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The mediums on display range across painting , performance video, photo performance, multimedia installations, sculptural assemblages, and archival material, detailing a six-decade-long career.
As the title of the exhibition suggests, Carolee Schneemann employs the body, primarily her own, as an active device, image, tool, ritual, material base and set of embodiments to explore themes around carnal joy, intimacy, sexuality and deviance, artmaking, woman as a muse of the male gaze, and so on.
She used collage a lot as a technique. Archival material also includes photo albums with documentation of the performances, with sketches and notes for the preparation and choreography. The aim is not to re-create the performance but to let our viewers know how the performance was staged for them to imagine. Schneemann passed away in , leaving a legacy of feminist art that spoke to the modernist sensibility that was a charged cocktail of political, cultural and aesthetic movements in the 20th century.
Schneemann moved beyond expressionism to explore her own body as implicated and joyous; the body becomes layered and agential, responding to classical to modernist objectification of the female body and its role in creating the image of a de-agentialised body, where there is no self, simply other. What is significant is also that the nature of the performance is compounded with the created space for the camera. And in particular, Eye Body had no audience, it was performed for the camera.