Podcasts about Carolee Schneemann

Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists' (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative. In this NBN interview, Holes is exlored and discussed as an experimental biography of holes. Hilary White is a writer and researcher, currently an IRC postdoc at Maynooth University, Ireland, working on a project entitled Forms of Sleep. She co-ran the experimental poetry reading and commission series, No Matter, in Manchester, and co-edited the zine series, Academics Against Networking. Her writing appears in MAP, Banshee, zarf, and The Stinging Fly. Holes is her first novel. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists' (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative. In this NBN interview, Holes is exlored and discussed as an experimental biography of holes. Hilary White is a writer and researcher, currently an IRC postdoc at Maynooth University, Ireland, working on a project entitled Forms of Sleep. She co-ran the experimental poetry reading and commission series, No Matter, in Manchester, and co-edited the zine series, Academics Against Networking. Her writing appears in MAP, Banshee, zarf, and The Stinging Fly. Holes is her first novel. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists' (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative. In this NBN interview, Holes is exlored and discussed as an experimental biography of holes. Hilary White is a writer and researcher, currently an IRC postdoc at Maynooth University, Ireland, working on a project entitled Forms of Sleep. She co-ran the experimental poetry reading and commission series, No Matter, in Manchester, and co-edited the zine series, Academics Against Networking. Her writing appears in MAP, Banshee, zarf, and The Stinging Fly. Holes is her first novel. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Today in Art Farts, Kourtney rehashes the happenings by discussing the BODIES of work done by Carolee Schneemann. Although she's done much controversial work, we try to push past and discuss her experience as a woman in the Art Stud Club of the 1950s. Tonight's dinner theme will be: Meat Joy. There will also be a bit about some art related trivia and maybe someone's phone will die leaving everyone helpless and hopeless. Tune in to find out more! Socials: twitter: @artfartspod instagram: @artfartspodcast tiktok: @artfartspodcast email us at theartfartspodcast@gmail.com Sources: https://www.schneemannfoundation.org/ https://en.m.wikipedia.org/wiki/Carolee_Schneemann https://www.britannica.com/biography/Carolee-Schneemann https://www.wnycstudios.org/podcasts/pieceofwork/episodes/rupaul-performance-art-yoko-ono --- Support this podcast: https://podcasters.spotify.com/pod/show/artfarts037/support

I am so excited to say that my guest on the GWA Podcast is one of the most brilliant writers around today, Lauren Elkin! On today's episode we speak about feminist pioneers, Carolee Schneemann and Hannah Wilke!! Elkin is an American in London who has lived and spent extensive time in Paris, Liverpool, Tokyo, Venice and New York – as outlined in one of my favourite of her books, Flaneuse, which sees her trace cities through the eyes and steps of female writers and artists as the feminine “flaneur”, one who walks aimlessly. She is excellent at making her own a term or a trait previously steeped in patriarchal meaning. The author of four books, and the translator of others – including of Simone de Beauvoir's unpublished novel, The Inseparables – Elkin has received numerous awards for her writing. She has been a cultural critic for the likes of the New York Times, Harpers, London Review of Books, TLS, Frieze, and more; holds a PhD in English; an M.Phil in French; and is currently working on biographies on the likes of avant-garde tastemaker Getrude Stein and artist Louise Bourgeois. But! One of the reasons why we are speaking with Elkin today is because she has recently published a fantastic book, Art Monsters, which looks at a variety of female artists – from Elisabeth Vigee Le Brun to Laura Knight; Betye Saar to Carolee Schneemann; Eva Hesse and Hannah Wilke; Kara Walker and Maria Lassnig – who have centred their practice around the body. Exploring those who reacted against patriarchal portrayals and ideas of the body, Art Monsters is a fascinating insight into how women have broken from the historically-weighted past and configured a language using a voice unique to them. LAUREN'S BOOKS: https://www.waterstones.com/book/art-monsters/lauren-elkin/9781784742935 https://www.waterstones.com/book/flaneuse/lauren-elkin/9780099593379 https://www.waterstones.com/book/no-91-92-notes-on-a-parisian-commute/lauren-elkin/9781838014186 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

New narrative was a way of mixing philosophical and literary theory with writing about the body and pop culture. It was promoted by a group of writers in 1970s San Francisco. One of the chapters in New Generation Thinker Diarmuid Hester's new book Nothing Ever Just Disappears explores their work. He joins Dodie Bellamy in a programme exploring different aspects of the gay imagination and the re-inventing of tradition presented by Naomi Paxton. Alongside them is Lauren Elkin, author of a study of unruly bodies in feminist art called Art Monsters which explores artists including Carolee Schneemann, and the influence of writers like Kathy Acker. And James Corley has adapted a play, opening at Wilton's in London, which takes an influential essay by Merle Miller as its starting point. Producer: Luke Mulhall You can find a collection called Identity Discussion on the Free Thinking programme website which includes episodes about including Rocky Horror and camp, the V&A exhibition Diva, punk, tattoos, and perfecting the body. Based on the essay On Being Different by Merle Miller, James Corley's What It Means is at Wilton's Music Hall in London 4th - 28th October 2023 Dodie Bellamy's first novel, The Letters of Mina Harker, took a character from Bram Stoker's Dracula. She has also published poetry, essays and memoirs. Nothing Ever Just Disappears Seven Hidden Histories by Diarmuid Hester is out now. He is a New Generation Thinker on the scheme run by Radio 3 and the Arts and Humanities Council to put academic research on the radio and you can find him talking about Derek Jarman's Garden in a previous Free Thinking episode https://www.bbc.co.uk/programmes/m000jgm5 exploring Stories of Love including Rubyfruit Jungle by Rita Mae Brown https://www.bbc.co.uk/programmes/m001hxhk and hosting an Arts and Ideas podcast episode about Raiding Gay's the Word & Magnus Hirschfeld https://www.bbc.co.uk/programmes/p0ff53xv Check out Forever Blue - Radio 3's broadcast on Sunday and then on BBC Sounds of a programme inspired by Derek Jarman's Blue, the film released 30 years ago which was also broadcast on Radio 3.

In our latest episode we visit with artist legacy specialist Ursula Davila-Villa. In her crucial work, Ursula helps artists and their families put appropriate plans in place to ensure that their work and archives will exist in a way consistent with the artist's wishes after they are gone. This unique work draws upon conservation, archives, estate planning, curation, and more. Despite how critical this work is, it isn't really something you can go to school for. Tune in to hear the fascinating path that led Ursula to become a leader in this field, working countless artists including Cecilia Vicuña, Lorraine O'Grady, Carolee Schneemann, and many more.Links from the conversation with Ursula> https://blantonmuseum.org> https://www.fundacionjumex.org> https://www.alexandergray.com > Davila-Villa & Stothart: https://dvs.art> Aspen Institute Artist Endowed Foundations Initiative: https://www.aspeninstitute.org/programs/program-on-philanthropy-and-social-innovation-psi-2/artist-endowed-foundations-initiative Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Guest artist FLORENCE PEAKE joins ELIZABETH FULLERTON to discuss her multi-faceted, performance-led art practice via 'Stone Butch Blues' 1993 by Leslie Feinberg. It tells the story of life as a butch lesbian in 1970s, working class America and is particularly unique due to the writer gaining full rights to the text, making it fully accessible online and for free. Florence and Elizabeth talk about hysterical clay, collapsing paintings, mark-making without sight, rigid heteronormative conventions, the patriarchy's rule which brings a perpetual fear of violence, butch lesbians in the 70s, drag queens, sex workers and femmes, extractions of earthly matter and energy, the dance floor as a space for belonging and expression, splattering the audience with clay, tenderness and care, finding comfort in the face of shame, and encountering ourselves imaginatively in relationship to objective reality. Please support this podcast via patreon.com/ARTFICTIONSPODCAST FLORENCE PEAKE florencepeake.com insta florence_peake Richard Saltoun Gallery 2023 16 April - 2 July 'Factual Actual Ensemble' at Southwark Park Galleries then touring to Fruitmarket Gallery and Towner Gallery 2023 11 Feb - 7 May 'Earth Spells: Witches of the Anthropocene' at RAM Museum, Exter with Caroline Achaintre, Emma Hart, Kris Lemsalu, Mercedes Mühleisen, Grace Ndiritu, Florence Peake, Kiki Smith, Lucy Stein 2023 18 Feb - 6 May 'Body Poetics' at Giant, Bournemouth with Penny Slinger, Helen Chadwick, Florence Peake, Louise Bourgeois, Judy Chicago, Charlotte Edey, Enam Gbewonyo, Rosie Gibbens, Guerrilla Girls, Evan Ifekoya, Ad Minoliti, Senga Nengudi, Niki De Saint Phalle, Carolee Schneemann, Tai Shani, Kiki Smith, Rae-Yen Song, Holly Stevenson curated by Marcelle Joseph and Bella Pelly-Fry 2021 Factual Actual at National Gallery 2021-22 Crude Care for British Art Show at Aberdeen Art Gallery then touring UK 2019 Apparition Apparition at Venice Biennale 2018 RITE: on this pliant body we slip our WOW! at De La Warr Pavillion 2015 Voicings for Block Universe at Modern Art Oxford, Somerset House ARTISTS + PERFORMERS Cameron Armitage Carolee Schneeman 'Meat Joy' Donald Judd Emma Hart Eve Stainton Fabian Peake Igor Sravinsky 'The Rite of Spring' Gabi Agis Grayson Duitu Jo Moran Jordan McKenzie Kate Bush Lee Bowie Lindsey Kemp Mercedes Grower Michael Clarke 'I am a Curious Orange' Rosemary Butcher Siobhan Davis Studios Tai Shani The Fall Yvonne Rainer BOOKS Juliet Jacques 'Variations' 2021 Carmen Maria Machado 'In the Dreamhouse' 2019 Octavia Butler

Avant-garde cinema found an unlikely home in the Pittsburgh neighborhood of Oakland. DIY screening events at the Crumbling Wall and New Cinema Workshop led to Sally Dixon founding the Film Section at the Carnegie Museum of Art. Throughout the 1970s and for decades after, filmmakers like Stan Brakhage, Carolee Schneemann, Hollis Frampton, and Werner Herzog visited the city, screening their films and lecturing about their work. This is the story of the Film Section.

topics: sisterhood and mirroring / maintaining friendships while being in a relationship / social vs solo energies / self-trust, the inner child & neanderthals / auto-shazam / the evolution and process of Fever Dream's approach to DJing / a capella freestyles of the Vengaboys, Evanescence, & Rosalía ⛓PATREON-ONLY CONFESSIONALS⛓: post-masturbation melancholy / musings around sexual pleasure, stigma and empowerment / shared porn accounts / sexual fantasies ft. bertolucci's the dreamers / Carolee Schneemann's fuses / honoring friendships / flakiness / why EG's life is tapas find emily & nina: @feverdreamxx , @ninakhamidullina , & @landofgur on instagram ~ go see Fever Dream live at elsewhere in brooklyn on july 22nd --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Stephen Wozniak interviews seasoned New York-based curator, writer and artist Dan Cameron on the April 20, 2022 episode of Art World: The Whitehot Magazine of Contemporary Art podcast. They discuss Dan's critical early New Museum of Contemporary Art exhibition, Extended Sensibilities, about gay and lesbian identity, his senior curatorship at the Orange County Museum of Art and his work as a writer of monographs and catalog essays on such important contemporary artists as Nicole Eiseneman, Peter Saul, David Wojnarowicz, Faith Ringgold, Carolee Schneemann, William Kentridge, Peter Saul and Paul McCarthy. Dan also talks about his upcoming projects, including Leandro Erlich's comprehensive sculpture exhibition at the Pérez Art Museum Miami in December of 2022 and Dan's July 2022 solo collage exhibition at The Dime in Chicago. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. · www.dorothearockburne.com · www.creativeprocess.info

“The walks were amazing. We walked up every morning at eight o'clock. There's a waterfall on campus at Black Mountain, and we walked to this waterfall, and he explained water to me. He explained how things worked. You know, when I was a little kid, I used to take alarm clocks apart and put back together and things like that.” Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. · www.dorothearockburne.com · www.creativeprocess.info

Avertissement: Il est question explicitement de sexualité et de pornographie dans cet épisode. Dans cet épisode, on continue la discussion sur le grand thème “Épanouissement sexuel et féminisme” en parlant des différentes représentations de l'intime dans l'art et les médias. On reçoit l'artiste TeenAdultt pour parler de son art et de sa vision de l'importance de la représentation. On se questionne encore et toujours sur des termes supposément compris de toustes comme “l'intimité”, on parle de pornographie, de diversité à l'écran, de la place de la sexualité dans notre quotidien, et on vous suggère des romans, des séries, des podcasts et des sites webs pour varier un peu la représentation qui se rend à votre cerveau. Le tout avec, en prime, le tout nouveau segment de Miriame Gabrielle Archin en fin d'épisode. Bonne écoute! Pour lire la retranscription de l'épisode, c'est par ici : https://www.toutesoupantoute.com/s3e2-representations-de-lintime-hors-du-mythe-de-lheteronormativite-avec-kezna-dalz-teenadult/ Supportez toutEs ou pantoute! Abonnez-vous sur Patreon pour du contenu exclusif! Visitez notre boutique en ligne pour des objets d'art ou des objets utiles inspirés par notre podcast. Vous pouvez aussi faire un don non récurrent ici! Notre invitéE Kezna Dalz (Teen Adultt) est une artiste visuelle montréalaise. Elle aborde dans ses oeuvres les thèmes du féminisme, de la lutte antiraciste, de la sexualité et de la culture populaire. Ses illustrations aux couleurs vibrantes, représentant souvent des corps nus dans toutes les positions imaginables, se sont taillées une place dans les plus grandes institutions de ce monde : la Musée des Beaux-Arts de Québec, le magazine Cool, Instagram (littéralement, partout sur instagram), ainsi que sur des canettes de bière et des bobettes. https://teenadultt.com/ @teenadultt (Instagram) Bobettes TeenAdultt X Undz Exposition MNBAQ Opening a dialogue about body liberation. Article de TeenAdultt avec Urbania traitant du male gaze Illustration originale : Rachel Samson Nos références Article critique sur la représentation de la communauté juive hassidique dans Unorthodox Article Julie Lavigne : Érotisme féminisme en art ou métapornographie : Le sexe selon Carolee Schneemann, Annie Sprinkle et Natacha Merritt. Bio Annie Sprinkle site officiel Entrevue Annie Sprinkle - Georges Petros dans le cadre de son livre “The New Transexuals : The Next Step in Human Evolution” où, malgré le clash de vocabulaire entre 2010 et aujourd'hui, Sprinkler est quand même parlante en ce qui a trait à la représentation trans dans la porn Données sur la représentation LGBT selon Ellie Lockhart Oui.e Apple podcast Le podcast Oui.e est également disponible sur la plupart des applications de balado diffusion, et présent sur Instagram et Facebook (@oui.e.balado) CrashPadSeries : porn queer féministe et éthique Autres recommandations de porno féministe et éthique La fille d'elle-même (Gabrielle Boulianne-Tremblay) Grand Huit (Ève Landry) version livre audio Éducation sexuelle (série Unorthodox (série) Merci à Miriame Gabrielle Archin pour le segment Assis-toi sur ton sofa Ève-Laurence Hébert pour la coordination Melyssa Elmer pour la gestion de médias sociaux Marie-Eve Boisvert pour le montage Maïna Albert pour l'habillage sonore Elyze Venne-Deshaies pour les brand new jingles, avec Christelle Saint-Julien à la harpe, Henri-June Pilote aux percussions, Elyze Venne-Deshaies aux vents et synthétiseurs, Laurie Perron au violoncelle et Marie-Frédérique Gravel au mixage Odrée Laperrière pour l'illustration Marin Blanc pour le graphisme Cassandra Cacheiro pour les photos Émile Perron et Cararina Wieler-Morin pour notre site web Émylie Duchesne-Perron pour la transcription des épisodes. Nous remercions le Conseil des arts du Canada de son soutien. Suivez-nous sur instagram et sur Facebook Vous pouvez nous écrire via notre site web ou au toutesoupantoute@gmail.com toutEs ou pantoute est un show par Laurie Lafée Perron et Alexandra Turgeon

Emma and Christy look at archival photographs from the séances of Mina 'Margery' Crandon (around 1925) and talk slimy protrusions, sex, scientific photography, the testing of mediums, and the science of spiritualism. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. IMAGES DISCUSSED: Will Conant, Untitled (Ectoplasmic Hand Emerging from Margery's Navel) (1925) The Belvedere Torso (1st century BC) William Hunter, 'Table 6' in The Anatomy of the Human Gravid Uterus Exhibited in Tables (1774) Baron von Schrenck Notzing, 'Flashlight Photograph [of Eva Carrière]' (1911) in Phenomena of Materialisation (1913) Will Conant, Untitled (Ectoplasmic Hand Emerging from Margery's Navel and Resting on Eric Dingwall's Hand) (1925) [Photographer unknown], Untitled (Margery in a Trance During a Séance) (c. 1925) Carolee Schneemann, Interior Scroll (1975) [Photographer unknown], Untitled (Margery Under Control: Neck Secured with Steel Wire) (c. 1925) Annie Louisa Swynnerton, Cupid and Psyche (1890) [Photographer unknown], Untitled (Walter Putting Ectoplasmic Sample into Test Tubes) (1924) [Photographer unknown], Untitled (Walter's Hand Emerges from Margery and is Fingerprinted in Wax) (1925) (The archival photographs of Margery belong to the Harry Price Archives at Senate House Library, and the Society for Psychical Research, London.) CREDITS: ‘Drawing Blood' was made possible with funding from the Experimental Humanities Collaborative Network. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

Carolee Schneemann (1939-2019) was bold with her art. She moved between forms like video and performance, though she always maintained she was a painter. Her work challenged people to see women -- their roles, and their bodies -- in a different light.History classes can get a bad wrap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Sundus Hassan, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, and Ale Tejeda. Special thanks to Shira Atkins.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitterTo take the Womanica listener survey, please visit: https://wondermedianetwork.com/survey 

Dr. Kristine Stiles is Distinguished Professor of Art, Art History and Visual Studies at Duke University. She holds an Honorary Doctorate of Arts from Dartington College of Arts/University of Plymouth, England. She specializes in art-ists' writings, global contemporary and experimental art, and trauma studies. She has authored over 100 articles, and her books include Concerning Consequences: Studies in Art, Destruction, and Trauma (2016), Correspondence Course: An Epistolary History of Carolee Schneemann and Her Cir-cle (2010), Theories & Documents of Contemporary Art (1996, 2012). Her essay “Uncorrupted Joy: International Art Actions,” is a monograph-length essay for the exhibition Out of Actions: Between Performance and the Object 1949–1979. She has curated several exhibitions at Duke, including Rauschenberg: Collecting & Connecting (2014–2015) and States of Mind: Dan & Lia Perjovschi (2007).

On episode 195 of The Quarantine Tapes, Paul Holdengräber is joined by Ron Hanson. Ron is the founding editor of White Fungus, an arts magazine based in Taiwan. He talks with Paul about the successes and struggles of the COVID response in Taiwan before turning to his fascinating work with his magazine.Ron tells Paul the story of the magazine's unique name — White Fungus — and discusses the origin and mission of the publication. They talk about the engaging and varied articles published by White Fungus, including a recent piece on Paul Celan and an extensive interview with the late artist Carolee Schneemann. Their conversation is engaging and unique, ranging from Ron's perspective as a New Zealander living in Taiwan to the magazine's desire to attract curious and adventurous readers. Ron Hanson is the founding editor of the Taiwan-based arts magazine White Fungus. Hanson started the publication in 2004 with his brother Mark in Wellington, Aotearoa New Zealand. White Fungus began as an intended one-off protest zine opposing the construction of an inner-city motorway. Now it is an internationally distributed arts publication covering art, music, history, and politics.  Hanson was in Taiwan during the SARS pandemic of 2003. Recently, he has been reporting in the New Zealand media on Taiwan's COVID-19 response.  Where to Buy White Fungus Stack Magazine White Fungus Shop 

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Artwork as opposed to experiment? Engineer versus artist? We often see two different cultural realms separated by impervious walls. But some fifty years ago, the borders between technology and art began to be breached. In Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture (MIT Press, 2020), W. Patrick McCray shows how in this era, artists eagerly collaborated with engineers and scientists to explore new technologies and create visually and sonically compelling multimedia works. This art emerged from corporate laboratories, artists' studios, publishing houses, art galleries, and university campuses. Many of the biggest stars of the art world—Robert Rauschenberg, Yvonne Rainer, Andy Warhol, Carolee Schneemann, and John Cage—participated, but the technologists who contributed essential expertise and aesthetic input often went unrecognized. Coming from diverse personal backgrounds, this roster of engineers and scientists includes Frank J. Malina, the American rocket-pioneer turned kinetic artist who launched the art-science journal Leonardo, and Swedish-born engineer Billy Klüver, who established the group Experiments in Art and Technology (E.A.T). At schools ranging from MIT to Caltech, engineers engaged with such figures as artist Gyorgy Kepes and celebrity curator Maurice Tuchman. Today, we are in the midst of a new surge of corporate and academic promotion of projects and programs combining art, technology, and science. Making Art Work reveals how artists and technologists have continually constructed new communities in which they exercise imagination, display creative expertise, and pursue commercial innovation. Mathew Jordan is a university instructor, funk musician, and clear writing enthusiast. I study science and its history, in the hope that understanding the past can help us make sense of the present and build a better future. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What happens to the aura when the work of art is not an object, but an event? This episode considers examines the place of performance art in the neo-vanguards and how it reorganizes the relationship between artist and viewer. We look at the work of Carolee Schneemann, Laurie Anderson, and Adrian Piper, asking where the work of art is when it comes to performance. This episode is presented by Daphne Knouse, Ciara Moore, and Hannah-Rose Albinus.

Quando all'arte contemporanea non bastano più le installazioni o le fotografie, il corpo diventa l'ultima frontiera. Dalle performance sadomaso degli azionisti viennesi alla brutale manicure di Valie Export, dalle favolose trasformazioni di Leigh Bowery allo stunt-man esistenziale Chris Burden, dall'arte antipatriarcale di Ana Mendieta a quella facilona di Frida Kahlo: nella body art, buon sangue non mente.Costantino, l'Henry Kissinger della Maremma, spiega il concetto di “stato climatico interiore” (che non ha capito neanche lui), mentre Francesco racconta la riscoperta di un antico piacere all'indomani di un miracoloso intervento alla prostata. E, nel finale, una corposa rivelazione per tutti i fan di ArteFatti.In questa puntata si parla di Umberto Galimberti, Günther Brus, Otto Muehl, Rudolf Schwarzkogler, Hermann Nitsch, Egon Schiele, Gustav Klimt, Chuck Close, Adolf Loos, Sifgmund Freud, Ludwig Wittgenstein, Banksy, Henry Kissinger, Gerry Scotti, Carmelo Bene, Dario Cecchini, Justice Yeldham, Valie Export, Gina Pane, Marina Abramović, Slobodan Milošević, Carolee Schneemann, Robert Morris, Claes Oldenburg, Sabina Ciuffini, Mike Bongiorno, Donald Judd, Walter De Maria, Paula Cooper, Holly Solomon, Marian Goodman, Yoda, Midnight Cowboy, Madame Claude, Ana Mendieta, Fidel Castro, Sara Ann Otten, Carl Andre, O.J. Simpson, Frida Kahlo, David Alfaro Siqueros, Leon Trotsky, Leigh Bowery, Alberto Angela, Colonnello Bernacca, Damien Hirst, Alexander McQueen, Anthony d'Offay, Paolina Borghese, Nicola Bateman, Lucian Freud, Chris Burden e Tino Sehgal.

On this week's Into the Absurd, we talk about collaboration and connectedness through the study of Avant-Garde art and practice in Philadelphia, with John Heon andDavid McKnight, who shepherd the conversation and programming at PASC, The Philadelphia Avant-Garde Studies Consortium. The avant-garde is flexibility of mind. And it follows like day, the night from not falling prey to government and education. Without the avant-garde nothing would get invented.” — John CageIt’s been a banner year for absurdity, and the contemplation of the absurd has been one of the most salient features of avant-garde art and thought from the nineteenth century to the present. From Kierkegaard, Nietzsche, and Heidegger, to Camus, Sartre, and Baudrillard; from Jarry, Stein, and Kafka to Ionesco, Beckett, Artaud, and Kathy Acker; from Duchamp, Kurt Schwitters, Baroness Elsa, and Dali to Bruce Nauman, Carolee Schneemann, and Jenny Holzer; from Schoenberg, Cage, and Glass, to Frank Zappa, The Talking Heads, and Père Ubu (the band), the modern mind has grappled with life in an increasingly entropic and violent world that seems to crush meaning, justice, and individual agency.John Heon, a founding co-director of the Philadelphia Avant-Garde Studies Consortium, is an independent scholar specializing in the psychology, politics, and aesthetics of humor in modern/postmodern literature and visual art. His essay, “Twisted Witz: Experiments in Psychopathology and Humor by Dr. Faustroll and His Pataphysical Progeny,” will appear in the forthcoming book, Pataphysics Unrolled, published by the Refiguring Modernism series of Penn State University Press.His book in progress, Articulate Art: Language, Literature, and Humor in the Works of Bruce Nauman, examines Nauman’s oeuvre in the context of avant-garde black humor and the comic theories of Nietzsche, Freud, Bergson, and Wittgenstein.John holds a doctorate in English with a concentration in psychology and the history of science from the University of Pennsylvania, where he received the Arts and Sciences Distinguished Teaching Award. He has also taught at the University of Wisconsin-Madison, Marquette University, and in the Education Department of the Phillips Collection, America’s first museum of modern art. David McKnight is Director of the Annenberg Rare Book and Manuscript Library at the University of Pennsylvania Libraries. Prior to accepting the position at the University of Pennsylvania in 2006, he was Director of the Rare Book and Manuscript Library and Head of the Digital Collections Program at McGill University Libraries where he worked in various roles for fifteen years. A past president of the Bibliographical Society of Canada, McKnight is currently founding Co-Director of the Philadelphia Avant-Garde Studies Consortium and a member of both the Grolier Club (New York) and the Philobiblon Club (Philadelphia).In 2014, David in collaboration with John Heon, Katie Price and several others founded the Philadelphia Avant-Garde Studies Consortium, a non-profit arts and advocacy group devoted to exploring the past, present and future of the avant-garde’s place in Philadelphia cultural history.In 2018, David curated an exhibition focused on Modernist Literary Publishing at the University of Alberta and in 2019 he curated an exhibition on the legendary Gotham Book Mart entitled “Wise Men Fished Here.” At the present time, he is working on an exhibition related to Andy Warhol. https://www.youtube.com/watch?v=-5ohS4uPLJQ

Claudia talks to Jeffrey Bussolini, a phenomenologist with a keen interest in feline experiences, about how art and aesthetics can provide a novel way of exploring and reconceptualising animals' experiences.   Date recorded: 16 September 2020 Jeffrey Bussolini is Co-Director of the Center for Feline Studies and the Avenue B Multi-Studies Center, and associate professor at the City University of New York.  He studied at Georgetown University, CUNY, the Sorbonne (Paris 1), and the École des Hautes Études en Sciences Sociales. Since 1995 he and colleagues have researched the phenomenological dimensions of feline and human interaction, focusing especially on the spatial, ethological, and social dimensions of feline-feline and feline-human relationships.  Among the topics they have pursued are dualist versus monist conceptual foundations for phenomenological accounts, the surprising practice of cats eating chile peppers, and cats as artists and artmakers.  In 2016 he and others curated the first exhibition of cat produced artworks at New York City gallery Adjacent to Life. Connect with Jeffrey via Twitter (@jefribussolini)  or email (bussolini@gmail.com).  Claudia (Towne) Hirtenfelder is the founder and host of The Animal Turn. She is a PhD Candidate in Geography and Planning at Queen's University and is currently undertaking her own research project looking at the historical relationships between animals (specifically cows) and cities. Contact Claudia via email (towne@live.co.za) or follow her on Twitter (@ClaudiaFTowne). Feautured:  The Phenomenology of Animal Life by Dominique Lestel, Jeffrey Bussolini, and Matthew Chrulew; Congo the Chimpanzee by the Mayor Gallery; The Different Modes of Existence by Étienne Souriau; The Philosophical Ethology of Roberto Marchesini by Jeffrey Bussolini; Over the Human: Post-humanism and the Concept of Animal Epiphany by Roberto Marchesini; Carolee Schneemann's Lifelong Love Affair with Her Cats by Tess Thackara; On Agnes Varda – Photographer, Filmmaker, and Cat Lover by Iulia Radu; What Would Animals Say If We Asked the Right Questions? by Vinciane Despret; Is Birdsong Music? Outback Encounters With an Australian Songbird by Hollis Taylor The Animal Turn is sponsored by A.P.P.L.E and is part of  iROAR, an Animals Podcasting Network. Find us on Twitter, and Instagram.  Thank you to Jeremy John  for the logo and Gordon Clarke for the bed music. 

It was my pleasure to interview experimental filmmaker Lynne Sachs. Her body of work is not only vast, but her depth of knowledge of filmmaking and filmmakers is nothing short of phenomenal. Lynne is one of those rare filmmakers who you wish you could have known and worked with for the past 20 years. I love her films, her energy, and her enthusiasm for experimental film. Her work has screened at major museums. She has taught film at NYU. And her list of accolades, fellowships, collaborations, and experience rivals that of any of the now classic experimental filmmakers. You can see more of her work at lynnesachs.com. In this episode, Lynne and I talk about several of her films, her work with Barbara Hammer, Carolee Schneemann, and Gunvor Nelson. We talk about her process, her cameras, and some specifics in her work. Once you listen to the podcast and check out her films, you'll find out why I'm her newest (and perhaps biggest) fan. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

This third episode of the ‘Feminist Art’ series focuses on Paola Ugolini, an independent curator and critic. She has curated the Dior-sponsored “Io dico Io - I say I” at the National Gallery of Modern and Contemporary Art in Rome, a major exhibition devoted to the work of Italian feminist artists, running from March 24 to June 21, 2020. Born and based in Rome, Paola Ugolini experienced the turbulent decade of the 1970s in the Italian capital as a teenager. With demonstrations a seemingly daily occurrence, she was exposed to political and, more importantly, feminist activism at a formative moment, which shaped her view of art as a powerful means of expression.  A close friend of Maria Grazia Chiuri, the tradition of feminist theory and art has been an integral part of her work. From her fascination with performance and body art to embroidery and video, the mediums embraced by women to self-represent and make their voices heard have gone from once being highly experimental to now being part of the mainstream. An important part of her role, as she sees it, is to bring such work, and the messages it contains, to a new generation of women, and men.  In an absorbing and enlightening exchange, she chats with Katy Hessel, a writer, curator and art historian, at the Palais de Tokyo contemporary art museum in Paris.  Discover a selection of works: Feminism in Italian Contemporary Art, exhibition at Richard Saltoun Gallery, October-November 2019 (London) https://www.richardsaltoun.com/exhibitions/78-feminism-in-italian-contemporary-art-silvia-giambrone-and-marinella-senatore/overview/ The Body as Language: Women and Performance, exhibition at Richard Saltoun Gallery, October-November 2015 (London) https://www.richardsaltoun.com/exhibitions/44-the-body-as-language-women-and-performance/overview/ Barbara Kruger, Untitled (Your Body is a Battleground), 1989 https://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground Carol Rama (1918-2015) : https://www.newmuseum.org/exhibitions/view/carol-rama-antibodies   http://www.mam.paris.fr/fr/expositions/exposition-la-passion-selon-carol-rama Hannah Wilke, S.O.S.- Starfication Object Series, 1974-82 https://www.moma.org/collection/works/102432 Helen Chadwick (1953-1996) https://www.tate.org.uk/art/artists/helen-chadwick-2253 Ketty La Rocca (1938-1976) https://www.moma.org/artists/65088?locale=en#works Corpo a corpo, Body to Body, exhibition at Galleria Nazionale d’Arte Moderna e Contemporanea, June-September 2017 (Rome) https://lagallerianazionale.com/en/mostra/corpo-a-corpo-body-to-body/ Carolee Schneemann, Interior Scroll, 1975 https://www.tate.org.uk/art/artworks/schneemann-interior-scroll-p13282 This episode was recorded at Palais Tokyo (Paris): https://www.palaisdetokyo.com/en

Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. www.dorothearockburne.com · www.creativeprocess.info

Dorothea Rockburne was born in 1932 in Montreal. She attended Black Mountain College where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory were deeply influential to her art practice. After moving to New York City in 1954, she became involved with Judson Dance Theater, and later participated in Carolee Schneemann's Meat Joy and other performances. In the late 60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Her “visual equations” based on set theory were first exhibited in New York in 1970. Her later paintings draw on ancient systems of proportion and astronomical phenomena. She's had solo exhibitions at the Museum of Modern Art in New York, Dia:Beacon, and a major retrospective at the Parrish Art Museum. www.dorothearockburne.com · www.creativeprocess.info

Films Discussed: ParaNorman (2012) The Blair Witch Project (1999) Scary Stories to Tell in the Dark (2019) Practical Magic (1998) The Autopsy of Jane Doe (2017) Written Material that Informed Discussion: These Witches Don’t Burn by Isabel Sterling (2019)- literature Bodily Natures: Science, Environment, and the Material Self by Stacy Alaimo (2010)- academic/theory The Transmission of Affect by Teresa Brennan (2004)- academic/theory A Break with Charity by Ann Rinaldi (1992)- literature Dread of Difference: Gender and the Horror Film by Barry Keith Grant (1996)- academic/theory In Horror Film, “The Witch,” Terror Stems from Puritanical Control of Women by Britt Ashley (2016)- theory A “final girl” who gets to get off: “The Witch” proves nothing’s scarier than an unapologetically liberated young woman by Eileen G’Seel (2016)- theory Why We Write About Witches by Sarah Gailey (2016) - pop culture article Women as Witches, Witches as Women: Witchcraft and Patriarchy in Colonial North America by Matthew Dennis and Elizabeth Reis (2015)- academic/theory Witchcraft, Sorcery, and Magic by Pamela Moro (2012)- academic/theory The Obscene Body/Politic by Carolee Schneemann (1991)- academic/theory The Embodied Goddess: Feminist Witchcraft and Female Divinity by Wendy Griffin (1995)- academic/theory The Disabling of Aging Female Bodies: Midwives, Procuresses, Witches and the Monstrous Mother by Encarnación Juárez-Almendros (2017)- academic/theory Secondary Targets? Male Witches on Trial by Lara Apps and Andrew Gow (2003)- academic/theory Invisible Men: the Historian and the Male Witch by Lara Apps and Andrew Gow (2003)- academic/theory

EL GRAN LEBOWSKI En 1998 Hollywood estrenó dos películas de culto, Miedo y Asco en Las Vegas, de Terry Gilliam y El Gran Lebowski, de los Hermanos Coen. Ambas profundamente arraigadas en la tumultuosa historia y cultura de la segunda mitad del siglo XX cuyas secuelas perduran aún en la vida de los Estados Unidos; ambas convertidas en películas de culto por un público adicto a sus personajes, pero poco ducho en los entresijos históricos o en las reflexiones que estas plantean. Como el reflejo de un espejo esperpéntico y distorsionado, pero reflejo al fin y al cabo,  El Gran Lebowski funciona como una comedia agridulce plagada de juegos de palabras que se entrelazan con una puesta en escena sembrada de detalles referenciales de una realidad social tan amarga como verídica. Los dos lados de una sociedad crispada desde la Guerra Fría que dio a luz a una década de revueltas sociales que cristalizaban por las calles de Estados Unidos en forma de hippies y de grupos sociales dispuestos a llegar hasta el final en su lucha por los derechos civiles. Corea, Vietnam, el asesinato de JFK, el surgimiento del Black Power, las feministas, los hippies, el Watergate…. Una época de cambios convulsos de la que los estadounidenses aún tratan de hacer borrón y cuenta nueva.   El Dude, el Nota para los españoles, y su alter ego contemporáneo, el Gran Lebowski, y su alter ego del pasado, Walter, los nihilistas y Bunny, Donny y Jesús, anclados todos ellos en un pasado del que no pueden o no quieren renunciar, configuran un ramillete de personajes atrapados en una compleja red de falsedades, en las que caen y a las que contribuyen sin descanso. Un solo personaje se salva de la falta de realidad a la que todos parecen sometidos, Maude Lebowski. Durante la última década del siglo XX resurgió con fuerza el movimiento feminista, dándose en llamar a este último resurgimiento la tercera ola. Los noventa eran años plagados de artistas conceptuales, especialmente mujeres, que reivindicaban la feminidad con fuerza imperativa y que sostenían el centro de su obra sobre el sexo femenino. La huella de Carolee Schneemann así como de Yoko Ono resulta inequívocamente clara en el personaje de Maude, la única que lo sabe todo, lo controla todo, lo entiende todo. En 1962, explica Dude, el fue uno de los redactores del llamado Port Huron Statement,  Michigan, “del primer borrador, no del segundo corregido”.  Los estudiantes decidieron reunirse en aras de la defensa de una sociedad democrática y en contra de la guerra de Vietnam. We are people of this generation, bred in at least modest comfort, housed now in universities, looking uncomfortably to the world we inherit. The American political system is not the democratic model of which its glorifiers speak. If we appear to seek the unattainable, as it has been said, then let it be known that we do so to avoid the unimaginable.   Somos personas de esta generación, criados con al menos un modesto confort, ahora alojados en universidades, mirando incómodamente al mundo que hemos heredamos. El sistema político estadounidense no es el modelo democrático del que hablan sus glorificadores. Si parece que buscamos lo inalcanzable, como se ha dicho, entonces debe saberse que lo hacemos para evitar lo inimaginable.   Y después, en 1972, Dude será uno de los Siete de Seattle, Seattle Liberation Front. Y es allí donde encontramos a ese otro personaje real, Jeff Dowd que da origen a la inspiradora figura del Dude. El coche rojo, (uno de los varios que se dejan ver en la película) de Bunny, corriendo a toda velocidad haciendo sonar el Vivan Las Vegas de Elvis, trae resonancias de aquel otro coche de Hunter S. Thompson con el que Johnny Depp cruzará el desierto y que nos traerá aquel otro famoso discurso, menos poético, menos atractivo, de lo que quedó de la ola hippie y las consecuencias de las drogas. Hay que tener en la piel la historia, el respirar y el sentir de Estados Unidos para entender a los Coen, un par de judíos de Nueva York profundamente estadounidenses y enamorados de su país.. Comedia sí, banal o estúpida, definitivamente no.

EL GRAN LEBOWSKI En 1998 Hollywood estrenó dos películas de culto, Miedo y Asco en Las Vegas, de Terry Gilliam y El Gran Lebowski, de los Hermanos Coen. Ambas profundamente arraigadas en la tumultuosa historia y cultura de la segunda mitad del siglo XX cuyas secuelas perduran aún en la vida de los Estados Unidos; ambas convertidas en películas de culto por un público adicto a sus personajes, pero poco ducho en los entresijos históricos o en las reflexiones que estas plantean. Como el reflejo de un espejo esperpéntico y distorsionado, pero reflejo al fin y al cabo,  El Gran Lebowski funciona como una comedia agridulce plagada de juegos de palabras que se entrelazan con una puesta en escena sembrada de detalles referenciales de una realidad social tan amarga como verídica. Los dos lados de una sociedad crispada desde la Guerra Fría que dio a luz a una década de revueltas sociales que cristalizaban por las calles de Estados Unidos en forma de hippies y de grupos sociales dispuestos a llegar hasta el final en su lucha por los derechos civiles. Corea, Vietnam, el asesinato de JFK, el surgimiento del Black Power, las feministas, los hippies, el Watergate…. Una época de cambios convulsos de la que los estadounidenses aún tratan de hacer borrón y cuenta nueva.   El Dude, el Nota para los españoles, y su alter ego contemporáneo, el Gran Lebowski, y su alter ego del pasado, Walter, los nihilistas y Bunny, Donny y Jesús, anclados todos ellos en un pasado del que no pueden o no quieren renunciar, configuran un ramillete de personajes atrapados en una compleja red de falsedades, en las que caen y a las que contribuyen sin descanso. Un solo personaje se salva de la falta de realidad a la que todos parecen sometidos, Maude Lebowski. Durante la última década del siglo XX resurgió con fuerza el movimiento feminista, dándose en llamar a este último resurgimiento la tercera ola. Los noventa eran años plagados de artistas conceptuales, especialmente mujeres, que reivindicaban la feminidad con fuerza imperativa y que sostenían el centro de su obra sobre el sexo femenino. La huella de Carolee Schneemann así como de Yoko Ono resulta inequívocamente clara en el personaje de Maude, la única que lo sabe todo, lo controla todo, lo entiende todo. En 1962, explica Dude, el fue uno de los redactores del llamado Port Huron Statement,  Michigan, “del primer borrador, no del segundo corregido”.  Los estudiantes decidieron reunirse en aras de la defensa de una sociedad democrática y en contra de la guerra de Vietnam. We are people of this generation, bred in at least modest comfort, housed now in universities, looking uncomfortably to the world we inherit. The American political system is not the democratic model of which its glorifiers speak. If we appear to seek the unattainable, as it has been said, then let it be known that we do so to avoid the unimaginable.   Somos personas de esta generación, criados con al menos un modesto confort, ahora alojados en universidades, mirando incómodamente al mundo que hemos heredamos. El sistema político estadounidense no es el modelo democrático del que hablan sus glorificadores. Si parece que buscamos lo inalcanzable, como se ha dicho, entonces debe saberse que lo hacemos para evitar lo inimaginable.   Y después, en 1972, Dude será uno de los Siete de Seattle, Seattle Liberation Front. Y es allí donde encontramos a ese otro personaje real, Jeff Dowd que da origen a la inspiradora figura del Dude. El coche rojo, (uno de los varios que se dejan ver en la película) de Bunny, corriendo a toda velocidad haciendo sonar el Vivan Las Vegas de Elvis, trae resonancias de aquel otro coche de Hunter S. Thompson con el que Johnny Depp cruzará el desierto y que nos traerá aquel otro famoso discurso, menos poético, menos atractivo, de lo que quedó de la ola hippie y las consecuencias de las drogas. Hay que tener en la piel la historia, el respirar y el sentir de Estados Unidos para entender a los Coen, un par de judíos de Nueva York profundamente estadounidenses y enamorados de su país.. Comedia sí, banal o estúpida, definitivamente no.

Carolee Schneemann was a groundbreaking feminist performance artist. But when poor health limited her ability to create art like she used to, she turned to an unusual collaborator – her cat, La Niña. The resulting exhibit, entitled “Tooth and Paw,” opened last night in Chelsea. It features sculptures assembled by La Niña, alongside text and photos by Schneemann, who died this past March. Moira Warburton reports.

We discuss the career of director/painter/performance artist Carolee Schneemann and her short film work FUSES. Become a Patreon subscriber for $5 a month and get an exclusive episode every week! This week on our Patreon we discuss Stanley Kubrick's The Shining. www.patreon.com/theimportantcinemaclub If you have any questions or comments, feel free to drop us a line at importantcinemaclubpodcast@gmail.com

We explore the interface between sex and technology with the co-founder of Lioness, Liz Klinger. Lioness is a smart vibrator that uses biofeedback to help map your orgasm and do super nifty stuff with the data. Listen to learn what experiments Allison ran with it!   Close In Munch Portland: https://www.facebook.com/events/1105896069597060/   A tribute to Carolee Schneemann: https://www.theguardian.com/artanddesign/2019/mar/08/carolee-schneeman-performance-artist-taught-us-how-to-live?CMP=share_btn_tw&fbclid=IwAR266hHHimbjnaIw3oB0AKDk1caJOvHSE1xIxhwhODuv5HBao87J52VnQQQ   Lioness.io   Patreon.com/artgasm

We pay tribute to the pioneering painter, performance artist and film-maker, ask what on earth is going on with the New York fairs this week, and discuss what it’s like to curate a Venice Biennale national presentation with the curators of the British pavilion, Scotland + Venice and Wales in Venice. See acast.com/privacy for privacy and opt-out information.

Carolee Schneemann and Yoko Ono have created provocative art throughout their careers. Learn how these artists have dedicated their lives to exploring the pleasures and the vulnerabilities of the human body. This episode is produced by WNYC Studios and MoMA. More episodes at https://www.wnycstudios.org/shows/pieceofwork.

Carolee Schneemann is a way-ahead-of-her-time artist featured in the RE/Search book “ANGRY WOMEN." She has a huge art show now (Feb through March 11, 2018) at MOMA PS1, New York. Fifty years of original art-making in many genres!

I Klassikern ägnar sig Karsten Thurfjell åt den feministiska provokatören och performance-pionjären Valie Export som gjorde sin första gatuaktion 1967. Den performancekonst som utvecklades i USA och Europa på 1960-talet hade länge manliga förtecken, med några få undantag som Yoko Ono och Carolee Schneemann. Österrike fick sin ryktbara grupp wieneraktionister, och mot slutet av decenniet bröt de första feministiska pionjärerna ny mark. Valie Export klev ut på Wiens gator 1967 och blev snabbt ryktbar med sina provokationer, inte sällan av sexuell art. Denna legend är vid 77 års ålder fortfarande verksam, och när hennes filmer och foton visades på en festival i Karlstad och Kristinehamn besökte hon för första gången Sverige.

A dozen dancers rolling around in their underwear, rubbing raw chickens and fish on each other. No, it’s not some weird ‘60s porn, it’s a performance -- Abbi talks with the feminist artist behind the piece, Carolee Schneemann. Performance art like this can be a bit funny, a bit confusing, and definitely weird. Who better to get to the bottom of it than RuPaul? He and Abbi also watch a performance by Yoko Ono, where she sat alone on stage and invited members of the audience to cut her clothes off... Also featuring: Thomas Lax Carolee Schneemann. Meat Joy. 1964–2010. 16mm film transferred to video (color, sound), 6 min. The Museum of Modern Art, New York. Gift of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, and Marie-Josée and Henry R. Kravis. ©2017 Carolee Schneemann. Courtesy Electronic Arts Intermix (EAI), New York Watch Yoko Ono's Cut Piece (1964) Learn more about Cut Piece here

Der große Kunstsommer steht bevor: in Kassel eröffnet am Wochenende die Dokumenta, in Münster startet die Skulptur Projekte und in

Carolee Schneemann talks about painting, performance, censorship and resistance in a telephone conversation recorded just days before she receives the Golden Lion for lifetime achievement at the opening of the 57th Venice Art Biennale. Featured performance audio: Interior Scroll, The Cave, 1995, courtesy Carolee Schneemann and Electronic Arts Intermixhttp://eai.org

Mission encre noire Tome 11 Chapitre 155. Pour la troisième chronique de La Brique ou Le livre, Marie-Ève rencontre Julie Lavigne, auteure du livre La traversée de la pornographie : Politique et érotisme dans l'art féministe paru dernièrement aux Éditions du Remue-ménage. À travers les écrits de Georges Bataille et l'analyse de femmes artistes oeuvrant dans le domaine du figuratif et de la vidéo (Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas), elle propose un regard subversif des codes de la pornographie mainstream et va creuser là où ça gêne trop souvent. Entre érotisme et pornographie, comment en parler, qu'en dire ? Comment l'art peut permettre cet espace de réflexion ? À écouter, et à lire, pour aller plus loin !    Julie Lavigne est historienne de l'art et professeure au Département de sexologie de l'UQAM. 

Mission encre noire Tome 11 Chapitre 155. Pour la troisième chronique de La Brique ou Le livre, Marie-Ève rencontre Julie Lavigne, auteure du livre La traversée de la pornographie : Politique et érotisme dans l'art féministe paru dernièrement aux Éditions du Remue-ménage. À travers les écrits de Georges Bataille et l'analyse de femmes artistes oeuvrant dans le domaine du figuratif et de la vidéo (Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas), elle propose un regard subversif des codes de la pornographie mainstream et va creuser là où ça gêne trop souvent. Entre érotisme et pornographie, comment en parler, qu'en dire ? Comment l'art peut permettre cet espace de réflexion ? À écouter, et à lire, pour aller plus loin !    Julie Lavigne est historienne de l'art et professeure au Département de sexologie de l'UQAM. 

This week: Living legend, innovator, visionary, Carolee Schneemann. Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: "Focus on Carolee Schneemann." Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work. Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions] An abridged transcript of this interview appears in Art Practical's "Year in Conversation" issue, which you can see here:  http://www.artpractical.com