Carolee Schneemann. Eye Body: 36 Transformative Actions for Camera. 1963/2005. Eighteen gelatin silver prints. 24 x 20" each (61 x 50.8 cm). The Museum of Modern Art, New York. Gift of the artist. © 2017 Carolee Schneemann. Courtesy the artist, P.P.O.W, and Galerie Lelong, New York. Photos: Erró

MoMA PS1 presents the first comprehensive retrospective of Carolee Schneemann, spanning the artist’s prolific six-decade career. As one of the most influential artists of the second part of the 20th century, Schneemann’s pioneering investigations into subjectivity, the social construction of the female body, and the cultural biases of art history have had significant influence on subsequent generations of artists. Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist’s early paintings of the 1950s and their evolution into assemblages made in the 1960s, which integrated objects, mechanical elements, and modes of deconstruction. In the late 1960s Schneemann began positioning her own body within her work, performing the roles of “both image and image-maker.” As a central protagonist of the New York downtown avant-garde community, she explored hybrid artistic forms culminating in experimental theater events. The exhibition considers Schneemann’s oeuvre within the context of painting by tracing the developments that led to her groundbreaking innovations in performance, film, and installation in the 1970s, as well as her increasingly spatialized multimedia installations from the 1980s, 1990s, and 2000s.

Carolee Schneemann: Kinetic Painting is organized by the Museum der Moderne Salzburg.

The exhibition is curated by Sabine Breitwieser, Director, Museum der Moderne Salzburg; and consulting curator Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University, New York.

Organized at MoMA PS1 by Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, The Museum of Modern Art; with Oliver Shultz, Curatorial Assistant, MoMA PS1.

Major support is provided by Lonti Ebers and The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by The Junior Associates of The Museum of Modern Art.

Additional support is provided by the MoMA PS1 Annual Exhibition Fund.

Special thanks to the Austrian Cultural Forum.

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