Bibliography: Selected Writings by the Artist

“Moral Turpitude.” Harper’s Magazine, October 2017.

“Summer Reading.” Artforum, Summer 2015, p. 84.

“Carolee Schneemann Responds: Maura Reilly: Taking the Measure of Sexism: Facts, Figures, and Fixes.” ARTnews, June 2015, p. 55.

“The Breath of Life.” Art in America, February 2015, pp. 42–45.

“Response to a Reappropriation Request.” PAJ: A Journal of Performance and Art 36, no. 1 (January 2014): 7–9.

“Drawing as a Veinous System.” PAJ: A Journal of Performance and Art 36, no. 2 (May 2014): 30–34.

“Belief.” PAJ: A Journal of Performance and Art 34, no. 1 (January 2012): 15–33.

“Regarding Ana Mendieta.” Women and Performance: A Journal of Feminist Theory 21, no. 2 (2011): 183–190.

“Portfolio: Kitch’s Last Meal.” Millennium Film Journal 54 (Fall 2011): 84–91.

“On the Development of Snows and Other Early Expanded Cinema Works: Free-form Recollections of New York.” In Expanded Cinema: Art, Performance, Film, ed. A.L. Rees. London: Tate Gallery Publishing, pp. 91–97.

“Sobre la performance.” Minerva 15 (2010): 62–64.

“Vulva’s Morphia.” Women and Performance: A Journal of Feminist Theory 14, no. 2 (2005): 51–53.

“It Is Painting.” In Stan Brakhage: Filmmaker, ed. David E. James. Philadelphia, PA: Temple University Press, 2005, pp. 78–87.

“Fluxus Unreeling (1973).” In Critical Mass: Happening, Fluxus, Performance, Intermedia and Rutgers University 1958–1972, ed. Geoffrey Hendricks. New Brunswick, NJ: Rutgers University Press, 2003, pp. 89–94.

“Continue in This Unknowable…” Millennium Film Journal 41 (Fall 2003): 77–79.

“Personal Statement.” In The Films of Jack Chambers, ed. Kathryn Elder. Toronto: Cinémathèque Ontario; Bloomington: Indiana University Press, 2002, pp. 193–194.

“Vulva’s Morphia.” n.paradoxa international feminist art journal 6 (July 2000): 46–47.

“Pollack and After.” Texte zur Kunst 33 (March 1999): 60–61.

“Dream/Space/Object... Death/Mother/Bird.” Art Journal 58, no. 1 (Spring 1999): 49–56.

“Vulva’s School.” Sulfur 42 (Spring 1998): 14–21.
“In Their Own Words—Vulva’s School.” The Bardian 42 (Spring 1996): 14–21.

“Vulva’s School.” M/E/A/N/I/N/G 19–20 (May 1996): 98.

“Genius Envy.” Artforum, November 1996, p. 10.

“Carolee Schneemann.” aRUDE 8 (1996): 17.

“Enter Vulva” and “Questions of Feminism: 25 Responses.” October 71 (Winter 1995): 40–41.

“In Vulvic Space.” Lusitania 6 (1994).

“Ages of the Avant-Garde.” Performing Arts Journal 16, no. 1 (January 1994): 18–21.

“Christmas Tree in Uteri.” Whitewalls: A Journal of Language and Art (Fall/Winter 1994): 90–91.

“The Blood Link: ‘Fresh Blood: A Dream Morphology’ and ‘Venus Vectors.’” Leonardo 27, no. 1 (Winter 1994): 23–28.

“Anti-Demeter: The More I Give the More You Steal / The More You Give the More I Need.” In Mother Journeys: Feminists Write About Mothering, eds. Martha Roth, Maureen T. Reddy, and Amy Sheldon. Minneapolis: Spinsters Ink, 1994, pp. 289–292.

“Unexpectedly Research.” The Argonaut Journal 138, no. 2 (1993): pp. 22–25.

Sex-Quake: Art After the Apocalypse. Cologne: Art Genes Portable Museum/Printed Matter/Walther König, 1993.

“Mother Lexicon.” In Flux Scan: A Collection of Music and Sound Events, ed. Jan van Toorn. Den Bosch: Slowscan Editions, 1993.

“Letter and Answers to Questions on Her Work in Antwerp.” In Dossier Antwerpen. Builtenlands Kunstenaars in Antwerp 1968–1990. Antwerp: Internationaal Cultureel Centrum, 1993.

“Integrating Sculpture, Space and Sound.” Musicworks: The Journal of Sound Exploration (Fall 1993): 6–13.

“Anti-Demeter.” Progress Report (London) 3 (1993): 16–17.

“Notes from the Underground: A Female Pornographer in Moscow.” The Independent (Winter 1992): 23–25.

“Cycladic Imprints.” Tema Celeste Contemporary Art Review 37/38 (Fall 1992).

“CORE ADORED LOATHED DENIED.” Tema Celeste Contemporary Art Review 37/38 (Fall 1992).

“Schneemann on Erro.” In Adalsteinn Ingolfssson, Erro Margflt lif: Mal og menning. Reykjavik: Mal of menning, 1991, pp. 187, 192,193, 196–197, 203–207, 240.

“Over Time: A Forum on Art Making.” M/E/A/N/I/N/G 10 (November 1991): 18.

“The Obscene Body/Politic.” College Art Journal 50, no. 4 (Winter 1991): 28–35.

Schneemann, Carolee. “Emergency Sauce Scenarios for Unexpected Friends and Lovers.” In Food Sex Art: The Starving Artists’ Cookbook, eds. Paul and Melissa Eidia. New York: Eidia Books, New York, 1991. p. 34.

“Shadow Capture.” In Seeing in the Dark: A Compendium of Cinema-going. London: Serpent’s Tail, 1990, pp. 9–10.

“Cat Scan.” Inter Editeur (Quebec) (1989): 79.

“… Cat Torture in the Liquid Gate.” International Experimental Film Congress (May/June 1989): 38, 46–47.

“Selected Text and Preparation Drawings from the Performance Work ‘Dirty Pictures.’” Heresies 6, no. 3 (1988): 54–55.

“Hand/Heart for Ana.” Sulfur 22 (Spring 1988): 104–106.

“Cat Scan (New Nightmares/Ancient History).” Caprice Magazine (August 1988): 34–43.

“Cat Scan.” High Performance 44 (Winter 1988): 37.

“Das A und O-Hidden and Found in an Attic.” Excerpt from Fresh Blood. In Top Ten Review. Bremen: Schierbrok, 1986. p. 42.

“Ice Music.” White Walls 16 (Spring 1987): 99–101.

“Death Has No Fat” and “Infinity Kisses.” In Homage to Joseph Beuys, ed. Klaus Staeck. Kassel, 1986.

“Seven Recipes.” In CookPot, ed. Barbara Moore. New York: Reflux Editions, 1985.

“On Walter Gutman.” Field of Vision 13 (Spring 1985): 31.

“Text, drawings, photos, letters from Carl Ruggles.” In The Music of James Tenney, ed. Peter Garland. Santa Fe: Soundings Press, 1984. pp. 2, 15–29, 36, 39, 40, 114.

“Re: Art in the Dark.” Artforum, August 1983, p. 2. Reprinted in Visibly Female: Feminism and Art Today, ed. Hilary Robinson. London: Camden Press, 1987, pp. 272–273.

“Dirty Pictures.” Benzine 1 (1983).

“Carolee Schneemann to Robert Haller.” Idiolects 13 (Summer 1983): 68.

“Carolee Schneemann: Cluny Washing.” The Print Collectors Newsletter 14, no. 5 (November/December 1983).

“Americana I Ching Apple Pie.” High Performance 5, no. 4 (Winter 1982): 74.

“From a Letter.” Idiolects 13 (Summer 1981): 18.

“Fresh Blood—A Dream Morphology.” Dreamworks Journal 2, no. 1 (Fall 1981): 67–75.

“Fresh Blood—A Dream Morphology.” New Wilderness Letter 10 (September 1981): 42–56.

“Dirty Pictures.” High Performance 4, no. 2 (Summer 1981): 72.

“Autobiographical Trilogy.” Reprinted in Sheldon Film Theater (1981): 80–85.

“From Fresh Blood—A Dream Morphology.” Idiolects 9–10 (Winter 1980/1981): 27–30.

“Women Artists on Women in Art.” Portfolio: The Magazine of the Visual Arts, February/March 1980, p. 72.

“Kitch’s Last Meal.” Cinemanews 81, nos. 2–6 (1980): 55–58.

“Correspondence Course.” The Dumb Ox 10/11 (Spring 1980).

“Carolee Schneemann as Self-Publisher.” Art-Rite 14 (Winter 1976/1977): 13.

“Rain Stops after Seven Days.” Unmuzzled Ox: The American Book Review 4, no. 1 (1976): 112–118.

“The Pronoun-Tyranny.” The Fox 3 (August 1976).

“Dreams from Now and Again.” Tracks (1976).

“Americana I Ching Apple Pie.” Center 8 (1975).

“Response: Movie Journal.” The Village Voice, February 3, 1975, p. 80.

“Up to and Including Her Limits.” Flash Art 50–51 (1975): 39.

The Thomas Alva Edison Centenary Issue of ICES 72: Brain Drain Music Train. Columpton, Devon: Beau Geste Press, 1972.

“Be Prepared” and “Missing Gender.” Earth Ship 12 (1972).

Parts of a Body House Book. Collumpton, Devon: Beau Geste Press, 1972.

“Letters.” INK (London), December 3, 1971, p. 3.

“Parts of a Body House.” In Fantastic Architecture, ed. Dick Higgins and Wolf Vostell. New York: Something Else Press, 1971.

“Fish Love Notes” and “Body Montage.” In Wipe Poetry Package, ed. Michael Fineberg. London: Chamber Productions, 1970.

“Image as Process.” Creative Camera (October 1970): 304–309.

“Notations, 1958–1966.” Caterpillar 8–9 (January 1969): 30–44.

“Parts of a Body House.” Caterpillar 3/4 (April–July 1968): 190–194.

“Fuses.” Caterpillar 2 (January 1968). [unpag]

“Snows.” Ikon 1, no. 5 (March 1968): 24–29.

“Snows.” In Notations, ed. John Cage and Alison Knowles. New York: Something Else Press, 1967.

“Divisions and Rubble.” In Manipulations, ed. John Hendricks. New York: Judson Publications, 1967.

“Aspects of EAT in the Making of SNOWS.” In Experiments in Art and Technology Newsletter, June 1, 1967, p. 15–17.

“Meat Joy Notes as Prologue.” Some/Thing 1, no. 2 (Winter 1965): 29–45.

“On Kenneth Anger’s Scorpio Rising.” Film Culture 32 (Spring 1964): 9–10.

“Hormones Circling.” Matter (1963).

“Of Arts and Public.” New York Times, December 30, 1956, p. X15.