A recent survey of work by American artist Carolee Schneemann depicts both the pleasures and costs of an early decision to foreground the body, always politicized, over five decades of production and as many genres. Perhaps best known for key performances such as Meat Joy, 1964, an orgasmic celebration of materiality in which she and others roll about in paint, fish and chicken parts, newspapers and more, Schneemann also made paintings, installations, film and video, and photographs, and it’s this largesse of production that the survey brings neatly into focus. Keep Reading
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