FILMOGRAPHY/ VIDEOGRAPHY

* Denotes original work by C. Schneemann

1999 *Vespers Pool. Installation Videoloop and Documentation.
Video - color, sound. 8 minutes.
Vespers Pool advances SchneemannÕs work in reconstituting psychic spaces as part of ordinary phenomena. The installation raises questions of inter-species communication, as well as suggesting unexpected cultural taboos. There are two videotapes for this work: one, a four minute color sound concentration centered on the death of her companion cat; the other is a four minute document of the installation which includes the sound created for Vespers Pool.

1996 *Known/ Unknown - Plague Column. Installation Videoloop.
Video - color, sound.
Known/ Unknown combines photographic, video and sculptural elements in an intermedia work that continues Schneemann's investigation into transgressive and denied aspects of the unconscious, nature, gender and the body. The installation examines relationships between health and illness, between cellular and microscopic representations of visual information where different instruments present biological data in relation to clinical medicine; the guise of objectivity colludes with personal experience. Schneemann repositions the images, visual intimacy, enabling us to invade aspects of the body which are cellular, erotic and clinical.

1995 *Interior Scroll - The Cave (1993-95)
Video - color, sound. c. 12 minutes.
By C. Schneemann and Maria Beatty. In a vast underground cave, Carolee Schneemann and seven nude women perform the ritualized actions of "Interior Scroll" - reading the text as each woman slowly extracts a scroll from her vagina. The scroll embodies the primacy of an extended visual line shaped as both concept and action. The extracted text merges critical theory with the body as a source of knowledge. Beatty's camera moves from the naked group actions into close-ups of the unraveling text.

1995 Vulva's School
Video - color, sound.
A performance in which Schneemann personifies an irrepressible vulva, who engages two animal hand puppets in a clamorous deconstruction of sexual bias in French semiotics, Marxism, patriarchal religions and physical taboos.

1995 Interview at Western Front
Video color, sound.

1992 *Vesper's Stampede To My Holy Mouth
Video - color, sound. 15 minutes.
Filmed and edited by Victoria Vesna and C. Schneemann. Victoria Vesna and Carolee Schneemann explore suppressed feminist issues of female subjugation, the unconscious, the paranormal and goddess religions. The result of two years of research and discussion, Vesna's portrait captures Schneemann's most intimate issues in her studio and home. Central to this video is her recent essay, Vesper's Stampede to My Holy Mouth, where she weaves three themes: the erotic affections of her pet cat; female genital mutilation; and cat/ clitoral condemnation at issue during witchcraft trials.

1992 Is There A Feminist Erotic Iconography?
Video, color, sound.
Using her own work as an experiential base, Schneemann addresses issues of perception and power, which emerge in sharp contrast to our learned aesthetic, and performs a deconstruction and inversion of the traditional idealized erotic subject/ object. Transgressive and denied aspects of the unconscious mind, nature, gender, the body, and sexuality through history are examined in a feminist context. A wide range of images on slides, ranging from Paleolithic shards, Sumerian birth figurines, and Victorian Madonnas, to contemporary Body Art, illustrate this lecture at the Center for Creative Photography, Tucson, Arizona.

1991 Ask The Goddess
Video, sound, color.
Vulva speaks: "If the traditions of patriarchy split the feminine into debased/ glamorized, sanitized/ bloody, madonna/ whore... fractured body, how could Vulva enter the male realm except as "neutered" or neutral.... "castrated"? In this performance, Schneemann personifies the vulvic realm in an exploration of the cultural taboos and secret histories of Vulva. Schneemann invites the audience into this co-generative piece to risk creating a visual and confessional dialogue. Unedited document, videotaped by Tim Howe at Owen Sound, Ontario Canada.

1991 Atlantic Center for the Arts, New Smyrna Beach (Interview with Carolee Schneemann)
Video, sound, color.
The poet Christy Sheffield Sanford interviews Schneemann; the artists discuss the historic marginalization of women artists, the struggles for creative authority in terms of language, economic support, access to material and technologies and their feelings about their bodies and sexuality.

1990 Sphinxes Without Secrets (Interview with Carolee Schneemann)
Video by Maria Beatty.
Schneemann discusses gender politics, aesthetics, feminist history and the current social context for her work in an interview by Maria Beatty. An interview extracted from Beatty's Sphinxes Without Secrets, a contemporary collection of performance footage and interviews with women performance artists.

1990 Catscan
Video, sound, color.
Cat Scan, performed in 1988, layers threads of dream in metaphoric and analogous connection to lived events and to research into ancient history indicated by the dream. The dream actions become drawings on which performers build physical movement. Intimacy, physicality, the shifts from private to public, from the erotic to the obscene, from dream to enactment, are themes in a transgressive body of work which has consistently introduced combinations of media. As a ritual consecration, Schneemann, blindfolded, dances out of 20 yards of red fabric, wound around her body.

1988 Lecture at the San Francisco Museum of Modern Art
Video, sound, color.
A compressed history of Schneemann's work, from painting to performance to installation. A continuous slide relay, discussion with Kathy Acker and arguments with the audience concerning essentialism and gender as a social construction.

1987 Art Is Reactionary
Video, sound, color.
A solo performance in which Schneemann splits in half to move between a continuous slide relay; a Marxist, dialectical, feminist, semiotic deconstruction of art world pieties and fetishes.

1984 Up To And Including Her Limits (1973-76)
Video - color. 25 minutes.
Up To And Including Her Limits extends the principles of Jackson Pollock's action painting. Schneemann is suspended from a rope harness, naked and drawing; her moving body becomes a measure of concentration, the sustained and variable movements of her extended drawing hand creates a dense web of strokes and marking. This video captures the concentration and raw intensity of Schneemann's presence and use of her own body.
Edited by C.S. in 1984 from video footage of six performances from 1973-76: The Berkeley Museum, Berkeley; London FilmmakerÕs Cooperative; Artists Space, New York; Anthology Film Archives, New York; The Kitchen, New York; Studiogalerie, Berlin.

1983 Fresh Blood: A Dream Morphology
Video.
Vulvic puns, jokes and ruminations on the meanings of menstrual blood activate a range of taboos surrounding cultural notions of the feminine as a metaphoric battle ground of the body and of language itself. Schneemann, naked and in red pajamas merges her physical movements within a continuous slide projection. The projected images weave into archeology of unconscious forms, pulled to the surface of conscious recognition. This videotape is a compilation of several performances, edited by C.S.

1980 Judson Project - Video. (Interview with Carolee Schneemann)
A rough black and white student videotape in which Dan Cameron comes to New York City from Bennington College to interview Schneemann on her choreography for performances during the 1960s for the Judson Dance Theater. She agrees to the interview if Cameron and she will both wear nightgowns and smoke cigars while sitting on her bed. (Seventeen years later, Cameron is appointed Senior Curator at the New Museum for Contemporary Art, NYC -- his first exhibit is a retrospective of Schneemann's works. He includes this fragile videotape.)

1977 HOMERUNMUSE
Video - b/w, sound. 60 minutes.
Documentation taped by Ricky Slater at Brooklyn Museum of Art.

1976-7 ABC - We Print Anything - In The Cards
Film - Super 8, color, sound. Filmed by Paul Sharits and Tony Morgan in Arnhem, Holland. Unedited.

ABC - We Print Anything - In The Cards Video - b/w, sound. Taped at New York University (by Paul Shavelson); performance at Franklin Furnace (by Jackie Ochs); performance at De Appel (by M. Cardenas). All documentation.

1975 Interior Scroll
Video - b/w. 40 minutes. (Taped and withheld by Dorothy Beskind). Documentation.

1974-7 Up To And Including Her Limits
Video - b/w, sound. 60 minutes.
Mixed in five permutations: performance at University Art Museum, Berkeley; London Filmmaker's Cooperative (by John Hopkins); Artists Space, New York (by Al Rossi); Anthology Film Archives, New York, The Kitchen, New York (by J. Nichols, J. McLaughlin, S. Clarke); Studiogalerie, Berlin (by Mike Steiner).

1973-8 *Kitch's Last Meal
Film - Super 8, color, dual projection, separate sound.
Variable units: 20 minutes to 4 hours. Part III of "Autobiographical Trilogy".

1973 Cooking With Apes
Film - Super 8, color, sound on tape. 15 minutes of documentation.

Acts of Perception
Film - Super 8, b/w with separate sound. 11 minutes.
Group film as process of workshop.

1972 Americana I Ching Apple Pie
Film - 16mm color, sound. 20 minutes.
(Footage withheld by Richard Chase.)

Ices Strip Train Skating
Film - 16mm color, sound. 12 minutes.
(Footage withheld by Leslie Elliot.) Documentation.

1971-2 Reel Time
Film - 16mm color, sound. 1 hour.
Uncompleted mutual film diary with Anthony McCall.

1971 *Plumb Line
Film - Super 8, step printed to 16mm, color, sound. 18 minutes.
Part II of "Autobiographical Trilogy". Sound by C. Schneemann. (Filming begun in 1968.) This film has been transfered to video. Color, sound. 18 minutes. The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8mm is printed as 16mm, moving images freeze, frames reoccur and dissolve until the film bursts into flames, consuming it's own substance.

1969 Illinois Central Transposed
Film -16mm color silent.
Filmed by Robert Dacey. 800 ft. Unedited. Documentation.

1968 Illinois Central
Film - 16mm color, silent.
Filmed by John Heinz. c. 10 minutes. Documentation. A compilation of Schneemann's anti-Vietnam War group performances, which merged film projection, sound and slide systems, light beams, audience and performer action in a sensory collage linking the exposed Illinois landscape to the devastation of Vietnam. "I think of this work as an exploded canvas, units of rapidly changing clusters. A flow of energy which makes an active audience inevitable and necessary -- not to mimic the performance but to absorb relations within the space and between one another - to be correspondent to the materials and imagery, grasping a conscious and realizable wish to replace the performers with themselves" C. Schneemann.

1967 *Fuses (1964-67)
Film - 16mm, color, silent. 22 minutes.
Part of "Autobiographical Trilogy". Filming begun in 1964. This film was transfered to video in 1992. Color, silent. 18 minutes. Schneemann's 1965 self-shot erotic film remains a controversial classic. With awards at Cannes (1968), the Yale Film Festival (1992), and showings at Museums and Universities internationally, Fuses has nevertheless encountered censorship over the years. "The notorious masterpiece.... a silent celebration in color of heterosexual love making. The film unifies erotic energies within a domestic environment through cutting, superimposition and layering of abstract impressions scratched into the celluloid itself... Fuses succeeds perhaps more than any other film in objectifying the sexual streamings of the body's mind."The Guardian, London

Falling Bodies (or Body Rotations)
Film - 16mm b/w film. c. 6 minutes. Filmed by Peter Whitehead. Contact improvisation: C. Schneemann and James Tenney. Documentation.

1967 Snows
Film - 16mm b/w, silent. c. 24 minutes.
Filmed by Alphonse Shilling. Unedited. Documentation. Also available on Video. An unedited documentation of the 1967 group performance Snows, which was built out of Schneemann's anger, outrage, fury and sorrow over the atrocities of the Vietnam War. An ethereal stage environment combining colored light panels, film projection, torn collage, hanging sacks of colored water, "snow"-crusted branches, rope, foil and foam was set and setting in which an audience-activated electronic switching system controlled elements of the performance/ installation. Images from film, slides and live action propel silent, ghostly performers to become aggressor and victim, torturer and tortured, lover and beloved, as well as simply themselves in this breakthrough mixed media film-performance. (The film Viet-Flakes is a central element.)

1967 Body Collage
Film - 16mm b/w, silent. c. 6 minutes.
Filmed by Gideon Bachmann. Documentation. Also available on Video. A visceral 'movement event' from 1967 in which Schneemann paints her body with wall paper paste and molasses, runs, leaps, falls into and rolls through shreds of white printer's paper creating a physicalized corporal collage. "My intention was not simply to collage my body (as an object), but to enact movement so that the collage image would be active, found, not pre-determined or posed" C. Schneemann. From original 16mm film footage.

1966 *Red News
Film - 16mm, b/w, red-toned, silent. 6 minutes. Found footage.

1966 Water Light/ Water Needle
Documentations

1. Film - 16mm color, sound. 12 minutes. Filmed by John Jones, edited by Jones and Schneemann. Sound by Schneemann.

2. Film - 16mm color. 20 minutes. Filmed by Sheldon Rocklin. Edited by Schneemann.

3. Film - 16mm b/w. 15 minutes unedited. Filmed by Elaine Summers.

This original film footage was restored, re-edited and transfered to video in 1983 by C. Schneemann and Maria Beatty. 12 minutes, color. Includes:

1966 Water Light/ Water Needle- (Lake MahWah), 1966
Video. 12 minutes Schneemann's classic 1966 aerial Kinetic Theatre work was first staged at St. Mark's Church in the Bowery, with eight performers moving to a score of randomized encounter on layers of rigged ropes and pulleys. Enacted outdoors in trees and across the surface of a lake, in sequences directed by C. S.. One of two video documents of this early and influential performance. Original film footage by John Jones and Sheldon Rocklin.

1966 Water Light/ Water Needle - (St. Mark's Church, NYC), 1966
Video. 4 minutes Eight performers, suspended from ropes, moving to a score of randomized encounter. This kinetic theatre work was Òconceived as an aerial event with ropes rigged across the canal at San Marco.... finally realized at Saint MarkÕs Church in the Bowery, then later rigged in a grove of trees. The illuminated aqueous planes of Venice motivated the performers on layers of ropes which enclosed and surrounded the audience seated below.Ó The original film footage was shot by Elaine Summers; one of two video documents of this early and influential performance.

1965 *Viet-Flakes
Film - 8mm printed to 16mm, b/w, toned. 11 minutes. Sound collage by James Tenney. This film has been transfered to video. b/w, toned. 11 minutes. Composed from an obsessive collection of Vietnam War atrocity images, compiled over five years from foreign magazine and newspapers. Schneemann uses the 8mm camera to "travel" within the photographs producing a volatile animation. Broken rhythms and visual fractures are heightened by a sound collage by James Tenney of Vietnamese religious chants, secular songs, fragments of Bach, 60s pop hits. "One of the most effective indictments of the Vietnam War ever made" Robert Enright, Border Crossings.

1964 Meat Joy
Film - 16mm color, sound, 12 minute version edited by Bob Giorgio. Longer version held by Schneemann. (Filmed by Pierre Dominique Gaisseau.) Documentation. Video. (Converted from original film footage of 3 1964 performances of Meat Joy in Paris,London and New York City.) Meat Joy is an erotic rite -- excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic -- shifting and turning between tenderness, wildness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the sacred erotic in a suppressive time.

1963 *Carl Ruggles' Christmas Breakfast
Film - 8mm, enlarged to 16mm, sepia toned, separate sound. 3 1/2 & 7 minute versions