#avant-garde
#performanceart
#conceptualart
#neverforgotten
Schneemann considered her photographic and body pieces to still be based in painting despite appearing otherwise on the surface.She has described herself as "A painter who has left the canvas to activate actual space and lived time."She cites her studies with painter Paul Brach as teaching her to "understand the stroke as an event in time" and to think of her performers as "colors in three dimensions." Schneemann took the ideas found in her figurative abstract paintings of the 1950s, where she cut and destroyed layers of paint from their surfaces, and transferred them to her photographic work Eye Body. Art history professor Kristine Stiles asserts that Schneemann's entire oeuvre is devoted to exploring the concepts of figure-ground, relationality (both through use of her body), and similitude (through the use of cats and trees). Stiles asserts that the issues of sex and politics in Schneemann's work merely dictate how the art is shaped, rather than the formal concepts found behind it. For example, Schneemann relates the colors and movement featured in Fuses to brush strokes in painting. Her 1976 piece Up to and Including Her Limits, too, invoked the gestural brush strokes of the abstract expressionists with Scheemann swinging from ropes and scribbling with crayons onto a variety of surfaces.
rip, Carolee. will miss you.
