Publisher: Cambridge, Massachusetts and London: The MIT Press, 2002
Edition: 1st Edition
Condition: New / New
Item #: 102264
Price is net to all; promotional discounts do not apply.
First limited edition of 33 signed and numbered copies (this being copy number 12). Includes an original unique "vulvic impression" print on rag paper (8-5/8 x 7-9/16 inches), initialed and dated 8/05 in blue pencil on recto lower right corner by Schneemann, and a gelatin silver photograph from the artist's 1963 "Eye Body" performance (image size 8-7/8 x 7-5/8 inches; paper size 9-1/8 x 7-7/8 inches), titled, initialed, dated and numbered in pencil on verso by Schneemann. The book is signed and numbered 12/33 in red ink on the title page by Scheemann.
Hardcover. Fine red cloth-covered boards with title stamped in black on spine, with photographically illustrated dust jacket. The print, photograph and book are contained in a fine iridescent purple silk-covered clamshell box with title printed in silver on debossed spine panel. Works in various media and text by Carolee Scheemann. Additional contributions by Kristine Stiles, Robert C. Morgan, Jay Murphy, Robert Riley, Eleanor Heartney, Thomas McEvilley and David Levi Strauss. Includes a list of videos/filmography and selected bibliography. Designed by John Isaacs. 357 pp., with numerous black and white and color illustrations. Book measures 9-1/4 x 8-1/4 inches; clamshell box measures 10 x 8-7/8 inches.
New (original blood print, gelatin silver print, book and clamshell case all in flawless, pristine condition).
From the publisher: "Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement's sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women's studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments.
Imaging Her Erotics integrates images from Schneemann's works in painting, collage, drawing, and video sculptures with written material drawn from the artist's journals, dream diaries, essays, and lectures. Encompassing four decades of her work, it demonstrates her profound influence on artists in all media. An opening essay by Kristine Stiles presents Schneemann's major themes and places her work in a historical context. Among other topics, the book covers Schneemann's response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani."