, Hofstra Museum, Hofstra University, Hempstead, NY; Blum Art Institute, Bard College, Annandale-on-Hudson, NY; Sarah Campbell Blauffer Gallery, Houston, TX; Salina Art Center, Salina, KS; Crocker Art Museum, Sacramento, CA; Laguna Art Museum, Laguna Beach, CA
Seeing Red, White, and Blue: Censored in the USA, Visual Arts Center of Alaska, Anchorage, AK
Made/Enacted, University of California, Santa Barbara, CA
A Feminist Erotic Iconography, Santa Barbara Museum of Contemporary Art, Santa Barbara, CA
The Rag Trade, The Inter Art Center, New York, NY
1991 The Projected Image 1991, San Francisco Museum of Modern Art, San Francisco, CA
Iron City Flux and Fluxus Deluxe, Pittsburgh Center for the Arts, Pittsburgh, PA
A Grave Silence: From Hitler to Helms, Ghia Gallery, San Francisco, CA
Lists, Cage Gallery, Cincinnati, OH
1990 The Tao of Contemporary Art, Bard College, Annandale-on-Hudson, NY
The Avant-Garde 1950-1990, Venice Biennale, Venice, Italy
Concrete Utopia, Stadtische Kunsthalle, Dusseldorf, Germany
Christmas Group Exhibit, Emily Harvey Gallery, New York, NY
Fluxus Closing In, Salvatore Ala, New York, NY
Pharmacy, Jan Kesner Gallery, Los Angeles, CA
Fluxus Subjectiv, Galerie Krinzinger, Vienna, Austria
Pianofortissimo, Fondazione Mudima, Milan, Italy
Scroll Painting with Exploded TV, Nahan Contemporary, New York, NY
Pharmacy, Jan Kesner Gallery, Los Angeles, CA
1989 The Theater of the Object, 1958-1972: Reconstructions, Recreation, Reconsiderations, Alternative Museum, New York, NY
Fluxus & Co., Emily Harvey Gallery, New York, NY
Subjective Lines—Objective Video, Colgate University Dana Arts Center, Hamilton, NY
Exhibit by Happenings Artists, Galerie Genie, Paris, France
Exhibit, Galerie 1900-2000, Paris, France
Faculty Exhibit, Huntington Art Museum, University of Texas at Austin, Austin, TX
International Experimental Film Congress, Toronto, Canada
A Different War, Whatcom Museum, Bellingham, WA
1988 New Rituals in Contemporary Art, Museum School of Fine Arts, Boston, MA
Apollo, Dionysus and Job: Performance Art and the Theater of the Object, Alternative Museum, New York, NY
Cycladic Imprints, New Music America, Miami, FL
Issues That Won’t Go Away, P·P·O·W, New York, NY
1987 Sacred Spaces, Everson Museum, Syracuse, NY
Dark Rooms, Artists Space, New York, NY
The Political is Personal, Ceres Gallery, New York, NY
Six From the Hudson Valley, Art Awareness Gallery, Lexington, NY
With Her Body in Mind, Hera Gallery, Providence, RI
Connections Project, MOCHA, New York, NY
Landmark Art Project, Museum of Seasonal Change, La Jolla, CA
1986 Letters, Clocktower, New York, NY
The Definitive Assemblage Show, Avenue B Gallery, New York, NY
Contemporary Prints, Brody’s Gallery, Washington, DC
The Heroic Female, Ceres Gallery, New York, NY
1986: A Celebration of the Arts, City Gallery, New York, NY
The Male Nude—Women Regard Men, Hudson Galleries, New York, NY
Tracking, Tracing, Marking, Pacing, National Museum of Dance, Saratoga Springs, NY
Gentlemen’s Choice, Women’s Building Gallery, Los Angeles, CA
Homage to Ana Mendieta, Zeus Trabia Gallery, New York, NY
Naked: Toward A Visual Culture, University of Colorado and Naropa Institute, Boulder, CO
1985 Modern Machines: Recent Kinetic Sculpture, Whitney Museum at Philip Morris, New York, NY
Group Work, Max Hutchinson Gallery, New York, NY
Disformation, Alternative Museum, New York, NY
1984 Blam! The Explosion of Pop, Minimalism and Performance 1958-1964, Whitney Museum of American Art, New York, NY
Salvaged – The Origins of Assemblage, MoMA P.S.1, Long Island City, NY
Carnival Knowledge, Franklin Furnace, New York, NY
Art as Social Conscience, Blum Avery Gallery, Bard College, Annandale-on-Hudson, NY
Artists Call, MoMA P.S.1, Long Island City, NY
The Drawing as Object and Idea, Sarah Lawrence College, Bronxville, NY
Sound Art, Sculpture Center, New York, NY
The Body Politic, Tower Gallery, New York, NY
1983 Film as Installation, The Clocktower, New York, NY
Events by Eight Artists, Rochester Institute of Technology, Rochester, NY
Basel Art Fair, Renate Fassbender Gallery, Basel, Switzerland
100 Drawings, Artist’s Space, New York, NY
Small Objects, A.I.R. Gallery, New York, NY
Mixed Grill, Grommet Gallery, New York, NY
Artists’ Books, M&R Fricke Gallery, Dusseldorf, Germany
1982 The Pornographic and Erotic Image – Toward Definition and Implication, International Center for Photography, New York, NY
Labyrinth of Self Consciousness, Warsaw Museum of Art, Warsaw, Poland; Lodz Museum of Art, Lodz, Poland; National Museum, Warsaw, Poland
Judson Dance Theater, Grey Art Gallery and Study Center, New York University, New York, NY
Performing the Person: Displacements of Life Narrative, State University of New York, Buffalo, NY
Tracking, Tracing, Marking, Pratt Manhattan Center Gallery, New York, NY
The Rebounding Surface, Bard College, Annadale-on-Hudson, NY
Homage to Cornell, Galerie Gabrielle Bryars, New York, NY
Erweiterte Fotografie, Kunstler Wienar Secession—Internationale Biennale, Vienna, Austria
1981 The Broken Surface, Bennington College Gallery, Bennington, VT
Broken Surfaces, Tibor de Nagy Gallery, New York, NY
Card Art Action, de Meervaart Festival, Amsterdam, Netherlands
Drawings in Motion, Museum of Contemporary Art, Chicago, IL
Miedzynarodowe Triennale Rysenku/ International Drawing Triennial, Warsaw, Poland
1980 A Decade of Women’s Performance, Contemporary Art Center, New Orleans, LA
Camere Incantate/Espansione dell’Immagine, Palazzo Reale, Milan, Italy
Heresies Benefit Exhibit, Marino Gallery, New York, NY
Pierre Restany: Homage to George Maciunas, Mohammed Centro di Communicazione, Genova, Italy
Harbingers of Apolcalypse, Museum fur Kultur, Berlin, Germany
Public Policy/ Architectural Propositions, The Storefront, New York, NY
International Artists’ Books, Visual Studies Workshop, Rochester, NY
1979 Io e Gli Altri, Galeria Apollinaire, Milan, Italy
Film as Film, Film Festival, Hayward Gallery, London, England
Artist and Book—The Literal Use of Time, Ulrich Museum of Art, Kansas City, MO
1978 The Museum of Drawers, Cooper-Hewitt Museum, New York, NY
Artwords and Bookworks, Los Angeles Institute of Contemporary Art, Los Angeles, CA
Artists Books, Franklin Furnace, New York, NY
Women’s Art by Four, Galeria Karki, Warsaw, Poland
Contemporaries, Women’s Caucus for Art, New York University Graduate Center, New York, NY
1977 La Boutique Aberrante, Centre Ceorges Pomidou, Paris, France
Contact: Women and Nature, Greenwich Library, Greenwich, CT
Nothing But Nudes, Whitney Museum Downtown, New York, NY
1976 32-Inch Reading Room, A.I.R. Gallery, New York, NY
Painting, State University of New York Gallery, New York, NY
Charles Henri Ford Invites Post Cards, Iolas Gallery, New York, NY
Judson Dance Theater Exhibit and Archives, Judson Church, New York, NY
1975 Artists and Post Cards, Loeb Student Center, New York University, New York, NY
Group Exhibition, Tarte Gallery, New York, NY
Throw Away, Avant-Garde Festival, Grand Central Station, New York, NY
1971 Electronic Activation Room, Happenings & Fluxus, Kunstverein, Koln, Germany
1967 Scores & Drawings: John Cage Notations, Leo Castelli Gallery, New York, NY
Snug Harbor, Avant--Garde Festival, Staten Island, NY
Torture Environment, Judson Church, New York, NY
1965 Objects by Five, Van de Bovenkamp Gallerie, New York, NY
1964 Contemporary Drawing, Rose Art Museum, Waltham, MA
1963 Group Exhibition, The Federation of the Arts, Philadelphia, PA
Three Worlds, 10/4 Gallery, New York, NY
1962 Group Exhibition, Theater Innovations, Denver, CO
AWARDS AND GRANTS
2017 Golden Lion for LIfetime Achievement, 57th International Art Exhibition of La Biennale di Venezia, Venice, Italy
2014 Aurora Award, Aurora Picture Show, Houston, TX
2012 Yoko Ono Lennon Courage Award
USA Rockefeller Fellow
Bard College President’s Awards: Charles Flint Kellogg Award in Arts and Letters
2011 Women’s Caucus for Art, Lifetime Achievement Award
Women’s Studio Workshop 2011 Gala, Honoring Carolee Schneemann
2006 Anonymous Was a Woman Award
2003 Honorary Doctor of Arts Degree, California Institute of the Arts, Valencia, CA
2002 Jimmy Earnst Award for Lifetime Achievement, American Academy of Arts and Letters
2001 Skowhegan 10th Annual Awards, Medal for Performance
Rockefeller Foundation Award, Film/Video/Multi-Media Fellowship
College Art Association’s Distinguished Artist Award for Lifetime Achievement
2000 Chicago Caucus for Women in the Arts Lifetime Achievement Award
1999 ArtPace Foundation, San Antonio, Texas, Artist Grant
International Artist-in-Residence Program Grant
1998 Andrea Frank Foundation Artist Grant, New York, NY
Pollock-Krasner Artist Grant, New York, NY
1997 Pollock-Krasner Artist Grant, New York, NY
1993 Guggenheim Fellowship
1987 Gottlieb Foundation—Individual Artist Grant
1983 National Endowment for the Arts—Visual Artist Grant
1978 ZBS Sound Production Grant for Film
CAPS Grant-Fellowship, Multimedia
National Endowment for the Arts—Individual Artist Grant
1977 National Endowment for the Arts—Individual Artist Grant
New York State Council for the Arts and NEA: Women’s/Artists/Filmakers
1976 New York State Council for the Arts and NEA: Women’s/Artists/Filmakers
1975 New York State Council for the Arts and NEA: Women’s/Artists/Filmakers
1974 National Endowment for the Arts—Individual Artist Grant
New York State Council for the Arts and NEA: Women’s/Artists/Filmakers
1970 Cassandra Foundation Grant
1968 Croton Press—Writers Grant
New York State Council on the Arts—Intermedia
1964 Benedict Arnold Foundation (Walter Gutman) - Performance
Tuition Grants: Bard College, University of Illinois
Archives of Modern Art, Zagreb, Croatia
Berkeley Museum of Art, Berkeley, California
Bronx Museum of the Arts, Bronx, New York
Commune di Milano - Palazzo Reale, Milan, Italy
Detroit Institute of Art, Detroit, Michigan
Franklin Furnace, New York, New York
The Getty Center for the History of Arts and the Humanities, Santa Monica, California
Hamburger Bahnhof Museum, Berlin, Germany
Hirshhorn Museum, Washington, DC
Hoffmann Museum, Dresden, Germany
Los Angeles Institute of Contemporary Art, Los Angeles, California
Ludwig Collection, Cologne, Germany
The Menil Collection, Houston, Texas
Moderna Museet, Stockholm, Sweden
Musée départemental d'art contemporain de Rochechouart, Rochechouart, France
Museum der Moderne, Salzburg, Austria
Museum of Modern Art, New York, New York
Pérez Art Museum Miami, Miami, FL
Peter & Eileen Norton Collection, Santa Monica, California
Philadelphia Museum of Art, Philadelphia, Pennsylvania
Placido Arango Collection, Madrid, Spain
Reyjavik Art Museum, Reyjavik, Iceland
Rhode Island School of Design Museum, Providence, Rhode Island
Sammlung Friedrichshof Stadtraum, Vienna, Austria
San Francisco Museum of Modern Art, San Francisco, California
Muzeum Susch, Zernez, Switzerland
Tate Museum, London, England
University of Massachusetts, Contemporary Archives, Amherst, Massachusetts
The Walker Art Center, Minneapolis, Minnesota
Whitney Museum of American Art, New York, New York
Muzeum Wspóczesne Wroclaw, Warsaw, Poland
2009 Mysteries of the Iconographies, performative lecture, Abandon Normal Devices Festival, Tate Liverpool, September 23.
Moderna Museet, performative lecture with artists in program, Stockholm, Sweden, October 23.
Misbehavior: A series of performances in response to Nayland Blake’s Behavior, New York, NY, February 7.
1998 Your Dog My Cat or Delirious Arousal of Destruction, In conjunction with Animal, Anima, Animus exhibition Porin Taidemuseo, Pori, Finland, June.
1997 Enter.... Vulva, Performance Festival Odense, Denmark, October 10; Benefit Gala and Art Auction with Jocelyn Taylor, Penny Archade and others, artists' performances, The New Museum of Contemporary Art, New York City, May 3.
Arts Now Conference, State University of New York at New Paltz, November 7.
Your Dog My Cat or Delirious Arousal of Destruction, performative lecture Bard College, Annandale-on-Hudson, NY, May 13.
1995 Western Front Interview, Performance, Western Front, Vancouver, January 29.
Made/ Enacted, University of British Columbia, February.
An Evening with Carolee Schneemann, Fine Arts Center, University of Rhode Island, Wakefield, RI, March.
1994 Enter.... Vulva, Solo performance for Boudoir-In-Exile series, Institute for Contemporary Art / MoMA P.S. 1, Long Island City, New York, April 29.
1993 The Delirious Arousal of Destruction or Your Dog/My Cat or A Deconstructed
Compression of the Mutable Erotic/Obscene, Penine Hart Gallery, NYC, March 18.
Art Performance - Rooted in Ceremony and Ritual, Workshop, Humbolt State University, Arcata, California. July 19- August 1.
Out to Lunch with Carolee Schneemann, Electronic Arts Performance Series, iEAR Studios, Troy, NYC, March 30.
1992 Women in Photography, Symposium, Keynote Speaker and Performance in projection slide system, Center for Creative Photography, Tucson, Arizona.
Made/ Enacted, University of California, Santa Barbara.
'The Delirious Arousal of Destruction' or Is There a Feminist Erotic Iconography?' Musee des beaux-arts de l'Ontario, Ontario, Canada, February 14.
A Feminist Erotic Iconography, performative lecture, Santa Barbara Museum of Contemporary Art, California.
1991 Skewed Beams, Aspects of Performance: A Festival of Performance Art, Canadian Centre of The Arts at Owen Sound, Ottawa, Canada. June 28.
The Delirious Arousal of Destruction, or Is There a Feminist Erotic Iconography? Aspects of Performance: A Festival of Performance Art. Canadian Centre of The Arts at Owen Sound. June 29.
1988 Cycladic Imprints, Installation of motorized violins and projection; performance with Malcolm Goldstein on violin, New Music America, Miami, FL.
Cat Scan, Performing Language program, SUNY Binghampton, NY.
1987 Cat Scan, Beyond Baroque, Venice, CA.
Dirty Pictures, Senary, Scenario, Hillwood Art Gallery, C.W. Post College, Long Island.
1986 Fresh Blood - A Dream Morphology, International Performance Arts Festival, Winnepeg, Canada; Hamilton College, Clinton, NY.
Dirty Pictures, College Art Association, NYC.
1985 Fresh Blood - A Dream Morphology, What's Cookin' Festival VI. Center for Music Experiment, University of California San Diego, San Diego, CA.
What's Wrong with This Picture? Sierra Nevada College, NV.
Painting, Painting, Painting, P.S. 122, NYC.
Dream Death, Collaborations, Alternative Museum, NYC.
Acting Up, Heresies Collective, St. Mark's Church, NYC.
Dirty Pictures, Benefit for High Performance Magazine, Los Angeles, CA.
Polyphonique, San Francisco Art Institute, CA.
1984 What's Wrong with This Picture? August Moon Conference, Catskill, NY.
University Gallery, Kent State University, OH.
1982 Fresh Blood - A Dream Morphology, Second Intermedia Performance Festival, University of Iowa, Iowa City, IA.
Performing the Person: Displacements of Life Narrative, SUNY Buffalo, NY.
Burnout, The Storefront, NYC.
Mother Lexicon, 12th International Sound Poetry Festival. Washington Square Church, NYC.
Up To and Including Her Limits, Palazzo Reale, Milan, Italy.
1981 Fresh Blood - A Dream Morphology, REAL ART WAYS: Harford, Connecticut; Feminist Art Institute, Baltimore; Institute of the Arts, University of Oklahoma; Washington Project for the Arts, Washington D.C; Gestures and Language Series: East Main Street Gallery, Richmond, Virginia; Sheldon Film Theatre, Lincoln, Nebraska; Antwerpen, Belgium. Internationaal Cultureel Centrum, Middelburg, Holland; Gemeentelijke Culturele Dienst; Symposium International D'Art Performance, Lyon, France; Sex and Language, International Congress of Psychoanalysis, NYC; Washington Project for the Arts, DC.
1980 Dirty Pictures, A.I.R. Gallery, NYC; Art Institute of Chicago, Illinois.; Artemesia Gallery, Chicago, Illinois; Collective for Living Cinema, NYC.
1979 Homerunmuse, Franklin Furnace, NYC; Hallwalls, Buffalo, New York; The Music Gallery/A Space, Toronto.
ABC - We Print Anything - In the Cards, Gallery De Appel, Amsterdam, the Netherlands.
Text/ Image/ Text (with Jill Kroesen), One University Place, NYC.
"Moon In a Tree (on Joseph Cornell), Walker Art Center, Minneapolis, Minnesota.
1978 ABC - We Print Anything - In the Cards, Pittsburgh Filmmakers Theatre, Pennsylvania.
Homerunmuse, Lions Walk, Pittsburgh, Pennsylvania.
Moon In a Tree (on Joseph Cornell), Pittsburgh Filmmakers Theatre, Pennsylvania.
On The Town, Work Space, Albany, New York.
Indexes, EAR Inn, NYC.
1977 Interior Scroll, Telluride Film Festival, Colorado.
Homerunmuse, Brooklyn Museum of Art.
ABC - We Print Anything - In the Cards, Discussion as an Art Form, New York University, NYC; De Appel Gallery, Amsterdam; Festival of Performance Ar, Arnhem, Holland.
Americana I Ching Apple Pie, Heresies Benefit, NYC; EAR Benefit. Washington Square Park.
1976 Up To And Including Her Limits, The Kitchen, NYC; Studiogalerie, Berlin; Basel Art Fair, Switzerland.
ABC - We Print Anything - In the Cards, Franklin Furnace, NYC.
Moon In a Tree (on Joseph Cornell), Anthology Film Archives, NYC.
1975 Interior Scroll, Women Here and Now. East Hampton, Long Island.
1974 Up to And Including Her Limits, University Art Museum, Berkeley, California; Anthology Film Archive, NYC; Artists' Space, NYC; London Filmmakers Cooperative; Arts Meeting Place, London.
1973 Up to And Including Her Limits, Avant- Garde Festival, Grand Central Station, NYC.
Cooking With Apes, Fylkingen Festival, Stockholm.
Ices Strip, Ices Festival. Train, London-Edinburgh.
Road Animation for Reykavik, Reykjavik Art Festival, Reykavik, Iceland.
1971 Rainbow Blaze, Avant-Garde Festival, The Armory, NYC.
1972 Performance Drawings and Photo/ Collage, Camden Art Center, London, England; Chelsea School of Art, London, England.
1970 Banana Hands, (Original Score - 1962; Revised Score - 1969), The Castle, Winchester, England; New Milton Drama Center.
Thames Crawling, Expanded Cinema International Underground Film Festival, London.
Schlaget Auf, Fluxus Fluxorum Festival Forum Theatre, Berlin.
Electronic Activations Room, Happening and Fluxus Retrospective; Kolnischer Kunstverein, Koln; Chicago Festival of Life in London, Rock Guerilla Theater Acid Freak Inc.
1969 Illinois Central Transposed, The Ark Media Palace (Inter-Media Inc.), Boston.
Nude Bride, by Claes Oldenburg Fashion Poetry Center for Inter-American Relations, NYC.
Expansions, New Poets Theatre, NYC.
Illinois Central Transposed, The Ark, Boston.
1968 Illinois Central, Kinetic Theater, Museum of Contemporary Art, Chicago, New York State Council on Environmental Arts State Tour, Intermedia '68 Festival: Rochester, Buffalo; Stony Brook, Nassau; Brooklyn Academy of Music.
Naked Action Lecture, Institute of Contemporary Art, London.
Flying Blue Glue Float, with Tom Molholm, Festival of the Avant-Garde.
Waterville Floods, Sensory Bombardment Workshop Colby College, Waterville, Maine.
Tear Poem for Tiney, Events by Michael Benedikt, Longview Country Club, NYC.
1967 Snows, Kinetic Theater with film Viet-Flakes, Anti - Vietnam War/ Angry Arts Week, Martinique Theater, NYC.
Body Collage, Artist's Studio, NYC.
Round House, Kinetic Theater for the Dialectics of Liberation International Conference, London.
Night Crawlers ("Rampants de la Nuit"), Pavillon de la Juenesse, EXPO '67, (CBCTV), Montreal, Canada.
Ordeals, A Torture Environment for Architects, Judson Church, NYC.
Divisions And Rubble, Judson Gallery, NYC; Snug Harbor, Environment for the Avant-Garde Festival; Foam Environment Staten Island Ferry, NY.
Torture Environment, Judson Church, NYC.
1966 Ghost Rev, Collaboration with USCO, New Cinema Festival I.
Noise Bodies, Music Box Music, 2nd Thermocouple (Tenney), Looseleaf (1962). Lecture event. Bridge Theater Festival.
Water Light/ Water Needle, Aerial Kinetic Theater performed at St. Mark's Church in The Bowery, NYC; outdoor version performed at the Havemeyer Estate, Mahwah, NJ.
BECLCH by Rochelle Owens, Environment consultant, Bridge Theater Festival, NY, June 8,9.
Beyond Cinema, Festival at Filmmakers Cinemateque, Live interference Patterns for USCO, November.
Loose Leaf, Bridge Theatre Festival, NYC.
1965 Ghost Rev, New Cinema Festival I, Cinematheque. Astor Place Theatre, NYC.
Noise Bodies, Sound assemblage - light duet (with James Tenney), Festival of the Avant- Garde.
Push Pull by Kaprow, directed, New Dance/ Theater, Bridge Theater.Judson Concert Hall, NYC.
Music Box Music, Bridge Theater, NY.
The Queen's Dog, Kinetic Theater. Judson Dance Theater, NYC.
T.V., A Happening commissioned by NBC Television's Tonight Show, NYC.
Waves, Washes, Birth of The Flag, by Oldenburg, film by Vanderbeek, Choreography and performance.
Confederate Memorial Day, by Ken Dewey, Choreography and performance.
Beast Event, for Stockhausen's Originale, Director Kaprow's Push & Pull, Festival of the Avant-Garde, New York.
1964 Meat Joy, Festival of Free Expression, Paris, May 29; Dennison Hall, London, June 8; Judson Church, NYC. November 16-18.
Music Box Music, A Concert Happenings, From Pitt Street, NYC, April 4; Tone Roads Concert, The New School, NYC, April 24.
Looseleaf, Judson Dance Theater Workshop, Judson Church, NYC, January 21.
Sale, Environment of work in progress.
Site, by Robert Morris – duet. Judson Dance Theater, Stage 73, Pocket Theater, NYC.
1963 Eye Body, Body Environment for Camera, *Artist's Studio, NYC. December.
Lateral Splay, Judson Dance Theater, NYC.
Newspaper Event, Judson Dance Theater, NYC, January 29.
Chromelodeon, Kinetic Theater, Judson Dance Theater, NYC, June 24.
Lateral Splay, Judson Dance Theater, NYC, November 19-20.
1962 Banana Hands, Original Score.
Glass Environment for Sound and Motion, Living Theater, NYC, May 1-2.
Mink Paws Turret, an exhibit of work in process, NYC.
Newspaper Event, Judson Dance Theater, NYC.
1960 Labyrinths, Landscape events. Sidney and Chicago, Illinois. June.
1958 Loving, with James Tenney, Stan Brakhage: Cat's Cradle, White Eye, Environments performances for films
2008 Massachusetts College of Art & Design, Boston MA. April 7 – 10, visiting Artist lecture
Alberta College & Design, Calgary Canada. January 27 – February 2, workshop & print residency
2005 Florida State University. Tallahassee, Florida. Visiting Artist. February 10-11, lecture, slides, recent video
Le Centre National de Recherche et Diffusion en Arts Contemporains Numeriques, Quebec, Canada. February 14-18, artist residency
2002 Oberlin College, Oberlin, OH. November 12-14, lecture and workshop
2001 Skowhegan, Maine. August, visiting artist MFA program
Centro Cultural Conde Duque. Madrid, Spain. June 15-16, workshop: Instantaneous Eye/Instantaneous Shutter”
Bard College, Annandale-on-Hudson, NY. July. Visiting Artist, MFA Program
LECTURES, FILM, VIDEO, PANELS
2015 Carl Ruggles Christmas Breakfast, screening at Hales Gallery, London.
2014 Carolee Schneemann & the Long Sixties, Panel with E. Archias, J. Boaden, S. Simonds, H. Sayre, E. Levin, K. Anania, and B. Wallace, Screening of Breaking the Frame, CAA Conference, Chicago.
Breaking the Frame, by Marielle Nitoslawska, UK premiere run, ICA, London.
Films and Videos by Carolee Schneemann, Anthology Film Archives, New York.
2013 Art(core) and the Celluloid Body, screening of Plumb Line with introduction by CS, Swiss Institute, New York.
Modern Monday, discussion of work and the recent acquisition of Up to And Including Her Limits MoMA, New York
2012 Art, Technology and Culture Colloquium 2012, Berkeley Center for New Media, California, November.
Mysteries of the Iconographies, SVA Art Criticism and Writing Program, SVA Theater, New York, October 13; University of Iowa Museum of Art, Iowa City Iowa, March 3; Carnegie Mellon University School of Art, Pittsburgh, PA, October 18; Portland Community College, Oregon, February 16-18.
Video and Film program of new and restored works, Anthology Film Archives, New York, December 16.
A Santuary for the Arts. Judson Memorial Church and the Avant Garde 1954-1977,” Fales Library, NYU, New York, October 28.
Counter Culture, Counter Cinema, panel with Carolee Schneemann, David James, Jonas Mekas, Ken Jacobs, Barbara Ruben, George and Mike Kuchar, Pacific Design Center, West Hollywood, CA, October 16.
Where is Anna Mendieta: 25 Years Later-A Symposium Exhibition, panel with Carolee Schneemann, Friefen, Hyancinthe, Munoz, Taylor Performance Studies Department at NYU, New York, October 7.
Art Criticism and Writing Lecture series, SVA Theatre, NYC, October 13.
Henry Art Gallery, Symposium and performative/lecture, Seattle, November 18-20.
Man as Object: Reversing the Gaze, exhibit panel, SOMARTS, San Francisco, CA, November 30.
Festival of the New Latin American Cinema, film/video presentation, Havana Film Center, Havana, Cuba, December 1-11.
Celebration of Jerry Rothenberg, conference and exhibit, Graduate Center, New York, December 9.
Correspondence Course and Americana I Ching Apple Pie, reading and screening, Poetry Project, New York.
2011 Krannert Art Museum, performative lecture, University of Illinois at Urbana-Champaign, Illinois.
2009 Mysteries of the Iconographies, in conjunction with the exhibition “Burning down the house: building a Feminist Collection, Brooklyn Museum, New York, April 5.
Meat Joy, and Body Collage, lecture and video projections, Centre Pompidou Paris, Elle@CentrePompidou exhibit, September 28.
2008 Massachusetts College of Art & Design, Visiting artist lecture, Boston MA, April 7-10.
Visiting Writer’s Series, lecture, CalArts, Valencia CA, April 23.
Art Table Breakfast panel with Connie Butler, AXA Equitable, New York, February 15.
Viet-Flakes 1965, screening, part of Women’s Experimental Cinema, In conjunction with WACK! Exhibit, P.S. 1 Contemporary Art Center, Long Island City, NY, March 1.
Matrilineage Symposium, lecture, Syracuse University, Syracuse, New York, March 21.
“UCLA Film & Television Archive,” Infinity Kisses” (2007); Interior Scroll
The Cave (1995); Vesper's Stampede to My Holy Mouth (1992); Devour (2003-04); Mop-Mop--Improvisation for Job at New York University (197_-2007); Americana I Ching Apple Pie (1972, 2007); Body Collage (1968); Meat Joy (1964), Los Angeles CA. April 25.
Beyond the Waves: Feminist Artist Talk Across Generations, Panel with Mira Schor, EmmaBee Bernstein, Susan Bee, Brynna Tucker, The Sackler Center for Feminist Art at The Brooklyn Museum, New York, March 30.
CalArts at the Bijou Theater, Lecture, Valencia CA, April 22.
An Evening with Carolee Schneemann, REDCAT, Los Angeles CA. April 21.
Kitch’s Last Meal (1973-79), screening, Los Angeles Film Forum, Hollywood CA. April 20.
2007 Fuses (1967) & Kitch’s Last Meal (1973- 76), screening, London Film Festival. London, England, 51st October 17-November 1.
Women’s Center Harvard College, lecture, Cambridge, MA. October 9, 2007.
Hannah Weiner’s Open House, lecture, St. Mark’s Church in the Bowery, New York, November 28.
New & Restored Film & Video, Film screenings and Appearance, Electronic Arts Intermix, NYC. November 7.
premiere of restored 16mm films, “Fuses’ (1967) & “Kitch’s Last Meal (1973-76), Anthology Film Archive, NYC, November 15-17.
A Night Out with the New York School, Reading, Poet’s House, Tribeca Performing Arts Center, NYC. November 13.
Carolee Schnemann & Amelia Jones discussion, lecture, Performance Conference, New York University, New York, November 9-10.
Roger Williams University, Lecture, Bristol, RI. October 10.
2006 Campari Talks at Artist Space: A Yearlong Series of Dialogues Between Artists, In conversation with Mary Coble and Greg Smith Artists Space, New York, February 15.
Museum of Contemporary Canadian Art, lecture, Toronto, April 7.
2005 (Re)presenting Performance: A Symposium, lecture, Guggenheim Museum, New York, NY. April 8.
Conversation on Art: The Life and Legacy of Ana Mendieta, panel discussion, Des Moines Art Center, Iowa, April 10.
Artist Talk: Disruptive Consciousness, lecture, National Gallery of Canada, Ottawa, Canada. January19.
Meet The Artist Series, Slides and Video Presentation, Hirshhorn Museum & Sculpture Garden, Washington DC. January 25.
2004 Video Omnibus Program, Screenings of Plumb Line (1964-66) & Viet-Flakes (1965), and discussion, MOMA, New York City, December 10 & 26.
Corporeal Cinema: Avant-Garde Transgressions, lecture, and Fuses (1965). Screening, Syracuse University, New York November 30 and December 1.
Viet-Flakes (1965), screening in “WAR! PROTEST IN AMERICA 1965-2004,” CalArts Theater, Valencia, CA October 26 – 31.
Viet-Flakes (1965), screening in “WAR! PROTEST IN AMERICA 1965-2004,” Whitney Museum of American Art, New York City, August 25–October 24.
Artist talk withMartha Rosler, DUMBO Art Center, Brooklyn, NY. October 16
Meat Joy (1964), screening within Rirkrit Tiravanija's Untitled 2002 (he promised), Solomon R. Guggenheim Museum, New York City, October 8.
Meat Joy (1964); Body Collage (1967) Screening at the Eighth Annual MadCat Women’s Festival, Yerba Buena Center for the Arts, San Francisco, CA.
International Film Festival, screening, September 14 – October 8 and September 23.
Segue, reading, Bowery Poetry Club series, NYC, October 2.
Kitch's Last Meal (1973-76) screening, Hartware-Medien Kunstverein, Dortmund England. September 17-19.
Artist Television Access, San Francisco, CA.
Devour (2003-04), Eighth Annual MadCat Women’s International Film Festival. September 14 – October 8. Sept.
Spaces Between Body and Earth: The Art of Ana Mendieta, Whitney Museum of American Art, New York City, Panel Discussion, September 9.
Viet-Flakes (1965), screening in “War—Oh, The Horror…,” Le Petit Versailles, New York City, August 28.
Viet-Flakes (1965), VHS screening in “Warwhorz: Gender, War & Consumerism,” Howl Festival, Generation X Garden, New York City, August 23.
Body Collage (1967) screening Angel Orensanz Center, New York City, Filmmakers Co-op Summer Benefit Concert, July 1.
Eye Body (1963) photograph. Ethan Cohen Fine Arts, NYC. The Art Incubator Inaugural Art Exhibition & Auction. June 23, 2004.
Women in the Arts 2004, Panel discussion, Brooklyn Museum of Art, New York, May 19.
Masters in Artists Residence program, Atlantic Center for the Arts, New Smyrna, Florida, March 1-21.
Corporal Identity – Body Language: The Moving Image, and Body Collage (1967) screening, Museum of Arts & Design and EAI, New York City, February 26.
Viet-Flakes (1965) screening, “Constructive Engagement,” Ocularis, Brooklyn, New York, February 22.
Water Light/Water Needle (1966) screening in “Day Long Screening of Video works,” DIA-Chelsea Bookshop, New York City, January 11.
Artist Lecture Series, Lecture, Institute of Fine Arts – New York University, New York City, January 29.
2003 Up to and Including Her Limits, "Skin Deep”, Il Museo d’arte Moderna e Contemporeanea di Trento e Roverto, Italy, October 28 - January 18.
Change of Valves, the fundacion ARCO collection, Espai d’Art Contemprani de Castello, Spain, November.
Lecture on Global Village: The Sixties, The Montreal Museum of Fine Arts, Montreal, Quebec, November 21.
Mary and Leigh Block Museum of Art, lecture, Northwestern University, Chicago, IL. October 29.
Fuses 1964-67, in “Scratch Projection of Light Cone Valie Export,” Centre Wallonie Bruxelles, Paris. October 28- January 18.
Salute to Feminist in the Arts, Honoree Dinner & Symposium, The National Arts Club, New York City, November 6.
Second Annual Beat Generation Conference and Beyond, Performative lecture, John Natsoulas Gallery, Davis, CA. October 4-5.
Summer Institute Media Arts - Public Talks, Lecture on media, The Kitchen, New York City, June 19th.
Art Process/Psychoanalytic Process, Slide lecture on dreams as directives, Mohonk Conference, New Paltz, New York, June 6-8.
Disruptive Consciousness, lecture, College for Creative Studies, Detroit, MI. April 17.
Goddesses, Wonder Women & Riot Grrrls, Panel with Edelson, Willis, Tschape, Hanna, Shelley Rice‚ moderator, School of Visual Arts, New York City, March 27.
Why Now? Revisiting Seventies Feminist Art, Panel with Mira Schor, Anna Chave, CUNY Graduate Center, NYC. March 14.
Dreaming Red: Creating ArtPace, Book Signing, DIA Bookstore, New York City, March 7.
Mt. Holyoke College, Film Screening and Video Tuesday, March 11.
Smith College, lecture, March 10.
Disruptive Consciousness, Slides and Video and Lecture, Carpenter Center for the Visual Arts - Harvard University, March 6.
Safe Haven: Performance, Video, and the Body by Female Artists Today, Panel Session, CAA Conference, New York City, February 19-22.
Eros, Outrage and the Toothless Pixel, Valentine's Day Video Screening and Book Signing.Lecture, DIA Center for the Arts Bookshop, New York City, February 14.
2002 Fluxus Itself, lecture, Reina Sofia Museum, Madrid, Spain, June 17.
Oberlin College, Lecture and Workshop, Oberlin, OH. November 12-14.
Kathy Acker Symposium: Lust for Life–The Life and Writing of Kathy Acker, Panel with Blake, Scalapino, Schulman, Tysh, Viegener and Tillman, Fales Library, New York City, November 7-8.
Disruptive Consciousness, lecture and book signing, Palm Beach Institute of Contemporary Art, Palm Beach, FL. October 24; Center for Critical Analysis of Contemporary Culture. Rutgers University – NJ, March 29-30.
After the Beginning and Before the End, Panel with Hendricks, and Silverman, MIT List Visual Arts Center, Cambridge, MA. October 18.
The Women's Art Institute, Visiting Artist, Minneapolis College of Art & Design, Minneapolis, MN. June 26-28.
Solace, Memory, Dissent: Art After September 11th Lecture and Panel with Chanin, Scott, Felshin, Herships, Dotterer, National Coalition Against Censorship, CAA 90th Annual Conference – Philadelphia, PA. February 22.
2001 Women Artists and Censorship, Panel with Spero, Ferguson, Lopez, Wallach, National Coalition Against Censorship, Freedom Forum, NYC, October 24.
Panel with Hanhardt, Serra, Handelman, Kardish, Filmmaker’s Co-op 40th Anniversary Festival, Pioneer Theater Panel, NYC. Oct. 21.
Practice and Theory on the Organless Body, lecture, panel and video, Akademie der bildenden Kunste. Vienna, Austria. November 9-11.
Sex: Facts and Fantasies, Film- Fuses, Deutsches-Hygiene-Museum. Dresden, Germany. Nov– July 2002.
Kansas City Art Institute, Visiting artist, Kansas City, Missouri. Nov. 29.
Fuses and new video, SUNY University at Buffalo, NY, Sept. 22.
The Munchhausen Syndrome, Video- Meat Joy, The Outline Foundation, Amsterdam, Holland, September 9.
Tate Modern Museum of Art, lecture, London, England. March.
Panel with Eleanor Antin, Sarah Kent, Cornerhouse Gallery, Manchester, England. March.
Powerhouse Gallery at Nottingham Trent University, performative lecture, Nottingham, England. March.
Oxford Brookes, lecture, Oxford, England. March.
Goldsmiths College, lecture, London University, England. March.
1995 Institute fur Gegenwartskunst/ Academy of Fine Arts, Lecture, Vienna, April.
2019 Bernstein, Judith, Breitwieser, and Branden W. Joseph “Carolee Schneemann, 1939-2019.” Art Forum, May 2019. Pg. 47 -50.
Marrance, Bonnie, ed., PAJ 122. Cambridge, MA: MIT Press Journals, 2019. Pg. 1 -16. Illus.: Meat Joy drawing (1964) and Preparatory drawing for Water Light/Water Needle (June 1965).
Muzeum Susch. “A Woman Looking at Men Looking at Women.” Catalogue. Milan, IT: Muzeum Susch, 2019. Pg. 19. Illus.: Vulva Morphia (1995).
Cateforis, David. Duval, Steven, and Shepard Steiner, eds. Hybrid Practices. Oakland, CA: University of California Press. Pg. 6, 11, 16-18, 113- 122. Illus. Snows (1967), Untitled (1967), Viet Flakes (1965-67).
2018 Joseph, Branden. Uncollected Texts. Primary Information, Brooklyn.
Hanson, Ron ed., White Fungs Issue 16. London, UK: Whitecirc, 2018. 76-129. Illus.: Sir Henry Francis Taylor (1961), Tenebration (1960), Firelights (1960), Three Figures after Potormo (1957), Night Crawlers (1967), Moon in a Tree (1976), Girl from England (1944), Fury (1946), Life book, Book 1, pg 51, Eye Body: 36 Transformative Actions for Camera (1963), The Men Cooperate (1979), ABC- We Print Anything- In the Card” (1977), Viet Flake (1965), War Map (1983), Up to and Including Her Limits (1973-76), Meat Joy (1964), and Infinity Kisses- The Movie (2008).
Museum of Modern Art, Judson Dance Theater the Work is Never Done. New York, NY: Musuem of Modern Art, 2018. Pg. 166-167. Ilus.: Banana Hands (1962), and Meat Joy (1964).
Wood, Catherine. Performance in Contemporary Art. London, UK: Tate Publishing. Pg. 34, 42-45.
2017 Ragona, Melissa. “Materiality, Lecture, and Game in the Work of Carolee Schneemann.” Carnegie Museum of Art, October 2017.
Pelling, Rowan. Art of the Erotic. New York, NY: Phaidon Press. Pg. 130, 243-244. Illus. Meat Joy (1964).
Buccheri, Alessandra and Giulia Ingarao and Emilia Valenza, Archetipi del Femminile: Rappresentazioni di genere, identita e ruoli sociali nell’arte dale origini a oggi, Mimesis, December 2017.
O'Neill-Butler, Lauren. “Carolee Schneemann.” Artforum, February 2017
Green, Alison. “Carolee Schneeman More Wrong Things.” Catalogue. London, UK: Hales Gallery, 2017.
Rist, Pipilotti, “Carolee Schneemann’s art is not about your comfort,” Interview Magazine, October 2017
Schneemann, Carolee. “Moral Turpitude,” Harper’s Magazine, October 2017
Miss Rosen. “The artwork that nearly killed Carolee Schneemann,” Dazed, October 2017
2016 Westermna, Jonah. Performing for the Camera. Edited by Simon Baker and Fiontan Moran. London, UK: Tate Publishing. Illus. 90-91
Loudis, Jessica, ed. The Magazine of the Artist Insittue: Carolee Schneemann. New York, NY: The Artist Institute, 2016.
PPOW, “Carolee Schneemann Further Evidence.” Catalogue. New York, NY: P·P·O·W, 2016.
Schor, Gabriele. The Feminist Avant-Garde of the 1970s: Works from the Summlung Verbund, Vienna. Munich, GE: Prestel Publishing. Pg. 163- 169. Illus. Image As #2 (1973), Images AS #1: Isisi Skating (1973, Image As #4 (1974).
Archais, Elise. The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci. New Haven, CT: Yale Univeristy Press.
Breitwieser, Sabine, Carolee Schneemann: Kinetic Painting, Prestel, Austria.
2015 Bodin, Claudia. “Die Nackte Revolution.” art das kunstmagazin. December 2015.
The Merchant House, The Merchant House Issue 2.2: Carolee Schneemann Infinity Kisses. Edited by Marsha Plotnitsky. Amsterdam, NL: The Merchant House, 2015.
Macel, Christine and Rachel Thomas. “What We Call Love: From Surrealism to Now.”
Siegel, Katy. “The heroine Paint” After Frankenthaler.
Schneemann, Carolee, “Muse: The Breath of Life,” Art in America, February 2015.
Vogel, Wendy, “Q&A with Carolee Schneemann,” Modern Painters, February 2015.
White, Kenneth ed, Unforgivable, Black Dog Publishing, United Kingdom.
Hegert, Natalie, “Why Do We Only Know Carolee Schneemann the Performance Artist?,” Huffington Post, Dec 17, 2015.
Buffenstein, Alyssa, “Artist Carolee Schneemann Finally Gets a Comprehensive Retrospective,” artnet news, Nov 23, 2015.
Snow, Philippa, “Raw Meat, Live Sex and Snakes: The Dangerous Art of Carolee Schneemann,” The Guardian, December 15, 2015.
2014 Milliard, Coline, “In Review: London’s Must-See Gallery Shows This March, from Markus Lüpertz to
Marvin Gaye Chetwynd”, Artnet, Thursday, March 13, 2014.
Ragona, Melissa, “Carolee Schneemann’s Small Motors,” (annotated interview), T-Space Publications, 2014.
‘T’ Space. “Carolee Schneeman Flange 6rpm.” Catalogue. Duchess County, NY: ‘T’ Space, 2014.
Rose, Steve. “Carolee Schneemann: ‘I never thought I was shocking’”, The Guardian, March 11, 2014.
Lau, Carrie. “Move: Schneemann’s Movement”, Cent Magazine, February 2, 2014, March 2014 issue.
2013 Ragona, Melissa. “A Technological Interiority,” Carolee Schneemann: Precarious, Sammling Friedrichsof, 2013.
Ragona, Melissa. “An Epistemology of the Kinetic: Carolee Schneeman’s RPM,” Carolee Schneemann, Flange 6rpm, 2013.
Museo de Arte Contemporaneo de Castilla y Leon, Oeuvres d’Histoire: Then and Now Carolee Schneeman. Edited by Anaabelle Teneze. Dijon, FR: Les Presses du reel, 2013.
Heartney, Elanor, Posner, Helaine, Princethal, Nancy, and Sue Scott. The Reckoning: Women Artist of the New Millennium. New York, NY: Prestel Publishing. Pg. 16, 70, 79,121, 129, & 200.
Henry, Joseph. “In Conversation and In Review: The Underestimated Carolee Schneemann” Artinfo, April 2013.
Miller, Lain. “Up Close and Personal”, The Art Newspaper, Number 243, February 2013.
Levin, Erica. “Dissent and the Aesthetics of Control: On Carolee Schneemann’s Snows.” World Picture Journal, Summer 2013.
Stoneman, Rod, “Seeing Is Believing: The Politics of The Visual”, Black Dog Publishing, London, UK, 2013, p. 26.
Frank, Peter. “Flange 6rpm,” Huffington Post September 17, 2013.
White, Kenneth. “Carolee Schneemann Terminal Velocities,” San Francisco Arts Quarterly 2013.
“Taking Matters into our own Hands,” Frieze. No. 154, April 2013.
Cielatkowska, Zofia. “The Presence of Absence: ‘Life Book’ Carolee Schneemann at WRO Art Center,” SZUM. Oct 2013.
2012 Happenings New York 1958- 1963
White Fungus Publication Issue 12.
Nitoslawska, Marielle. “Breaking the Frame - The Life and Work of Carolee Schneemann. 2012.”
Shown at the Telluride Film Festival, 56th BFI London Film Festival, Festival du Nouveau Cinéma, Montreal.
Landi, Ann. “Double Exposure,” ArtNews, May 2012.
Remix: Selections from the International Collage Center, ICC and Daum Museum of Contemporary Art, 2012.
2011 Sina, Adrien ed. Feminine Futures – Valentine de Saint-Point – Performance, Dance, War, Politics and Eroticism. Les presses du reel, December 2011.
Various Authors, “Focus on Carolee Schneemann” Millenuim Film Journal, Fall 2011.
Sillman, Amy, “Ab-Ex and Disco Balls: In Defense of Abstract Expressionism II,” Artforum. Summer p. 324.
Levin, Kim, “A portrait of Carolee Schneemann, in her own words,” Artnews. May 2011.
Schwabsky, Barry, “Shelf Life: On Philip Guston, Carolee Scheemann, and Ilya Kabakov”, The Nation, January 10, 2011.
Millennium Film Journal #54, Carolee Schneemann, Summer 2011.
2010 Stiles, Kristine, Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle, Duke University Press, October 2010.
Samuel Dorsky Museum of Art, Carolee Schneemann Within and Beyond the Premises. New Paltz, NY: Samuel Dorsky Museum of Art, 2010.
Mekas, Jonas, Irving Sandler, and Patricia Cronin. “A Salute to Carolee Schneemann,” The Brooklyn Rail. April 2010.
Finch, Charlie. “Carolee the Painter,” Artnet. April 28, 2010.
Spiegler, Almuth. “Feuchte Traume,” Art das Kunstmagazin. November 2010. p.89.
2009 Richard, Francis. “Carolee Schneemann,” Artforum. May 2009. p. 236-7.
PPOW. “Carolee Schneemann Painting, What It Became” Catalouge. New York, NY: PPOW, 2009.
Shuster, Robert. “Carolee Schneemann: Painting, What It Became,” The Village Voice. March 10, 2009.
Cotter, Holland. “Carolee Schneemann,” The New York Times. March 26, 2009.
“Carolee Schneemann,” Goings on About Town, The New Yorker. March 2009.
Maine, Stephen. “Carolee Schneemann,” Art in America International Review. June/July 2009.p. 203-204.
2008 Badelt, Sandra and Beat Wismer. “Diana und Actaeon: Der verbotene Blick auf die Nacktheit,” Museum Kunst Palast. Düsseldorf, Germany, 2008. Repro: Vulva’s Morphia (1981-1995).
Ades, Dawn and Baker. Simon Close up. The Fruitmarket Gallery, Edinburgh, Scotland, 2008. Reproduction Portrait Partials (1970/2004) p.81.
2007 Mey, Kerstin. “art & obscenity,” I.B. Tauris & Co Ltd., New York & London, 2007. Repro: Meat Joy (1964) p.21.
Lovelace, Carey. “Girls, Girls, Girls,” Art in America. June/July 2007. p. 89. Reproduction.
Dabkowski, Colin. “Mortal Remains” The Buffalo News, April 6, 2007.
Perini, Julie. “Carolee Schneemann at CEPA, Buffalo, NY” thefanzine.com, May 5, 2007.
Schneemann, Carolee. Split Decision. Catalog, Museum of Contemporary Canadian Art, Toronto, Canada.
2006 Burton, Johanna. “Carolee Schneemann,” ArtForum, April 2006.
Anderson, Randall. “Carolee Schneemann: Le Corps Implicite,” Immersion Immersive. 2006. p. 12-29.
Johnson, Ken. “How I Finally Accepted Fate,” The New York Times. July 14, 2006.
Johnson, Ken. “The Shock of the Body in Its Messy Corporality,” The New York Times. July 7, 2006.
New York, New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography, and Video. Eds. Germano Celant and Lisa Dennison. Skira, Milano 2006.
Siegel, Katy, ed. High Times, Hard Times: New York Painting 1967-1975. iCI/D.A.P, New York, 2006.
Perreault, John. “Imagining Carolee Schneemann,” Arts Journal.com: Artopia. January 30, 2006.
Valdez, Sarah. “Carolee Schneemann at PPOW,” Art in America, June/July 2006. p. 197.
Velasco, David. “Carolee Schneemann,” Artforum online. January 18, 2006.
CEK. “Carolee Schneemann: Corporeal- Photographic Works 1963-2005,” Flavorpill, January 10-16, 2006.
2004 Alliez, Eric & Elisabeth von Samsonsonow (Hg.). TransArt IV- Biogrphien de orgnlosen Korpers. Turia and Kant, Wien, Austria, 2004. p. 183--201. Illus: More Wrong Thing (2000), Vulvas Morphia (1995), Mortal Coils (1994-95) Hand/Heart for Mendieta (1986), Infinity Kisses (1981-1987), Unexpectedly Research (1992), Impressings (1987-95), Fuses (1965).
Anderson, Randall. "Carolee Schneemann," Border Crossings: A Magazine of the Arts. February 2004, vol. 23, no. 1. p. 85-86. Illus: Devour (03-04) multi-channel video installation.
Lovejoy, Margot. Digital Currents: Art in the Electronic Age, Routledge Taylor & Francis Group, New York & London, 2004. Illus: Cycladic Imprints (1993).
McDonald Claire & Allsopp, Rick, ed. Correspondence – Performance Research, March 2004. vol. 9, no. 1. p. 99—105, Illus: Correspondence Course (1980-83).
2003 Aquin, Stephane. "Global Village: The 1960’s," Exhibition Catalog 2003. Interview p. 160-163. Illus: Meat Joy (1964), Eye Body? Thirty-Six Transformative Actions (1963), Fuses (1965), Meat Joy collage (1991).
Hendricks, Geoffrey, ed. Critical Mass- Happenings, Fluxus, Performance, Intermedia and Rutgers University 1958-1972, Exhibition Catalog 2003. Rutgers University Press.
Kubuitza, Annette. “Fluxus, Flirt, Feminismus?- Carolee Schneemann’s Korperkunst un die Avantgarde,”Reimer, Berlin. 2003.
MacDonald, Claire. "Sense and Sensuality - Feminist Lives, Feminist Practice" (review of Imaging Her Erotics - Essays, Interviews, Projects). Performing Arts Journal 74, 2003. p. 120--24.
New Brunswick, NJ, p. ix, 13, 67-69, 82, 84, 89-94,124, 151 no. 5, 170, 205. Illus: Up to and Including Her Limits (1973), Noise Bodies (1965), Up to and Including Her Limits (1975).
Pace, Lind & Jan Jarboe Russell. “Dreaming Red- Creating ArtPace,” ArtPace, San Antonio, 2003. p. 16, 25, 102-3, 184--89. Illus: Vesper’s Pool (1999).
Rexler, Lyle. “Using Art to Start a Global Conversation,” The New York Times, February 23, 2003. p.51.
2002 Schneemann, Carolee, Imagining her Erotics. Combridge, MA: The MIT Press, 2003.
Artnet.Com, (listing of Imaging Her Erotics) – April 11, 2002.
Artnews, (review of Imaging Her Erotics), Summer 2002. p.13.
“Creative Responses and Cautious Retractions,” Art on Paper. January/February 2002, vol. 6, no.3. p.25.
El Cultural- Photo España Issue. June 12-18, 2002. p.39. Illus.
Exit 8- Censurados/Censored. 200.. p. 102-103. Illus: Interior Scroll (1975), p.103.
FLUXUS Y FLUXFILMS 1962-2002. Museo National Centro de Arte Reina Sofia Exhibit Book, 2002. Illus: Interior Scroll (1975), p. 209-10, p. 296-97; Meat Joy (1964), p. 198-99; Reina Sofia lecture p. 333-34.
PHE 02- Femininos. Photo España 2002 Exhibit Book. Ayuntamiento de Madrid. p. 162-63, Illus: p.74-75.
PHE 02- Femininos. Photo España 2002 Catalogue. La Fabrica. p. 124-26, 229, Illus: p. 125, 229.
UNDERVEJS-222 Tegniger fra Picasso til Yoko Ono. “After the Beginning and Before the End,” Exhibit Catalogue. Louisiana Museum of Modern Art, 2002. Illus: p.122.
Baker, Steve. “What does becoming-animal look like?” in Representing Animals, Nigel Rothfels, ed. Bloomington: Indiana University Press, 2002. p. 67-98.
Balios, Knizni Klub. Dejiny Umeni/12. Euromedia Group, Prague 2002. Illus: Eye Body-36 Transformative Actions (1963), p. 64.
Blanich, Tania, ed. Commitment- The Rockefeller Foundation Media Arts Fellowship, 1988-2002. Rockefeller Foundation, NY, 2002. p. 69, 139, Illus: p. 69, 139.
Cahmi, Leslie. “Dinner Is Served,” The Village Voice Online. October 11, 2002.
Campbell-Johnston, Rachel. “Shock of the Deja-Vu: Can Performance Art Still Provoke?” The New York Times, April 12, 2002.
Carr, C. “The Legacy of Kathy Acker- Theoretical Grrl,” The Village Voice. November 6-12, 2002. p. 49.
Cotter, Holland. “Two Nods to Feminist Long Snubbed by Curators,” The New York Times. October 11, 2002. p. E35.
Dannatt, Adrian. Review of “Embodied” at P·P·O·W Gallery, The Art Newspaper, February 2002.
Dezeuze, Anna. “Meat Joy- All good clean fun, asks Anna Dezeuze,” Art Monthly. June 2002, no. 257. p. 1-6. Illus: p. cover, 1-3, 5.
Doss, Erika. “Twentieth Century American Art,” Oxford History of American Art, Oxford University Press, NY, 2002.
Jones, Jonathan. “So that was the 1960’s,” The Guardian, London, UK, April 18, 2002.
Koebel, Caroline. "Imaging Her Erotics: Carolee Schneemann” (book review), The Brooklyn Rail, Summer 2002.
Leask, Josephine. “Bodily Functions- Review of Imaging Her Erotics,” Tate Summer 2002 Bulletin. Tate Museum, London.
Newman, Amy. “An Innovator Who Was the Eros of Her Own Art,” The New York Times, February 3, 2002.
Review of “Embodied” at P·P·O·W, Artnet.com, January 16, 2002.
Schneemann, Carolee. “Imaging Her Erotics – Essays, Interviews, Projects,” MIT Press, 2002.
Satz, Aura. “A Short History of Performance” (review of Whitechapel Performance of Meat Joy), Tema Celeste 92, July/August 2002. p. 95.
Valdez, Sarah. Review. Time Out NY. February 14-21, 2002.
2001 “Carolee Schneemann’s Early Drawings,” The Drama Review. Summer 2001. p. 9—54, 96. Illus: p. 96.
Dreher, Thomas. “Performance Art nach 1945.” Wilhelm Fin Verlag. Munich, 2001.
Hulguera, Pablo. Tema Celeste Contemporary Art Magazine. E-Gabrius USA Corp., New York, 2001. "More Wrong Things" (review of exhibition at White Box, NYC).
Wagner, Monika. Das Material der Kunst. Verlag C.H. Beck, 2001. Munich.
Wimmer, Elga. Arzulananlar/Les Voluptes exhibition catalogue. Borusan Art Gallery, Istanbul, Turkey, 2001. p. 32--3, Illus: Fresh Blood– A Dream Morphology.
2000 Burrows, David. “Making a Scene,” University of Central England. Birmingham, 2000. p. 34-38, Illus.
Drobnick, Jim. "Inhaling Passions: Art, Sex and Scent,” Sexuality & Culture. Summer 2000. vol. 4, no 3. p. 37-56.
Hanzlova, Jitka. “Female,” Deichtorhallen, Hamburg, 2000. Illus: b & w photo of CS, p.63.
Hay, Deborah. “My Body, The Buddhist.” University Press of New England, 2000. Detail of Infinity Kisses, p. 4.
Montano, Linda M. “Performance Artists Talking in the Eighties,” University of CA Press, Berkeley, 2000. p. xi, xii. Illus: “Fresh Blood: A Dream Morphology" (1983), (photo: Ginerva Portlock)
Morris, Robert. Review of Site, Art Monthly. April 2000. p. 22, Illus: Site.
Oddey, Alison. "Aphrodite Speaks: on the Recent Performance Art of Carole Schneemann," NY Theatre Quarterly, 2000. vol. XVI, no. 62, part 2. p. 155—162.
Pollack, Barbara. "Babe Power," Art Monthly. April 2000. p. 7-10, Illus: Interior Scroll.
1999 “Art Matters: How the Culture Wars Changed America,” NYU Press, 1999.
Combalía, Victoria, Jean-Jacques Lebel. “Jardín de Eros,” S.E. Electa. S.A., Barcelona. 1999. p. 48, 63, 295.
Chicago, Judy & Edward Lucie- Smith. “Women and Art: Contested Territory,” Weidenfeld & Nicoloson, London, 1999. Illus: p.18, 171.
Conz, Francesco. “Dupuy chez Conz,” Editions Conz, Verona, 1999. Photo appears on front cover collage.
Conz, Francesco. “Fluxus: Muzej suvremene umjetnosti,” Zagreb studeni – prosinac, 1999. Illus: p. 79.
Cameron, Kandel, “Bonami, Cream: Contemporary Art in Culture,” Phaidon Press, London, 1999. p. 14, 228. Illus.
Celant, Germano and Clare Bell. “Jim Dine: Walking Memory, 1959-1969,” Solomon R. Guggenheim Foundation, NY, 1999. p. 40.
Duncan, Michael. "Tracing Mendieta," Art in America. April 1999. p. 110-113, 154.
Eyler, Carolyn. “Carolee Schneemann: Drawing Performance,” University of Southern Maine, 1999. Illus.
Frueh, Joanna. “Treatment of Women’s Bodies in Medical Science and Art,” Catalogue. Dinnerware Gallery, Tucson, 1999.
Howell, Anthony. “The Analysis of Performance Art,” Harwood Academic Publishers, 1999. p. xv, 55, 89,198.
Jones, Amelia. “Body Art: Performing the Subject.” University of Minnesota Press, Minneapolis, London, 1999. p. 1-5, 9, 10, 13, 31, 51, 151, 159, 161--62, 164, 239, 242, 255, 301-302. Illus.
Klein, Jennie. "Feeding the Body: The Work of Barbara Smith," Performance Art Journal, 1999. vol. 61. p. 34.
Luelski, Abraham. NY Arts Magazine. October 1999. Illus: p. 23.
Marranca, Bonnie. "Bodies of Action, Bodies of Thought: Performance and Its Critics" (review of Out of Actions exhibition), Performance Art Journal, 1999. vol. 61. p. 10-23.
Marranca, Bonnie & Gautam Dasgupta. "Carolee Schneemann: Performance and the Body," Conversations on Art and Performance. (Interview with Robert Coe, 1979).
Johns Hopkins University Press, Baltimore/ London, 1999. p. 330-336.
NY Arts, 1999. vol. 4. no. 5. Illus: cover.
O’Dell, Kathy. Contract with the Skin. University of Minnesota, 1999.
Paley, Maggie. The Book of the Penis. Grove Press, New York, 1999. p. 65, 66.
Phillips, Lisa. The American Century: Art & Culture 1950-2000. Whitney Museum of American Art in association with W.W. Norton & Company, New York/London, 1999. p. 163-66, 165, Illus: p. 242, 243.
Reiss, Juli H. “From Margin to Center: The Spaces of Installation Art,” MIT Press, Cambridge, MA, 1999. Illus: Divisions and Rubble (1967), p. 74.
Rush, Michael. New Media in Late 20th Century Art. Thames & Hudson. 1999. p. 38, 41, 59, 78. Illus: Eye Body, Mortal Coil, Snows.
Schneemann, Carolee. "Dream/Space/Object...Death/Mother/Bird," Art Journal. Spring 1999. p. 49--62. Illus.
Sarmiento, José Antonio. “El Arte De La Acción,” Vicenconsejería de Cultura Y Deportes, 1999. p.123.
Strauss, David Levi. “Love Rides Aristotle Through the Audience: Body, Image & Idea in the work of
Carolee Schneemann," Between Dog & Wolf: Essays on Art and Politics. Autonomedia, Brooklyn, NY.
1999. p. 72--89.
Texte Zur Kunst. March 1999. p. 60--61. Illus: Up To And Including Her Limits (on Pollock).
Unterberger, Amy, ed. Women Filmmakers Encyclopedia: Women on the Other Side of the Camera.
Visible Ink/ St. James Press, 1999. p. 372--74. Illus: Fuses.
Viso, Olga M. “Regarding Beauty,” Hirshorn Museum and Sculpture Garden Smithsonian Institution,
Washington, D.C. Hatje Cantz Publishers, 1999. Illus: fig 39.
Vesna, Victoria and Connie Samaras, ed. Terminals. CD-ROM including work by C.S.,
Weibel, Peter. Der Anagrammatische Körper. Kunsthaus Muerz. Köln, Germany, 1999. Photo: Portrait
Woods, Tim. Beginning Postmodernism. Manchester University Press, Manchester and New York,
1999. p. 83, 154-155. Illus: Cycladic Imprints (1992).
1998 Ayers, Robert. “Out of Actions," Art Monthly. March 1998. no. 214. p. 1--4. Illus: Eye Body installation.
Birringer, Johannes. “Media and Performance Along the Border.” Johns Hopkins University Press, Baltimore, 1998. p. 8-9, 155, 256--57, 274--75.
Bonomi, Giorgio/ Mascelloni, Enrico. “Promuovere L’alluvione: Fluxus nella sua Epoca 1958-1978.” Exhibition catalogue. p. 19, 65, 162, 200, 249. AP Publishers, Italy, 1998. Illus: Eye Body, Up To And Including Her Limits, Breads, Noise Bodies early drawing.
Clay, Stephen and Phillips, Rodney. "Parts Of A Body House Book: A Secret Location on the Lower East Side,” Adventures in Writing, 1960 - 1980. New York Public Library, 1998. p.144 --145.
Dewey, Fred. "Letter from Freedom X: Carolee Schneemann and Artaud," Most Art Sucks: Five Years of Coagula. Smart Art Press, Santa Monica, CA, 1998. p. 114-119. Illus.
Einzig, Barbara. "Girls Rule, Boys Drool," ArtByte: The Magazine of Digital Arts. Dec/Jan. 1999. vol. I, no. 5. p. 19--25.
Enright, Robert. "The Articulate Body: Carolee Schneemann in Conversation," Border Crossings: A Magazine of the Arts. Winter 1998. p. 14--27. Illus.
Falvo, Patricia. "History, Women’s Work," New York Magazine. November 2, 1998. p.145. Illus.
Frank, Peter. “Fluxus Fluxus Redux: Neo-Dada Sexuality in the 1960s and After,” Manuscript, 1998.
Goldberg, Roselee. Performance: Live Art Since 1960. Harry Abrams, NY, 1998. p. 10, 15, 17-18, 44, 92, 132. Illus: Interior Scroll, Meat Joy, Up To And Including Her Limits.
Handelman, Michelle. "Tripod Women: Visionary Women - Carolee Schneemann." Interview, 1998. www.tripod.com/women/feature/columns/artists/carright.frame.
Harvey, Dennis. "Is It Still Really Dirty?" San Francisco Bay Guardian. December 9, 1998. p. 59, 61.
Interview w/ Ruby Rich discussing C.S.’s Fuses. Illus.
Haug, Kate. "Femme Experimentale: Interviews with Carolee Schneemann, Barbara Hammer, and Chick Strand," Wide Angle: A Quarterly Journal of Film History, Theory, Criticism, and Practice. vol. 20, no. 1. January 1998. p. 1--49. Illus: Fuses performance, lecture.
Jones, Amelia. Body Art: Performing the Subject. University of Minnesota Press, Minneapolis/ London, 1998. p. 1-5, 9, 10, 13, 31, 51, 151, 159, 239, 160--62, 164, 239, 242, 255, 301-302. Illus: CS, Eye Body.
Joselit, David. "Between Objects and Actions," Art in America. November 1998. p. 86--91.
Kauffman, Linda S. “Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture. University of California Press, 1998. p. 4, 20, 52-56, 73, 80, 262, 276, 277.
Koebel, Caroline. "From Danger to Ascendancy: Notes Toward Carolee Schneemann," Wide Angle: A Quarterly Journal of Film History, Theory, Criticism, and Practice. January 1998. vol. 20, no. 1. p. 50--63. Illus: Fuses, Eye Body.
Koestenbaum, Wayne. "Bikini Brief" (Interior Scroll). Artforum. Summer 1998. p. 23--24.
Ed. Kunsthistorie ved Arhus Universitet."Carolee Schneemann," Sulto, March 1998. Odense, Denmark.
Lord, Jeffrey P. "Kitch’s Last Meal" Big as Life: An American History of 8mm Films. ed. Albert Kilchesty. Museum of Modern Art, NY/ San Francisco Cinematheque, 1998. Illus: Kitch’s Last Meal stills. Essay: p. 77--78; 11, 100, 112, 117.
Matlin, David. "Echoes of Dionysus" (review of More Than Meat Joy). Rain Taxi. April 1998. p. 44--45.
McConquodale, Siderfil, Stallabrass, ed. Occupational Hazard: Critical Writing on New British Art. Black Dog Publishing, 1998. p. 122, 127.
Moore, Barbara. "Peter Moore at Judson," Movement Research, Performance Journal #17. Published by Movement Research, Inc. Fall/Winter 1998.
Morgan, Robert C. “The End of the Art World,” The School of Visual Arts and Allworth Press, 1998. p. 127-132, 134.
Preston, Janet. "New York Letter Bomb," Coagula. January 1998. no. 31. p. 28--29.
Rich, Ruby B. “Chick FLICKS, Theories and Memories of the Feminist Film Movement,” Duke University Press, 1998. p. 21--28, 112, Illus: Fuses, Interior Scroll.
Robins, Corinne. "Rediscovering Sex in Feminist Art," Art Journal. Spring 1998. vol. 57, no. 1. p. 88—89.
Roth, Martha. “Arousal: Bodies & Pleasure,” Milkweed Editions, Minneapolis, 1998. p. 146, 159.
Rothenburg, Jerome and Pierre - Joris. “Poems for the Millennium - Vol. II: From Postwar to Millennium,” The University of California Press, Berkeley/ Los Angeles, 1998. p. 436--439. Illus: Interior Scroll.
Schimmel, Paul. “Out of Actions: Between Performance and the Object 1949-1979,” Exhibition catalogue. MOCA, Los Angeles/ Thames & Hudson, NY. 1998. p. Frontispiece, 253, 293--297, 387, 404. Illus: Eye Body, Four Fur Cutting Boards, Interior Scroll.
Schneemann, Carolee. "In Their Own Words-- Vulva’s School," The Bardian. Sulfur 42, Spring 1998. p. 14--21. Illus: Vulva’s School.
Seppala, Vanhala, Weintraub, ed. "Interspecies Eros: Animal, Anima, Animus,” Pori Art Museum Publications, 1998. p. 128 - 137. Illus: Infinity Kisses, Vulva’s Morphia Eternal Pussy.
Smith, Roberta. "When Art Became a Stage and Artists Actors," New York Times,1998. p. 40--41.
Unterburger, Amy, ed. Women Filmmakers and Their Films. St. James Press, Detroit/ NY/ London, 1998. p. 147--149, 373--375. Illus: Fuses.
Weintraub, Linda. New York Foundation for The Arts, Advocacy. Fall 1998. vol.1, no. 3.
1997 Artaud, Antonin," Parkett,1997, no. 50/51. p. 224--231 (German 232-239). Illus. Meat.
Avgikos, Jan. "Carolee Schneemann/ New Museum," Artforum International. March 1997. p. 94. Illus: Up to and Including Her Limits.
Bace, Bill. "AICA 1996-1997 Best Show Awards," REVIEW. November 15, 1997. p. 1, 5.
Barnes, Coomer, Freedman, ed. The 20th Century Artbook. Phaidon Press Limited, London, 1997. p. 415, Illus. Eye Body.
Biesel, Elke. "Lust und Wut einer Kunstlerin: Carolee Schneemann aus New York in Bonn," Kolner Stadt-Anzeiger. March 1997. no. 55.
Bogarts, Pierre, and Veerla Swenters. “Shoes Or No Shoes?“ Schoenmakerij Swenters, Antwerp, Belgium, 1997.
Brakhage, Stan. "Letter to Amos Vogel from Stan Brakhage, 5/13/57," Wide Angle: A Quarterly Journal of Film History, Theory, Criticism and Practice. April 1997. vol. 19, no. 2. p. 78.
Cameron, Dan. "Global Warming," Artforum. December 1997.
Carlton, Nathan. "Being Our Constructions: A Response to C. Schneemann’s Performative Reading: Your Dog My Cat or Delirious Arousal of Destruction," The Bard Observer. May 20, 1997. p. 8--9. Illus.
"Carolee Schneemann," RUDE, Granary Books, Limited Edition Artist Book. Edition of 35. New York, 1997, no. 8. p. 17. Illus: Vulva’s Morphia.
Daigle, Claire. "Carolee Schneemann -- New Museum" (review of C.S. retrospective), ART PAPERS. March/ April 1997. vol. 2, issue 2. p. 65. Illus: Interior Scroll.
Daly, Ann. "Body of Evidence: Schneemann Retrospective Exposes Subversive Gestures," Village Voice. January 21, 1997. Illus: Up to And Including Her Limits.
Dewey, Fred. "Letter From Freedom X: Carolee Schneemann Reclaims Art History," Coagula Art Journal. March 1997. p. 24--28 and cover.
Elder, Bruce R. “A Body of Vision, Representations of the Body in Recent Film and Poetry,” Wilfred Laurier University Press, 1997. p.154, 156, 162, 233--76, etc.
“For Eyes and Ears,” Odense, Denmark!, 1997. Cover and p. 29. Illus: Enter Vulva.
Frank, Peter. "Glow, Whir and Babble: Film at 100" (review of MOCALA exhibition, Hall of Mirrors: Art and Film Since 1945), Artnet: World Wide Web Magazine,1997.
Frauen Museum Catalogue. Ruhm - Werke von Kunstlerinnen in nordrhein - westfalischen Museen. p. 172, 173. Illus: Collage, 1970. Frauen Museum, Bonn, 1997.
Gaze, Delia, ed. Dictionary of Women Artists: Vol II. Fitzroy Dearborn Publishers, London/ Chicago, 1997. Illus: Eye Body.
Haden-Guest, Anthony. “True Colors: The Real Life of the Art World,” Atlantic Monthly, 1997.
Graham, Lanier. Goddesses. Abbeville Press, New York, 1997. p. 266. Illus: Eye Body.
Handler, Beth. "Refusal and Reaffirmation: Carolee Schneemann’s Performances Against the Vietnam War and The Politics of Gender," Issues of Performance in Politics and the Arts, 1997. p. 177—194.
Illus: Eye Body, Interior Scroll, Snows, Illinois Central. Doctoral dissertation.
Harris, Jane. "Carolee Schneemann: Intimately Public," REVIEW. Jan. 5, 1997. p. 20--21.
“Known/ Unknown - Plague Column," Images Festival of Independent Film and Video, The Factory, 1997. p. 55. Catalogue.
Jones, Ronald. "Carolee Schneemann - The New Museum, New York," Frieze. May 1997. no. 34. p. 88. Illus: Infinity Kisses, Up to And Including Her Limits.
Kimball, Roger. "The Repeal of Reticence,” The New Criterion. January 1997. p. 20--25.
Kirker/ Zurbrugg, ed. Francesco Conz: Intermedia and The Avant-Garde. Exhibition catalogue. Queensland Art Gallery, Australia, 1997. p. 4, 8, 55, 78. Illus: Ice Naked Skating.
Konkrete, Poesie. Konzept, Kunst. Kunstverein, Rosenheim, 1997. p. 77.
Kramer, Mark. "The Medium is a Mess," Spy. November 1997. p. 38, 40. Illus: Interior Scroll.
Kulterman, Udo, ed. Modern Masterpieces: The Best of Art, Architecture, Photography and Design since 1945. St. James Press. p. 128--131. Illus: Meat Joy.
Kubitza, Anette. "Carolee Schneemann," Ruhm-Werke von Kunstlerinnen in nordrhein-westfalischen Museen. Frauen Museum, Bonn, 1997. p. 172-3. Illus: Collage.
Lamontagne, Valerie. "Heroine Addiction," MIX. Spring 1997. vol. 22.4. p. 53. Illus: Interior Scroll.
Light Cone catalogue 1997. Collectif Jeune Cinema, Paris, 1997. p.148, 151. Illus. Meat Joy.
Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media. 2nd Edition. Prentice Hall, 1997. p. 81--83. Illus: Cycladic Imprints.
MacDonald, Scott. "Cinema 16: Documents Toward a History of the Film Society," Wide Angle: A Quarterly Journal of Film History, Theory, Criticism and Practice, April 1997. vol. 19, no. 2. p. 79.
MacDonald, Scott. "Cinema 16: Documents Toward a History of the Film Society," Wide Angle: A Quarterly Journal of Film History, Theory, Criticism and Practice. January 1997. vol. 19, no. 1. p. 12.
Morgan, Robert C. “Carolee Schneemann: The Politics of Eroticism," Art Journal. Winter 1997.
Murphy, Jay. "Assimilating The Unassimible: Carolee Schneemann in Relation to Joy, Vulva’s Morphia, Water Light/ Water Needle, Cycladic Imprints, Mortal Coils, Up to And Including Her Limits, Eye Body, Jim’s Lungs.
"New York Letter Bomb,” Coagula Art Journal. January 1997. p. 26, 28.
Odita, O. Donald. Interview extract and photograph in "The Body Issue". Rude,1997. p. 17. (Interview published in its entirety at http://plexus.org/connect).
O'Dell, Kathy. "Fluxus Feminus," The Drama Review, Spring 1997. p. 43--59. Illus: Guerilla Gut Room, Genitals Play Room drawings.
O’Dell, Kathy. "Displacing the Haptic: Performance Art, the Photographic Document, and the 1970s," Letters from Europe: Performance Research, Spring 1997. vol. 2, no. 1.
Allsopp, Gough, MacDonald, ed. Performance Festival Odense, 1997. p. 76. Illus: Interior Scroll.
Preston, Janet. "New York Letter Bomb," Coagula, 1997. p. 30.
Princenthal, Nancy. "The Arrogance of Pleasure," Art in America. October 1997. p. 106-109. Illus: Up to And Including Her Limits, Mortal Coils, Native Beauties, Hand/Heart for Ana Mendieta.
Rugoff, Ralph. Scene of the Crime. UCLA/ Armand Hammer Museum, Los Angeles, 1997. p. 64. Illus: Up to And Including Her Limits.
Schneider, Rebecca. The Explicit Body in Performance. Routledge, New York/ London, 1997. p. 2, 7, 29, 30--8, 40, 46--7, 48--50, 60, 66, 72--9, 81, 83, 86, 99, 109, 117, 119, 128, 131--2, 149, 178--9, 181--3, 191, 195, 205, 227, 231--2. Illus: Eye/Body, Fuses, Infinity Kisses, Interior Scroll, Site.
Schneemann, Carolee. More Than Meat Joy, McPherson & Co., Kingston, NY, 1997.
Schwabsky, Barry. "Carolee Schneemann - New Museum of Contemporary Art" (review of C.S. retrospective), Art/Text. 1997. p. 80--81. Illus: Up to And Including Her Limits.
Solomon, Deborah. Utopia Parkway: The Life and Work of Joseph Cornell. Farrar, Strauss, Giroux, New York, 1997. p. 243--44, 273, 290--92, 300.
Stavru, Bill. "Pandora Speaks: An Interview with Carolee Schneemann ’59," The Bardian. Summer 1997. p. cover, 1--4, 17. Illus: Vulva Speaks, Mortal Coils.
Stiles; Selz, ed. Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings. University of California Press, Berkeley, 1997. p. 682--83, 688, 714—18, 809.
Thiele, Carmela. "Der Korper wird Material,” Stadt Revue, Bonn. March 1997. p. 136. Illus: Interior Scroll.
Weinberg, Abbie. "Carolee Schneemann - The New Museum of Contemporary Art, New York, NY/Galerie Samuel Lallouz, Montreal" (review of exhibition). Parachute, 1997. p. 86, 48. Illus: Up to And Including Her Limits.
Wirth, Heidrun. "Holztafeln verbreiten Duftwolken". Bonner Kultur, Bonn/ Koln. March 12, 1997.
1996 Art & Antiques. "The 100 Top Collectors in America," The Poetry Project Newsletter. March 1996. p. 89, Interior Scroll.
Anderson, Patricia. "All of Us," Bantam Doubleday Dell, Spring 1996.
Bloch/ Celender. “Mortal Remains (400 artists comment on their mortal remains),” Exhibition text: OK Harris Gallery, NYC/ Intermedia Arts Minnesota, Minneapolis. January 1996.
"Body As Membrane," Exhibition catalogue from Kunsthallen Brandts Klaedefabrik. Denmark, 1996. Introduction by Valie Export and Kirsten Justesen. P. 78--83. Illus.
Brougher, Kerry. “Hall of Mirrors: Art and Film Since 1945,” Exhibition catalogue. Museum of Contemporary Art, Los Angeles, 1996.
Cameron, Stiles, Levi-Strauss. “Carolee Schneemann: Up to And Including Her Limits,” Exhibition catalogue for New Museum retrospective. New Museum of Contemporary Art, 1996.
Camphausen, Rufus C. “The Yoni: Sacred Symbol of Female Creative Power,” Inner Traditions, Rochester, VT, 1996. p. 83, 84. Illus: Eye Body.
"Carolee Schneemann: Up to And Including Her Limits," (New Museum of Contemporary Art). Goagula Art Journal, Autumn 1996. no. 24.
Castle, Frederick Ted. "Carolee Schneemann: Elga Wimmer and Associates," Review. Jun 1996. vol. 1, no. 3. p. 13, 14.
Centre Georges Pompidou. "Vertigo: Esthetique et Histoire du Cinema," Film program in conjunction with feminin/masculin exhibition at Centre Georges Pompidou. Editions. Jean Michel Place, Paris, 1996.
Cerrito, Joann, ed. Contemporary Artists. 4th Edition. St. James Press, Detroit 1996. p. 1043--1045.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent. Harry Abrams, Inc., 1996. p. 124--127, 138, 139. Illus: Meat Joy, Site.
Crowder, Joan. "The End," (review of exhibition Terminals: Considering the End at UCSB), Santa Barbara News Press. April 12, 1996. p. 23.
Drain, Richard. ed. "Carolee Schneemann - Art in The Dark: A Letter to Artforum (1983)," Twentieth Century Theatre: A Sourcebook. p.136--138, 233, 363.
Elkjaer, Bo. "Kunstige Kvinder," (review Body as Membrane exhibition, Denmark), Ekstra Bladet. January 20, 1996. section 2, side 7. Illus: Interior Scroll.
Ferguson, Russell. “Hall of Mirrors: Art and Film Since 1945,” The Museum of Contemporary Art, Los Angeles/The Monacelli Press, NY, 1996.
Frueh, Joanna. Erotic Faculties. University of California Press, Berkeley, Los Angeles, London, 1996. p. 48--49, 90, 102--7, 143, 148--9, 163.
“Galleries - Downtown" -- Schneemann solo exhibition listing: Elga Wimmer Gallery. The New Yorker. August 5, 1996.
“Genius Envy," Art Forum. Nov 1996. p. 10.
Glueck, Grace. "Of a Woman's Body as Both Subject and Object," The New York Times. December 6, 1996. p. C29.
Grant, Annette. "Praising Famous Men, and an Empire or Two," The New York Times. December 29, 1996.
Grue, Birgitte. "Nar kvinder gar i kodet pa sig selv" (review of Body as Membrane exhibition), BT, Denmark, February 4, 1996. p. 30.
Hackman, William. "Yes, But What Is It?" The J. Paul Getty Trust Bulletin. Winter 1996. vol. 9, #3. p. 2-3. Illus: EyeBody.
Heartney, Eleanor. "Carolee Schneemann at Elga Wimmer," Art in America. October 1996. p. 113. Illus: Known/Unknown: Plague Column.
James, David. "Hall of Mirrors: Art and Film Since 1945" (Review), Art + Text. May 1996. no. 54.
Jones, Amelia. "Interpreting Feminist Bodies: The Unframeability of Desire,” The Rhetoric of the Frame: Essays Towards a Critical Theory of the Frame in Art. Cambridge University Press, 1996.
Kaye, Nick. Art Into Theatre: Performance Interviews and Documents. Harwood Academic Publishers, The Netherlands, 1996. p. 8, 25-39. Illus: Scan, Lateral Splay.
Klocker, Hubert. “Herausgeber Kunstraum Wien: Projekte 1994 bis 1996,“ Triton, 1996. p. 20-21, 48-51, 87. Illus: Up to and Including Her Limits, Mortal Coils.
Larson, Kay. "Women's Work (or Is It Art?) Is Never Done," The New York Times. Sunday, January 7, 1996. p. 35.
McClure, Lissa. "Carolee Schneemann: Elga Wimmer and Associates" (review). June 1996. vol. 1, number 3. p. 27.
"Miroslaw Rogala & Carolee Schneemann - Instructions Per Second: Chapter One," Exhibition catalogue. Stichting World Wide Video Centre: 14 de World Wide Video Misfeldt, Mai.
"Kroppens sprog" (review of exhibition Body as Membrane), Berlingske Tidende. February 3, 1996. Denmark. Illus: pre-performance action for Up to And Including Her Limits.
Morgan, Robert C. Art into Ideas: Essays on Conceptual Art. Cambridge University Press, 1996. p. 199-200. Illus: Ask the Goddess.
Preston, Janet. "New York Letter Bomb," Coagula Art Journal, 1996, no. 20. p. 14.
Rugoff, Ralph, K. Stiles, G. Pietrantonio. Paul McCarthy. Phaidon Publishers, London, 1996. p. 45. Illus: Eye Body.
Sandler, Irving. Art of The Postmodern Era: From the Late 1960s to the Early 1990s. Harper Collins, 1996. p. 130-132. Illus: Eye Body.
Schneemann, Carolee. Interviewed by Rebecca Schneider for The Explicit Body. Routlege and Kegan Paul. (On CS, Sprinkle, Finley, Bernhardt, McCauley, and SpiderWomen).
Schwabsky, Barry. "The Past Faces Off Against the Present," The New York Times. Sunday, June 30, 1996.
Festival. Stichting World Wide Video Centre, Den Haag, The Netherlands. 1996. p. 136-137.
Stiles, Kristine, Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings. University of California Press, Berkeley, Los Angeles, London, 1996. p. 682-83, 688, 714-18, 809.
Straayer, Chris. Deviant Eyes, Deviant Bodies: Sexual Re-orientation in Film and Video. Columbia University Press, New York, 1996. p. 85, 98, 235. Illus: Interior Scroll.
Troelsen, Anders. "Nar kunsten gar til korporligheder," January 23, 1996. Illus: Interior Scroll.
Ultimate Akademie. "Carolee Schneemann," Exhibition catalogue. Ulimate Akademie, Koln, 1996. p.257.
Vtape Video Reference Guide, 1996. Toronto, Ontario, 1996. p. 173.
"Vulva's School". M/E/A/N/I/N/G 19/20. May 1996. p. 98. Illus: Vulva's School.
Weintraub, Linda; Arthur Danto and Thomas McEvilley. “Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s,” Art Insights, Litchfield, CT. p. 165-170.
"What You Are Reading...." Issue #161, April/May 1996. p. 7.
Zuckerman, Heidi. “A Comparison of the Body of the Artist in Video from the 1970s and 1990s,” Essay for the exhibition at Trans Hudson Gallery, 1996.
1995 Barnadac, Marie-Laure; Storrs, Robert (and others). “Feminin/ Masculin Le Sexe de L'Art,” Exhibition catalogue. Editions du Centre Pompidou, Paris, 1995.
Bociurkiw, Marusya. "Carolee Schneemann: The Western Front, Pacific Cinemateque, Vancouver," Parachute. July/Aug/Sept 1995. no. 79. p. 53-54. Illus.
Brignone, Patricia. "Hors Limite - L'art et a Vie 1952-1994," Out of Bounds - Art and Life 1952-1994. Art Press, Paris, January 1995. p. 18-19.
Ferrara, Mills, Scales. "Carolee Schneemann: Nobody Doesn't Like Carolee" (review of SUNY New Paltz Visiting Artists Lecture), Art X. Winter 1995. p. 11-12. Illus: Cycladic Imprints.
".... Enter Vulva," October: Feminist Art and Critical Practice. 1995.
Garber, Frederick. “Repositionings,” Pennsylvania State University Press, 1995. p. 5, 6, 9, 15, 72, 85, 88-128, 135, 140, 146, 148, 174, 188, 193, 206, 220. Illus. More Than Meat Joy
Grootenboer, Doris. "Vrolijke boel van seks en kunst," Algemeen Dagblad. November 18, 1995. (Article on Pompidou's Feminin/masculin: Le Sexe de l'art exhibition.)
Klotz, Heinrich/ Schmid, Christof. (Foreword). Internationaler Videokunstpreis 1995 catalog. p. 106--7, Illus: Instructions Per -Second (with Mirek Rogala).
Lippard, Lucy. “The Pink Glass Swan: Selected Feminist Essays on Art,” The New Press, NY, 1995. p. 15, 100, 103-104, 241. Illus: Interior Scroll.
Man, Jos de. "Tobben over seks," HP/ DE TIJD. November 17, 1995. p. 73. (Article on Pompidou's Feminin/ masculin: Le Sexe de l'art exhibition.)
Martin, H., G. Lucato. ed. “Fluxus: Una Storia Veneto,” Museo Biblioteca Archivio, Bassano del Grappa, Italia, 1995.
"Mortal Coils," Long News in The Short Century. no. 5. Illus: p.12-13 and front and back covers.
Phillips, Lisa. “Beat Culture and The New America: 1950-1965,” Whitney Museum of American Art, 1995. p. 86, 257, 275. Illus: Quarry Transposed- Portrait of N.
Pultz, John. “Photography and The Body,” Calmann and King, Ltd, London, 1995. p. 128, 129, 131, 140. Illus: Interior Scroll.
Rathus, Nevid, Fichner-Rathus. “Human Sexuality in A World of Diversity,” Allyn & Bacon, Boston,1993,1995. Illus: from Unexpectedly Research.
Rinder, Larry, ed. In a Different Light. Book for the exhibition. City Lights Books, 1995. Illus: Saw Over Want.
Sanford, Mariellen R. Happenings and Other Acts. Routledge, 1995. Front and back cover and p. 246--262. Illus.
Schneemann, Carolee. "Anti-Demeter," Progress Report 3. London. p. 16-17.
Smith, Roberta. "Venice: Men Look, Women Display," The New York Times. Sunday, July 9, 1995.
Taylor, Brandon. “Avant-Garde and After: Rethinking Art Now,” Harry Abrams, NY, 1995. p. 26--27. Illus: Interior Scroll.
“13th Moon,” Text and illustration from Fresh Blood: A Dream Morphology. Front cover and p.144—147. Illus. Vetrocq, Marcia. "Report From Paris: Mixed Messages"/ "'Beyond Limits' at the Pompidou Center," Art In America, May 1995. p. 41--44.
Vigier, Rachel. “Gestures of Genius: Women Dance and the Body,” Mercury.
“Women and Art: Empowering Narratives,” World Bank. Transcript from World Bank Program on Gender. November 14, 1995. with Jenny Marketou, M.M. Serra, Berta Sichel. p. 3, 16--19.
1994 Allara, Pamela. “Mater Of Fact: Alice Neel’s Pregnant Nudes,” American Art. Spring 1994. p.17. Illus. Meat Joy.
Ariadne, Patricia. Women Dreaming-Into Art. Sigo Press, 1994. Illus.
Bode, Peter M. "Grenzganger des Korpers," (review of Kunstverein exhibition "Oh Boy It's A Girl", Munich), AZ. July 20, 1994. Illus: Eye Body.
Bongard, Nicola. "Fuses, 1965, Carolee Schneemann," Oh Boy It's A Girl: Feminism in der Kunst. Kunsterverein, Munich, 1994. p. 25--33. Illus: Fuses, Interior Scroll, Eye Body.
Breeretta, Genevieva. "L'art un Corps," Le Monde. Paris, November 21, 1994.
Brentano, Robin. "Outside the Frame: Performance, Art, and Life," Exhibition book for “Outside The Frame: Performance and the Object - A Survey History of Performance Art in the USA Since1950.
Cleveland Center for Contemporary Art, 1994. p. 44-45, 59, 74, 157, 161, 185, 229. Illus: Venus Vectors, Meat Joy.
Broude, Mary D. & Garrard, Norma, ed. The Power of Feminist Art: The American Movement of the 1970's, History and Impact. Harry Abrams, Inc. 1994. p. 22, 142, 161-163, 165, 190, 192, 194, 197, 207. Illus: Interior Scroll.
"Christmas Tree In Uteri," Whitewalls: A Journal of Language and Art. Fall/ Winter 1994. p. 90--91. Illus.
Coe, Robert. Pos ft Shock: The Emergence of the American Avant-Garde. W.W. Norton. 1994.
Cottingham, Laura. "How Many 'Bad' Feminists Does It Take To Change A Light bulb?" Light bulb. Summer 1994. Illus.
Delanoe, Nelcya. “Le Raspail Vert: L'American Center a Paris 1934-1994 - Une Histoire des Avant-Gardes Franco-Americaines,” Editions Seghers, Paris, 1994. p. 124-125. Illus: Meat Joy.
Ewing, Bill. The Body: Photographs of The Human Form. Thames and Hudson/ Chronicle. Fall 1994. Illus. with statement by C.S.
"Fresh Blood: A Dream Morphology - The Blood Link," Leonardo Magazine. M.I.T. Press, Winter 1994. vol. 27, no. 1. p. 23--28. Illus: Venus Vectors, Vector Vocabulary, Fresh Blood, Snows.
Frueh, Joanna, Cassandra Langer, and Arlene Raven, eds. New Feminist Criticism. Harper Collins, 1994. Illus.Garrard, Mary, ed. "On Body," Art Journal, 1994.
"On Body," Frontiers: A Journal of Women Studies, 1994. Illus: Cycladic Imprints.
Gates, Katherine, ed. Heck: Editions 1994. Catalog 1994. Illus: Nine Is A Four Letter Word (silkscreen edition), Rocks.
Hapgood, Susan. “Neo-Dada: Redefining Art 1958-1962,” American Federation of Arts, 1994. Illus.
Hayden-Guest, Anthony. “True Colors - The Real Life of The Art World,” Grove & Atlantic. Fall 1994. Illus. Hors Limites. Exhibition Catalogue. Editions du Centre Pompidou, Paris. 1994. Illus. with statement by C.S.
Jaeckel, Claudia. "Die Grezen losen sich auf," (review of Kunstverein exhibition Oh Boy It's A Girl, Munich), Suddeutsche Zeitung. July 27,1994. Illus: Eye Body.
Jones, Leslie C. "Transgressive Femininity: Art and Gender in the Sexties and Seventies," Exhibition catalogue for Abject Art: Repulsion and Desire in American Art. Whitney Museum of American Art, 1993. p. 33--57. Illus: Meat Joy.
Kadmon. Aorta. issue XVI, Angizia. Illus: Eye Body.
Katz, Vincent. "Carolee Schneemann at Penine H Öart," Art in America, November, 1994. no. 11. p. 127-28. Illus: Mortal Coils.
Kaye, Nick. Art Into Theatre. Gordon and Breach Publishers, 1994. Illus. and scores by C.S.
Krumpl, Doris. "Massnahmen gegen die Tugend des Schweigens," Der Standard. September 17/18, 1994.
Kuspit, Donald. "Act Out, Turn Off," Art Forum. April 1984. vol. 32, no. 8. Illus: Interior Scroll.
Larson, Kay. "Mind Field." New York Magazine. February 21, 1994. p. 55--56.
Lavin, Maud. "What's So Bad About 'Bad Girl' Art?" Ms. March/April 1994. vol 9, no. 5. p. 80--83. Illus: Body Collage.
Lebel, Jean-Jacques and Arnaud Labelle-Rojoux. Poesie Directe: Happenings Interventions. Opus International Edition, Paris, 1994.
Levi Strauss, David. "The Final Stages of the End! Enter the Great Tribulation!" Camera Work, 1994. p.22--23.
Lucie-Smith, Edward. Race, Sex & Gender in Contemporary Art. Abrams, London. 1994. p. 147. Illus.
Moore, Barbara. "New York Intermedia: Happenings and Fluxus in the 1960s," American Art: Painting and Sculpture 1913-1993 in the 20th Century, 1994.
Morgan, Robert. Conceptual Art: An American Perspective. McFarland & Co, 1994. Illus.
Munsterberg, Hugo. "The Critic at Seventy-Five," Art Journal. Spring 1994. vol. 53, no. 1. p. 65.
"New York News," Art Monthly. June 1994. Mortal Coils review. Illus
Preston, Janet. "What's Wrong with Janine Antoni?" Coagula. November 1994. Issue #15.
Rickels, Laurence A. "Act Out Turn On," Artforum, 1994. p. 70--73,127. Illus: Meat Joy, Interior Scroll.
Riley, Robert. The Making of a Modern Museum: San Francisco Museum of Modern Art. SFMOMA, 1994. pp. 120-121. Text and illus: Infinity Kisses.
Schaffner, Ingrid. "Carolee Schneemann: Penine-Hart Gallery," (review of Mortal Coils). Artforum, September 1994, vol. XXXIII, no. 1. p. 108--109. Illus.
Schmidt, Barbara U. "Jenseits polarer Differenzen: Die Ausstellung 'Oh Boy It's a Girl' im Kunstverein Munchen," Frauen Kunst Wissenschaft. Herbst, 1994.
Schmidt, Barbara U. "Oh Boy It's a Girl: When Gender Attitudes Attack the Norm," Kritik; Zeitgenossiche, Kunst in Munchen. p. 24—32.
Saxenhuber, Hedwig, and Astrid Wege. "Oh Boy It's a Girl: Feminism in der Kunst,” Exhibition book for Oh Boy, It's A Girl. Kunsterverein, Munich, 1994. p.8--12. Illus: Up to and Including Her Limits.
Schneemann, Carolee. "Ages of the Avant-Garde," Performance Arts Journal: 46. Jan 1994. vol. 16, no. 1. p. 18-21.
Schneemann, Carolee. "The More I Give the More You Steal/ The More You Give the More I Need," Mother Journeys: Feminists Write About Mothering: Anti-Demeter. eds. Reddy, Roth & Sheldon. Spinsters Ink, Minnesota. 1994.
Sigurdsson, Hannes. "Drulladu per i burtu! Og taktu helvitis typpid med per!" Eintak. Rekyjavick. August 4, 1994. Invortescrolla article. p. 24--29. Illus.
Solomen, Deborah. Utopia Parkway: The Life of Joseph Cornell. Farrer Strauss. 1994.
Steffen, Barbara. "Gender Culture," Kultur. 4:2. March/April 1994. p. 15.
Sudre, Alain-Alacide. "Hors Limites: L'art et la Vie," Le Magazine: Centre National d'art et de culture, Georges Pompidou. p. 4--8. Illus: Eye Body, Body Collage (back cover).
Suvakovic, Misko. “Book review of Robert C. Morgan's Conceptual Art: An American Perspective,” M/E/A/N/I/N/G Journal, #16, November 1994. p. 65--68.
"Therapeutic Art and Images in Context," Art Issues. September/October 1994. p. 29--33.
"Vulvamorphia," Lusitania. Lusitania Press. ("In Vulvic Space - Vulva Speaks" 1973 to 1993). Illus.
“Why I Got into Art,” (review of Vaseline Muses), Umbrella. June 1994. vol. 17, no. 2. p. 53
1993 "Absent from Royal Academy – USA," Time Out. London. September 1993.
Anderson--Spivy, Alexandra. "The Return of Aphrodite," The Argonaut Journal, 1993. vol. 138, no. 4213. p. 21-22, Illus: Unexpectedly Research.
Action/ Performance and the Photograph. Book for the traveling exhibition. Illus: Up to and Including Her Limits.
Armstrong/ Rothfuss. In The Spirit of Fluxus. Walker Art Center. 1993. (C.S. text).
Biancolli, Amy. "Portrait of the Artist as an Angry Woman," Albany Times Union, March 1993. Illus.
Birringer, Johannes. "Imprints and Revisions: Carolee Schneemann's Visual Archeology," Performance Art Journal. June 1993. p. 31--46. Illus: Cycladic Imprints, Double Mops, War Mop, Infinity Kisses.
Caws, Mary Ann. Joseph Cornell: Theater of the Mind - Selected Diaries, Letters and Files. Thames and Hudson, 1993. p. 202--203, 206, 367.
Chin, Daryl. "Those Little White Lies," M\E\A\N\I\N\G Journal, 1993. no.13, p. 26--27.
“Cologne/ NY: The Malevich Legacy," Heirs vs. Museum. AN 92:9. November 1993. p. 65, 72.
Cotter, Holland. "1920/ Exit Art," (review), The New York Times. April 16, 1993.
Dossier Antwerpen. Dossier of artists who exhibited in Antwerp, Belgium 1968-1993. Eiblmayer, Silvia.
Die Frau Als Bild: Der Weibliche Korper in der Kunst des Bonn: Reimer, 1993. Illus: Eye Body, Untitled (Four Fur Cutting Boards).
Garber, Frederick. "Presence and its Discontents: Carolee Schneemann and Steve McCaffery, Siting Jouissance," Open Letter. 8:1.
Garber, Frederick. Repositions. Penn State University Press, 1993. (94 Illus.)
Gubar, Susan. "'The Blank Page' and the Issues of Female Creativity," The New Feminist Criticism. Elaine Showalter, ed. Virgo Press, London, 1993; 1st ed. 1985).
Gray, John. Action Art: A Bibliography of Artists' Performance from Futurism to Fluxus & Beyond.
Greenwood Publishing Group, 1993.
Hess, Elizabeth. "Basic Instincts," Village Voice. June 1, 1993.
Heyward, Carl. "Interview - Carolee Schneemann," Art Papers. January/February 1993. vol. 17, no.1. Illus: p. 9-16.
Hunter, Dianne. "Theatres of the Female Body," Theatre Topics. March 1993. vol. 3, no.1. Illus.
“Integrating Sculpture, Space and Sound,” Musicworks: The Journal of Sound Exploration, 56. Fall 1993. p. 6--13. Illus: Cycladic Imprints (cover), Snows.
Jones, Amelia. "Presence and Calculated Absence," Tema Celeste Contemporary Art Journal. (On the Question of Gender in Art). Winter 1993.
Kandel Susan. "The Binge Purge Syndrome," Art Issues. May/ June 1993. no. 28. p.19-22, Illus: Meat Joy.
Kaprow, Allan. Allan Kaprow: Essays on the Blurrings of Art and Life. ed. Jeff Kelley. London, 1993.
Kubitza, Anette. "Die Macht des Ekels: Zneiner neuen Topographie des Frauenkorpers," Kritische Berichte. 1993.
Levy, Mark. Technicians of Ecstasy: Shamanism and the Modern Artist. Bramble Books. 1993. p. 177-191. Illus.
"Letters and Answers to Questions on Her Work in Antwerp," Dossier Antwerpen. Buitenlands Kunstenaars in Antwerp 1968-1990. (Antwerp: Parblue, Club Moral, Ruinte Morgnen.)
MacDonald, Scott. Avant-Garde Film: Motion Studies. Cambridge University Press, 1993. p. 5, 105.
Miller, Lisa. "Naked Aggression," Self. Nov. 1993. p. 144-147, 174. Illus: Interior Scroll.
Morgan, Robert. C. "Carolee Schneemann's Viet-Flakes (1965)," After the Deluge: Essays on Art in the
Nineties. Red Bass Publications, 1993. no. 16. p. 36--40. Illus: Viet-Flakes.
“Mother Lexicon," Flux Scan: A Collection of Music and Sound Events. ed Jan van Toorn. Den Bosch, Holland. 1993.
Neiman, Catrina. "Women Pioneers of American Experimental Film: Bute, Arledge, Menken, Deren, Schneemann," 1993. published as: Hutschenreuter, Heidi/ Schurian, Claudia. "Pionierinnen des amerikanishen Experimentalfilms: Bute, Arledge, Menken, Deren, Schneemann". Feministische Streifzuge durch's Punkte-Universum. Medienkunst von Frauen. edition Film Werkstatt. 1993.
O'Dell, Kathy. "Fluxus Feminus," from the Symposium "In the Spirit Of Fluxus," Walker Art Center. 1993.
Rathus, Nevid, Fichner-Rathus. Human Sexuality in a World of Diversity. Allyn & Bacon, Boston. 1993. Illus: Unexpectedly Research.
Schneemann, Carolee. The Argonaut Journal, 1994, vol.1, no. 2. p. 22--25. Illus: Unexpectedly Research.
“Sex-Quake: Art After the Apocalypse,” Art Genes Portable Museum/Printed Matter/ Water Konig Koln. Summer 1993. Illus: Dead Lover Reincarnated As Tomcat/Infinity Kisses.
Stevens, Mark. "Fluxus Redux," Vanity Fair. (Double-page color photograph). July 1993. p. 98-99, Illus.
Stiles, Kristine/Selz, Peter. Documents of Contemporary Art. University of California Press. Fall 1994. Illus: From the Notebooks, Woman in the Year 2000).
Stiles, Kristine. "Between Water and Stone," Fluxus. Book for the exhibition In The Spirit of Fluxus. Walker Art Center, 1993. p. 85, 90, 98.
Straayer, Chris. "The Seduction of Boundaries," Dirty Looks: Women, Pornography, Power. Eds. Pamela Church Gibson and Roma Gibson. British Film Institute, London, 1993. p.156-175. Illus: Interior Scroll
"The Return of The Feminist Body," M/E/A/N/I/N/G Journal, November 1993. no. 14.
“Unexpectedly Research," Lusitania, 1993. vol. I: Abject America, no. 4. Lusitania Press. Illus: Unexpectedly Research.
Wilmeth, Don B., and Tice L. Miller, eds. Cambridge Guide to American Theatre. Cambridge University Press. 1993.
1992 Art Das Kunstmagazin. "Fluxus nict totsukriegen," November 1992. no.11. p. 4, 43. Illus.
Berger, Maurice. How Art Becomes History. Harper Collins, Icon Editions. 1992. p. 71, 74. Illus: Viet-Flakes.
Blast Art Benefit Catalog. April 1992. p. 58. Illus.
"CORE ADORED LOATHED DENIED," In “By and About Women," Tema Celeste. Contemporary Art Review. Fall 1992.. Illus: Cycladic Imprints (1991-1992). Drucker, Johanna. "Visual Pleasure: A
Feminist Perspective," M\E\A\N\I\N\G Journal, May 1992. no. 11.
Dubin, Steve. Arresting Images. Routledge Press, 1992. Illus.
Feuerstein, Georg. Sacred Sexuality: Loving the Vision of The Erotic Spirit. Pedigree Books, 1992.
“Four Photos from Cycladic Imprints," Long News in the Short Century. 1 (3), 1992.
Frueh, Joanna. "Fuck Theory," (paper given at meeting of Society for Photographic Education). Washington, D.C., 1992.
Gomez, Jule. "Funding the Arts," MS. May--June 1992.
Haden-Guest, Anthony. "Live Art," Vanity Fair. April 1992. no. 55, p. 212.
Interviewed by Anthony Haden-Guest for book of interviews about the 1960s.
James, David, ed. To Free the Cinema: Jonas Mekas and the New York Underground. Princeton University Press, 1992. p. 151, 243, 275.
Kostar, Joon. "Angry Women," Woodstock Times. March 1992. Blast Art Benefit Catalog. April 1992. no. 58. Illus.
Martin, Maureen. "Carolee Schneemann: Challenging Distortions by the Dominant Male Imagination," VOX: Magazine of Contemporary Art and Culture. Spring 1992. p. 12-14. Illus: front and back covers.
McGruder, Karen. "Retrospective Catalog of the Mary H. Dana Women Artists Series," Journal of the Rutgers University Libraries. LIV (June 1992). 66, 67. Illus.
Mutiny and the Mainstream: Talk That Changed Art, 1975-1990. Midmarch Art as Press, 1992.
Nead, Lynda. The Female Body. Routledge Press, London. 1992. Illus.
Neiman, Catrina. Women in Film. Dortmund, Germany, 1992. Catalog, Illus.
"Notes from the Underground: A Feminist Pornographer in Moscow," The Independent. Winter 1992. p. 23-35. Illus.
"Unexpectedly Research," Lusitania: A Journal of Reflection and Oceanography 4. Fall 1992. p. 143—145.
Venus Vectors. Blast Editions, ed. Jordan Crandall. X Art Foundation. Plexiglass pages: boxed edition.
“Venus Vectors," Leonardo, Journal of the Arts, Sciences, and Technology. Fall 1992.
Video Burn. Artist's book. San Francisco: San Francisco Art Institute, 1992. (Component of the exhibition Scroll Paintings with Exploded T.V.).
1991 Schneemann, Carolee. Video Burn. San Fransico, CA: Walter/McBean Gallery, 1992.
Anonymous [Diedrich Diederichsen]. “Why I Got into Art,” Cologne: Jablonk Galerie, Verlag Walther Konig, 1991. Illus.
Baker, Kenneth. "Sliding Art Out of Shadows," San Francisco Chronicle. March 7, 1991. Illus. of Cycladic Imprints.
Bonetti, David. "Sliding Toward New Narrative Forms," San Francisco Examiner. March 15, 1991, C-2. Illus.
Burns, Gerald. “The Myth of Accidence,” Book IX. Austin, Texas, 1991. Unpublished manuscript.
Cohn, Terri. "Counterattacks, A Grave Silence: From Hitler to Helms," Artweek. November 7, 1991, no. 22. Illus.
Constantinides, Kathy. "Carolee Schneemann: Invoking Body Politics," Michigan Quarterly Review. Winter 1991. vol. 30, no. 1. p. 127--145.
Gottner-Abendroth, Heide. (Die Tanzende Gottin translation by Maureen Krause). The Dancing Goddess. Beacon Press, 1991.
Hoffman, Katherine. Explorations: The Visual Arts Since 1945. Harper Collins, New York, 1991. 270—271.
Howell, John, ed. Breakthroughs: Avant-Garde Artists in Europe and America 1950-1990. Wexner Center for the Arts, Ohio State University/Rizzoli, 1991. p. 81, 158,165-166. Illus.
"IN SEE WORK IN FIND PUT," M\E\A\N\I\N\G Journal, Fall 1991.
Jones, Alan. "Books in Artists' Lives", "Carte Blanche," column in Arts. February/March 1991. p. 26.
Joselit, David. "Projected Identities," Art in America. November 1991. Illus.
Juno, Andrea, RE/SEARCH #13: Angry Women. Eds. Andrea Juno and V. Vale. Re/Search Publications, San Francisco, 1991. p. 66--77. Illus. and back cover.
Kissick, John. (Review of Fluxus Deluxe at Pittsburgh Center for the Arts). New Art Examiner. January1992. 41-2.
Klinger, Linda S. “Where's the Artist?: Feminist Practice and Poststructural Theories of Authorship." Art Journal, 50, Summer 1991. p. 39--41. Illus.
Lowry, Patricia. "Fluxus exhibition showcases art for the eyes and ears" (review), The Pittsburgh Press. October 17,1991. B3. Illus.
Mackey, Heather. "Body Language," San Francisco Bay Guardian. February 20, 1991. p. 19--20. Illus: cover photo of CS.
"Mopping Up: Carolee Schneemann at SFAI," Artweek. November 7, 1991. vol. 22, no. 37. Illus.
Prigmore, Joe and Daniel Plunkett. "Carolee Schneemann," ND, Austin, TX, February 1, 1991. no. 14, p.5-10. Illus: p. 5, 6, 7, 9,10.
Reveaux, Tony. "Fleeting Phantoms: The Projected Image at SFMOMA," Artweek. Mar 28, 1991. vol. 22, no. 12. p. 20.
Robertson, Richard and Clive Alain-Martin. Performance Au - In Canada 1970-1990. Editions Interwenken, Toronto. 1991.
Robinson, Lou. "Subvert Story," (review of Out from Under: Texts by Women Performance Artists).
American Book Review. Ed. Leonora Champagne. February/March 1991. p. 9.
Ryan, Dinag. (Review of exhibition Nine is a Four-Letter Word), New Art Examiner. December 1991.
Schneemann, Carolee. "Emergency Sauce Scenarios for Unexpected Friends and Lovers," Food Sex Art: The Starving Artists' Cookbook. Eds. Paul and Melissa Eidia.: Eidia Books, New York, 1991. p. 34.
"Schneemann-On Erro," Erro Margflt Lif: Mal og menning by Adalsteinn Ingolfssson. Reykjavik, 1991.
Biography of Erro, 187, 192,193, 196-7, 203--7, 240.
“The Obscene Body/Politic,” Censorship II: College Art Journal, 50. Winter 1991. p. 28--35. Illus.
1990 Atkins, Robert. Art Speak: A Guide to Contemporary Idea, Movement and Buzzwords. Abbeville Press, New York, 1990. p. 76, 87, 121.
Baumgarten, Marjorie. "Blowing Fuses," The Austin Chronicle. March 9, 1990. Illus.
Costantinides, Kathy. "Carolee Schneemann: Invoking Politics," Michigan Quarterly Review. Winter 1991. p. 127-145. Illus.
Conz, Francesco. Essay in Fluxus! Brisbane: Institute of Modern Art, 1990. p. 4--7, 25.
Conz, Francesco. Fluxus S.P.Q.R.: book 44. Exhibition catalogue, Rome. 1990. p. 14-15.
"Films by Carolee Schneemann." Anthology Film Archives. New York, 1990. Illus.
Frank, Peter. "Sculpture at the 1990 Venice Biennale," Sculpture, September/October 1990. p. 37—39.
Friedman, Ken. Essay in Fluxus! Brisbane: Institute of Modern Art, 1990.
Gelburd, G. and G. Paoli. The Transparent Thread: Asian Philosophy in Recent American Art. University of Pennsylvania Press, 1990. p. 25, 26, 104. Illus.
Gordon, Jaimy. She Drove Without Stopping. McPherson & Co., Kingston, NY, 1990.
James, David. Films Against the War in Vietnam. Exhibition catalogue. Whitney Museum of Modern Art, November 1990. Illus.
Katz, Robert. "A Death in the Art World" (review of Naked by the Window), New York Times. June 10,1990.
Katz, Robert. Naked by the Window. New York: Atlantic Monthly Press, 1990. pp. 73- 74, 97, 126—28, 140, 164, 167, 197, 207-208, 215, 226, 227, 267.
Kent, Sarah and J. Morreau. Women's Images of Men. London: Pandora Press, 1990 (1st edition, 1984). p. 179-192. Illus.
Klonaris, Maria and Katerina Thomaduki, eds. Technologies et Imaginaire-Art Cinema/Art Video. Centre National de la Cinematographie, F.I.A.C.R.E., Paris, 1990. p.17, 142, index.
Kultermann, Udo. Contemporary Masterworks: Art, Architecture, Photography, Design. St. James Press, 1990. Illus.
Lippard, Lucy. A Different War-Vietnam in Art.: Whatcom Museum of History and Art, Bellingham, Washington, 1990. Illus.
Medalla, David. "Medalla in Manhattan," The Filipino Express. New York, July 23-29, 1990.
Meisel, Perry. "How Postmodern Is It?" Art in America. December 1990. p. 83.
Moore, Sylvia, and C. Navaretta. Artists and Their Cats. Mid--March Arts Press, New York. 1990. p. 44-- 46. Illus.
“1968 Konkrete Utopien in Kunst und Gese íllschaft.” Stadtishce Kunsthalle Dusseldorf, Cologne, 1990. p.156, 170. Illus.
Peterson, William. "Interview with Carolee "Pharmacy: The Chronicle of a Colossal Shift," Los Angeles Times. April 28, 1990.
Schneemann, Carolee. The Act, vol. 2, no. 1, p. 54--57.
Schneemann, Carolee. "The Body in Politics," Interviewed by Barbara Smith. Art Week, Los Angeles, October 1990. Illus. (cover photo of CS).
"Shadow Capture," Seeing in the Dark, Ian Breakwell and Paul Hammond, eds. Serpentstail, London. 1990. p. 9--10.
"Shifting Power" (review), Women Artist Slide Library Journal. May/June 1990.
Stiles, Kristine. "Performance and Its Objects," Arts Magazine. November 1990. 41--42. Illus.
Straayer, Chris. "The She-man: Postmodern Bisexed Performance," Screen. Oxford University Press. Fall 1990. Illus: Interior Scroll.
”The Films of Carolee Schneemann,” Exhibition catalogue. American Museum of the Moving Image. Illus.
“Ubi Fluxus Ubi Motus 1990-1962.” Exhibition catalogue, Milan. Fondazione Mudima, 1990. Illus.
1989 "A Conversation on Censorship with Carolee Schneemann," (Interviewed by Aviva Rahmani). M/E/A/N/I/N/G, November 1989. p. 3--7.
Berger, Maurice. Labyrinths: Robert Morris, Minimalism, and the 1960s. Harper & Row, New York, 1989 Illus: cover photo of CS in Site.
". . . Cat Torture in The Liquid Gate," International Experimental Film Congress.
"Censorship and the Moscow Film Festival," Interviewed by Aviva Rahmani and Barbara Zucker. Enclitic (USC), Summer 1989. p. 79--8, 95. Illus.
Chin, Daryl. "Walking on Thin Ice: The Films of Yoko Ono," The Independent. April 1989. p. 21, 23.
David, James E. Allegories of Cinema: American Film in the Sixties. Princeton University Press, Princeton. 1989. p. 317--320. Illus.
Dreyfus, Charles. "Carolee Schneemann" in Happenings and Fluxus. Paris: Galerie 1900-2000. 1989. p. 12, 166--167. Illus.
Edelson, Mary Beth. "An open letter to Thomas McEvilley," New Art Examiner. April 1989. p. 34.
Elder, R. Bruce. “The Body in Film,” Exhibition catalogue. Art Gallery of Ontario, 1989. p. 12, 13, 34-42. Illus.
Export, Valie. "Aspects of Feminist Actionism," New German Critique. Spring/Summer 1989. p. 69—92.
Fuchs, Elinor. "Staging the Obscene Body," The Tulane Drama Review. Spring 1989. p. 34. Illus.
Gadon, Elinor. The Once and Future Goddess. Harper & Row, New York,1989. 292--8. Illus.
Hill, Frances, ed. Toronto: Art Gallery of Ontario, Catalogue for Congress, 1989. p. 38, 46--47.
Interviewed by Christy Sheffield Sanford. Red Bass: Journal of Politics and Art, Baton Rouge, 1989. p. 16--23. Illus.
Interviewed by William Peterson. Act: Journal of Performance Art (NYC), 1989.
Interviewed by William Peterson. Performance (London), 1989. Illus: cover. Kulterman, Udo. "Carolee Schneemann," Contemporary Artists. Ed. Colin Naylor. 3rd Edition. St. James, Chicago/ London, 1989.
Leonard, George J. “Sayre: The Object of Performance” (review), Los Angeles Times Book Review, July 16, 1989.
Lucie-Smith, Edward. Art Now. Wellfleet, New York. 1989. (Originally published by Arnoldo Mondadori Editore. Milan. 1977). p. 402. Illus.
Moore, Peter. Photographs. Tokyo: Gallery 360, 1989. Illus.
Peterson, William. "Of Cats, Dreams and Interior Knowledge: An Interview with Carolee Schneemann," Performance (London). Winter 1989. no. 59. p. 11--23.
Rosen, Randy. Making Their Mark: Women Artists Move into the Mainstream. Abbeville Press, 1989.
Sanford, Christy Sheffield. "Interview: Carolee Schneemann," Red Bass. no. 14. p. 16--23.
Sayre, Henry M. The Object of Performance: The American Avant-Garde Since 1970, University of Chicago Press, Chicago. 1989. p. 145, 169--173. Illus.
Schneemann, Carolee. "Cat Scan," Inter Editeur, Quebec. 1989. p. 79.
"Selected Text and Drawings from the Performance Work Dirty Pictures," Heresies. 1989. p. 23, 54—55. Illus.
Spector, Buzz. "A Profusion of Substance," Artforum. October 1989. 120--128. Illus.
Spector, Nancy. "Double Fear," Parkett. Dec. 1989. no. 2. p. 130.
"Strogokontroli sane predstave," Movement 14, Casopis za vizuelne medije (Beograd). April/June 1989. p. 30. Illus.
1988 Berger, Maurice. "Carolee Schneemann: Snows," Representing Vietnam 1965-1973, The Anti-war Movement in America. Exhibition catalogue. New York: Hunter College, 1988.
"Carolee Schneemann" in High Performance #44 11(4, 1988): 37. On "Cat Scan."
"Carolee Schneemann - Up to and Including Her Limits." High Performance #41/42 11 (1&2, 1988). p. 66--67.
Goldberg, Roselee. Performance Art: From Futurism to the Present. Thames & Hudson, London. 1988. p. 138, 141, 142. Illus.
James, David. "Carolee Schneemann," Cinematograph: A Journal of Film and Media Criticism. Foundation for Art Cinema, 1988. p. 36--38. Illus.
Jowitt, Deborah. Time and the Dancing Image. University of California Press, Berkeley. 1988. p. 310, 327, 331. Illus.
Labelle-Rojoux, Arnaud. L'Acte Pour L'Art. Editeurs Evident, Paris.1988. p. 103, 108, 112-116, 172, 174, 194, 249. Illus.
Lebel, Jean-Jacques. Des Oeuvres Exposees. Paris: Galerie 1900-2000, 1988. 91-92. Exhibition catalogue.
MacDonald, Scott. A Criti Õcal Cinema. University of California Press, Berkeley. 1988. Illus, interview.
McEvilley, Thomas. "Redirecting the Gaze," Making Their Mark: Women Artists Move into the Mainstream: 1970-85. Abbeville Press, New York. 1988. Illus.
Morgan, Robert. "Performance and Spectacle in the Post-industrial Age," Rampike (Toronto) Special Issue.
Sanborn, Keith. "Modern, All Too Modern," Cinematograph: A Journal of Film and Media Criticism
(1988), p. 108. On the exclusion of women filmmakers from P. Adams Sitney's Visionary Film. Illus.
Schneemann, Carolee. "Cat Scan (New Nightmares/Ancient History)," Caprice Magazine, Ancient Mariner's Press, August 1988. Illus.
1987 Kultermann, Udo. “Die Performance-Art Carolee Schneemann." Jahrbuch der Hamburger Kunsthalle. vol. 6. p. 141-151.
Kultermann, Udo. "L'Univers de Carolee Schneemann," Vie des Arts (Montreal). June 1987. p. 56, 79.
Mifflin, Margot. "The Sleep of Reason: Artists and Their Dreams." High Performance," #38 10 (2, 1987): p. 50, 51. Illus: Fresh Blood-A Dream Morphology.
Morgan, Robert C. "Tales from the Dark Side: Dark Rooms at Artists Space," AfterImage 15 (1, Summer 1987). Illus.
Nahas, Dominique. "Venus Vectors: The Everson Version," In Sacred Spaces. Syracuse: Everson Museum of Art, 1987. p. 45. Exhibition Catalogue.
“On Prepared Box for John Cage,” Solway Gallery, Cincinnati, 1987. 14. Exhibition catalogue. Illus.
Schneemann, Carolee. "Ice Music," White Walls #16. Fluxus, Ken Friedman, ed. Chicago, Spring 1987. p. 99-101. Illus.
Robinson, Hilary, ed. “Letter to the Editor of Artforum (Oct. 1983),” Women on Art Series, Visibly Female: Feminism and Art Today, Frances Borzello, ed. Camden Press Ltd., London, 1987. p. 272-273.
Selz, Peter. "Alternative Aesthetics and the Quest for Spiritual Quintessence," Arts, October 1987. Illus.
Sukenick, Ron. Down and In: Life in the Underground. New York: Beech Tree Books, William Morrow Co., Inc., 1986. p. 32, 56, 57, 58, 193, 200, 202, 205, 211, 222, 233.
Warr, Watson, Widwin. Live Art Now. Arts Council of Great Britain, 1987. Illus: Meat Joy, p. 8.Catalogue.
Zwehl-Burke, Pamela, and Leslie Fedorchyk. Women's Autobiographical Artists Book. University of Wisconsin Fine Arts Galleries, Milwaukee, 1987. Illus.
1986 Almhofer, Edith. "Der Korper als Medium kreativer Manifestation Carolee Schneemann," Performance Art: Die Kunst Zu Leben. Vienna-Cologne-Graz: Kulturstudien Bei Bohlau, 1986. p. 50-70. Illus.
“Death Has No Fat" and "Infinity Kisses" in Hommage a Joseph Beuys. Klaus Staeck, ed. Kassel, 1986. Illus.
Decker, Elisa. “The Male Nude: Women Regard Men,” New York: Hudson Center Galleries, 1986. Exhibition cat. Illus.
Lovelace, Carey. "The Gender & Case of Carolee Schneemann," Millenium Film Journal. Summer/Fall 1986. Illus.
McCoy, Ann. "Het Bloed van de Dichter," Museum Journal 1, Amsterdam, 1986. p. 21-32.
Myers, George Jr. "Sacred and Contentious," Alphabets Sublime: Contemporary Artists on Collage and Visual Literature. Washington: Paycock Press, 1986. 140-146. Illus.
Schneemann, Carolee. "Das A und O-Hidden and Found in an Attic," excerpt from Fresh Blood. In Top Ten Review. Bremen: H & H Schierbrok Edition, 1986. p. 42. Illus.
1985 "Carolee Schneemann," Art Forum. April 1985. p. 92.
Disinformation-The Manufacture of Consent. Alternative Museum, New York,1985. p. 47, 61-2. Catalogue, Illus.
Export, V., Eiblmayr, ed. Kunst Mit Eigen-Sinn. Vienna: Museum Moderner Kunst, 1985. Catalogue for exhibition: 'Internationale Ausstellung Aktueller Kunst von Frauen'. 29 March-12 May 1985.
Export, V., Eiblmayr, Prischl-Maier. Kunst Mit Eigen-Sinn 9-Texte und Dokumentation. Vienna-Munich: Locker Verlag, 1985. 207, 232, 293. Illus.
Haller, Robert. "Carolee Schneemann: Early Work/Recent Work" (review), Field of Vision, Spring 1985. p. 27.
Kohler, Michael and Gisela Barche. Das Aktfoto. Munich: Munchner Stadtmuseum, 1985. p.138, 157, 368. Illus.
MacDonald, Scott. "Carolee Schneemann's ABC: The Men Cooperate," AfterImage, April 1985.p. 12 15.Illus.
McEvilley, Thomas. "Carolee Schneemann," Artforum, April 1985. p. 91. Illus.
Schneemann, Carolee. "On Walter Gutman," Letters, Field of Vision, 1985. p. 31.
“Seven recipes,” CookPot, Barbara Moore, ed. Relux T Editions, New York, 1985.
Showalter, ed. "Writing the Body: Toward An Understanding of L'Ecriture Feminine," New Feminist Criticism. Pantheon, 1985.
“Toward A Visual Culture- Related Issues in Film,” Naropa Institute and University of Colorado at Boulder, November 1985. Conference catalogue.
1984 Baigell, Matthew. A Concise History of American Painting and Sculpture. Harper & Row, 1984.
“Comportement Environment Performance,” Cinq Ans D'Art-Performance A Lyon. Lyons (1979/83), p. 127-128. Illus.
“Contemporary Drawing as Idea,” Sarah Lawrence Gallery, 1984. Exhibition Catalogue, Illus.
Glueck, Grace. "Art: Exploring 6 Years of Pop & Minimalism" (review of Blam! The Explosion of Pop, Minimalism and Performance 1958-1964), New York Times, September 28, 1984.
Haller, Robert. "Rolling in the Maelstrom: A Conversation Between Carolee Schneemann & R. Haller," Idiolects 14, Spring 1984.
Haskell, Barbara. Blam! The Explosion of Pop, Minimalism and Performance 1958-1964. Whitney Museum of Art, New York, 1984. Exhibition catalogue.
Katz, Leandro. "Film As Installation," The Clock Tower. April--May 1984. p. 23.
Kent, Sarah and J. Morreau. "Women's Images of Men," London: Writers & Readers, 1984. p. 179—192. Illus.
Lippard, Lucy. Overlay: Contemporary Art and the Art of Prehistory. Pantheon Books, New York. 1984. p. 66--67. Illus.
Orloff, Kossia. "Women In Performance Art: The Alternate Persona," Heresies #17. Acting Up!. p. 36-37. Illus.
Salvaged: Altered Everyday Objects. Institute for Art & Urban Resources, New York, 1984. Exhibition catalogue.
“Salvaged: Altered Everyday Objects” (review), New York Times, February 24, 1984.
Schneemann, Carolee. “Text, drawings, photos, letters from Carl Ruggles,” The Music of James Tenney.
Ed. Peter Garland. Soundings Press, Sante Fe, 1984. p. 2, 15-29, 36, 39, 40, 114. Illus.
The Sculpture Center. Sound/Art. New York, 1984. Illus.
1983 Ballerini, Julia. "Carolee Schneemann at Max Hutchinson," Art in America. April 1983. Illus.
Ballerini, Julia. “Early & Recent Work,” McPherson/Documentext, Kingston, NY 1983. Illus.
Battcock, Gregory and Robert Nickas, eds. The Art of Performance: A Critical Anthology. E.P. Dutton, New York 1983.
Cameron, Daniel. "Object vs. Persona: The Early Work of Carolee Schneemann," Arts Magazine. May 1983. p. 122-125. Illus.
"Carolee Schneemann- Cluny Washing," The Print Collectors Newsletter 14/ 5, November/December 1983.
"Carolee Schneemann to Robert Haller," Idiolects 13 (1983).
Castle, Ted. “Early & Recent Work,” McPherson/Documentext, Kingston, NY 1983. Illus.
"Dirty Pictures," Benzine 1 (1983). Score, drawings, photos.
Greenfield, Amy, ed. Film Dance. Public Theatre. New York, 1983. Catalogue for exhibition, Nov/Dec 1983.
"Letter to the Editor," Artforum International. October 1983. p. 2.
Lippard, Lucy. Overlay: Contemporary Art and the Art of Prehistory. Pantheon 1983.
Lovelace, Carey. "Schneemann Inside Out," ArtCom,1983. p. 16-19. Illus.
McEvilley, Thomas. "Art In The Dark," Artforum. Summer 1983. p. 62--64. Illus.
Morgan, Robert. "Reconstructing with Shards," American Ceramics, 1983. Illus.
"Re: Art In The Dark," Artforum: Letters. August 1983. p. 2.
Review of Early & Recent Work. Umbrella. November 1983. p. 112-114.
Roth, Moira and Mary Jane Jacobs, ed. The Amazing Decade: Women & Performance Art 1970-1980. Astro Artz, LA, 1982. Illus.
Sayre, Henry. (Review). The Minnesota Review 20, Spring 1983.
Schneemann, Carolee. "Abstract Painting 1960-69," (Interviewed by William Hellermann). Exhibition Catalog. P.S. 1, New York, 1983.
Silver/Thorne, Jeanne. "Carolee Schneemann," Artforum. December 1983. p. 73. Illus.
Sitney, P. Adams. "Interview With Stan Brakhage," Film Culture Reader. Praeger Publishers, New York. p. 201-229.
1982 Anderson, Jack. "How The Judson Theater Changed American Dance," New York Times. Jan 31, 1982.
Frederick, Charles. "Fresh Blood-A Dream Morphology," LIVE: Magazine of Performance: #6, 1982 p. 58-59. Illus.
Max Hutchinson Gallery, “Carolee Schneemann – Recent Work.” Catalogue. New Paltz, NY: Documentext, 1982.
Max Hutchinson Gallery, “Schneemann Early Work 1960-1970.” Catalouge. New Paltz, NY: Documentext, 1982.
Glueck, Grace. "Carolee Schneemann-Early Work 1960-70," New York Times. Sept 10, 1982.
Gottner-Abendroth, Heide. Die Tanzende Gottin: Prinzipieneiner Matriarc halen Asthetik. (English translation released 1991). Frauenoffensive, Germany.
Hamilton, Richard. Polaroid Portraits. London: Hansjorg Mayer, 1982. Illus.
Howell, John. "Judson, The Attitude," Alive. July/August 1982. p. 32-33.
"Kitch's Last Meal," Cinema News (Super 8 Edition) #81, 1982. p. 55-58. Illus.
Lebel, Jean-Jacques. Happenings, Interventions et Actions Diverses 1962-1982. Cahiers Loques, Paris,1982. Illus.
MacDonald, Scott. "Plumb Line," Millennium Film Journal: #10/11. p.11-14. Illus.
Montano, Linda. "Interview with Carolee Schneemann-Sex, Performance and the 80's," The Flue, 1982.Illus.
Orloff, Kossia. "Black Mythology in White Performance,” (Interview). LIVE: Magazine of Performance. Sept. 1982.
Schneemann, Carolee. "Americana I Ching Apple Pie," High Performance. Winter 1982. p. 74. Illus.
Spetnak, Charlene. The Politics of Women's Spirituality: Essays on the Rise of Spiritual Power Within the Feminist Movement. Anchor, Doubleday, 1982.
Tillman, Lynn. "Words Without Pictures," Bomb #4. p. 52. Illus.
Weintraub, Linda. The Rebounding Surface-A Study of Reflections. Exhibition catalogue. Bard College, Avery Center for the Arts, Annandale-on-Hudson, 1982.
1981 Bojko, Szymon. "Amerykanski Performance," Projeckt (Warsaw) 141, February 1981. p. 56-61. Illus.
Buckberrough, Sherry. "Carolee Schneemann,"Arts Magazine. October 1981. p. 5.
"Carolee Schneemann's Autobiographical Trilogy," Sheldon Film Theater program. Winter/ Spring 1981. University of Nebraska, Lincoln, NE.
"Dirty Pictures," High Performance, vol. 4, no. 2, Summer 1981. p. 72. Illus.
"Fresh Blood-A Dream Morphology," Dreamworks Journal, vol. 2, no.1, Fall 1981. p. 67- 75. Illus.
"Fresh Blood-A Dream Morphology," New Wilderness Letter 10. September 1981. p. 42- 56. Illus.
"From A Letter," Idiolects 11. Summer 1981. p.18.
"From Fresh Blood-A Dream Morphology," Idiolects 9-10. Winter 1980-81. p. 27-30. Luscher, Ingeborg.
"Zaubereien," Der Alltag (Zurich) 3, Summer 1981. Illus.
MacDonald, Scott. "Film & Performance: An Interview with Carolee Schneemann," Millenium Film Journal.1980-1981. p. 95-114. Illus.
Martin, Henry. "Carolee Schneemann- More Than Meat Joy," Flash Art (Milan), no. 101. January/February 1981. p. 58. Illus.
Perron, Wendy and Daniel Cameron, eds. Judson Dance Theater: 1962-1966. Bennington, Vermont: Bennington College, 1981. p. 64-67. Illus.
Schneemann, Carolee. "Autobiographical Trilogy". Reprinted in Sheldon Film Theater, 1981. p. 80-85. Illus.
Selz, Peter. Art In Our Time. Abrams/Harcourt Brace Jovanovich, New York, 1981. p. 550. Illus.
1980 Alloway, Lawrence. "Carolee Schneemann: The Body as Object and Instrument," Art in America, March 1980. p. 19-21. Illus.
Belford, Marilyn & Jerry Herman. "Event Art," (transcript of a symposium with C.S., Vito Acconci, Poppy Johnson and others), Time and Space Concepts in Art. Pleiades Gallery, NY. p. 27-55. Burnside, Madeline. "Carolee Schneemann." Arts Magazine. February. p. 24. Illus.
"Carolee Schneemann's Autobiographical Trilogy," Film Quarterly, Fall 1980. vol. 34, no.1. p. 27-32.
Castle, Ted. "Carolee Schneemann: The Woman Who Uses Her Body For Her Art," Artforum. November 1980. p. 64-70. Illus.
Live Performances - Behavior Workshop. Grafisch Centrum, Arhem, 1980.
MacDonald, Scott."An Interview with Carolee Schneemann," Afterimage. March 1980. Illus.
Robertson, Clive. "More Than Meat Joy," Fuse (Toronto), January 1980. p. 115.
Schneemann, Carolee. "Women Artists on Women in Art," Portfolio: The Magazine of the Visual Arts. February/ March 1980. p. 72. Illus.
Schneemann, Marranca, Lamont.... "Women in the Theatre Conference - May 14, 1979," Centerpoint: A Journal of Interdisciplinary Studies. Winter/ Spring 1980.
Springer, Jane. "Developing Feminist Resources: The Work of Carolee Schneemann and Martha Rosler," Fuse (Toronto), Jan. 1980. p.113-116. Illus.
1977 McPherson, Bruce R., ed., More than Meat Joy Carolee Schneemann. Kingston, NY: McPherson & Company/Documentext, 1977.
1974 Schneemann, Carolee, Cezanne She Was a Great Painter. New Paltz, NY: Tresspuss Press, 1974.