In the early 1960s, Schneemann began to experiment with performance and dance, extending her paintings into time and space. Four Fur Cutting Boards is both a moving sculpture, activated by spectators, and a stage backdrop. Its title refers to her studio, which was housed in an old furrier’s shop in Manhattan. The same year, Schneemann photographed herself—naked, her face and body painted—interacting with the work. Presenting herself as both the work’s maker and a part of it, subject and object, she held a “double knowledge”—a concern that would also characterize the work of many other artists influenced by feminism.
Gallery label from 2020