Get your cards!
<= Back to Cards Lists
She gravitated toward an emerging Downtown performance scene, home to the experimental avant-garde artist collectives Living Theater and Judson Dance Theater, the latter of which she was a founding member. In that setting, she felt she was a painter who had in effect enlarged her canvas, now using the stage as a three-dimensional space to make compositions with bodies and a range of materials. Schneemann also used her loft as a setting for performance-based projects, including Eye Body: 36 Transformative Actions (1963). She had the Icelandic artist Erro take photographs of her posing nakedher body painted to reinforce the connection between the stroke of paint and the artists bodyamong various materials, including feathers, mirror shards, and snakes, as well as Four Fur Cutting Boards. I wanted my actual body to be combined with the work as an integral material, she wrote at the time.