INVENTORY OF THE CAROLEE SCHNEEMANN PAPERS, 1959-1994
Inventory created by Lynda Bunting.
The Getty Research Institute
Research Library
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, California 90049-1688
Phone: (310) 440-7390
Fax: (310) 440-7780
Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
URL: http://www.getty.edu/research/conducting_research/library
©1998
J. Paul Getty Trust.
INVENTORY OF THE CAROLEE SCHNEEMANN PAPERS, 1959-1994
Accession no. 950001
Inventory prepared by Lynda Bunting
Getty Research Institute
Contact Information:
- The Getty Research Institute
- Research Library
- Special Collections and Visual Resources
- 1200 Getty Center Drive, Suite 1100
- Los Angeles, California 90049-1688
- Phone: (310) 440-7390
- Fax: (310) 440-7780
- Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
- URL: http://www.getty.edu/research/conducting_research/library/
- Processed by:
- Lynda Bunting
- Date Completed:
-
March 1996, revised Apr 2007
- Encoded by:
- Philip Curtis
©1998 J. Paul Getty Trust.
Descriptive Summary
Title: Carolee Schneemann papers
Date (inclusive): 1959-1994
Collection number: 950001
Creator:
Schneemann, Carolee
Extent:
ca. 60 linear ft.
(123 boxes)
Repository:
Getty Research Institute
Research Library
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, CA 90049-1688
Abstract: The papers document the performances, happenings, film and book productions, and exhibitions of the American painter and performance
artist Carolee Schneemann.
Language: Collection material in English
Administrative Information
Access
Open for use by qualified researchers.
Publication Rights
Preferred Citation
Carolee Schneemann papers,1959-1994, Getty Research Institute, Research Library, Accession no. 950001.
Acquisition Information
Acquired 1995.
Processing History
Lynda Bunting unpacked, processed and wrote the box list and catalog record from August 1995 to March 1996. Kelly Nipper assisted
by processing Series IX. Writings about or by Schneemann and describing some albums in Series X. Performance Albums.
Separated Material
Fourteen titles were separated from the archive Aug 1995. These publications are now part of the Getty Research Library and
can be searched in the Library catalog by doing a Provenance search under "Carolee Schneeman."
Brakhage, Stan.
Brakhage Scrapbook: Collected Writings, 1964-1980. New Paltz, New York: Documentext, 1982. 3 copies.
Kelly, Robert.
Cat Scratch Fever: Fictions. Kingston, New York: McPherson, 1990.
Desani, G.V.
Hali and Collected Stories. Kingston, New York: McPherson & Co., 1991.
Baruchello, Gianfranco.
How to Imagine: a Narrative on Art and Agriculture. New Paltz, New York: McPherson, 1983.
Ascher/Straus... et al.
Likely Stories: a Collection of Untraditional Fiction. New Paltz, New York: Treacle Press, 1981.
The Music of James Tenney. Edited by Peter Garland. Santa Fe, New Mexico: Soundings Press, 1984.
McEvilley, Thomas.
North of Yesterday, or, Flowers of Waz: a Novel. New Paltz, New York: McPherson, 1987.
Rose, Howard.
Oak Street Beach: a Novel. Olive Bridge, New York: Raymond Saroff, 1990.
Rose, Howard.
The Pooles of Pismo Bay: a Novel. Olive Bridge, New York: R. Saroff, 1990.
Rose, Howard.
Twelve Ravens; a Novel. Olive Bridge, New York: Raymond Saroff, 1990.
Baruchello, Gianfranco.
Why Duchamp: an Essay on Aesthetic Impact. New Paltz, New York: McPherson, 1985.
Biographical Note
Carolee Schneemann actively engaged in performance art, experimental film-making, the Fluxus movement and feminist theory
in the 1960s-1970s. The artist is best known for the provocative use of her nude body to explore personal expression, sexual
taboos and feminism in both multi-media performances and solo improvisational work. Born in 1939, Schneemann studied painting
at the University of Illinois and Bennington College in the late-1950s. Her performance work evolved out of a desire to express
more than she could within the confines of her paintings, and retains some of the gestural qualities of abstract expressionism
and the cluttered look of assemblage. In addition to choreographing her own scripts, Schneemann participated in some of the
most influential events of the 1960s, including: Philip Corner's "An Environment for Sound and Motion" at the Living Theater
(1962), Claes Oldenburg's "Store Days" (1962), Robert Rauschenberg's theater experiments, Robert Morris' "Site" (1964), and
in Fluxus concerts.
Schneemann has made many films, some of an experimental nature and others which document her performances. "Fuses" (1964-67),
her most notorious film, presents a woman's perspective of intimacy and eroticism. The film was edited for two years, during
which time Schneemann burned, scratched, painted, glued, and layered its images to create a fluid sense of sexuality. In the
1970s, Schneemann conducted research on earth goddesses and ancient mythology in search of female power structures. She realized
that a certain component of her work had always explored these themes, such as the use of snakes in "Eye Body" (1963). Schneemann's
studies permeate her writings, and she has taught classes on feminist art and theory. Since the mid-1970s, Schneemann has
performed infrequently, preferring instead to concentrate on painting, exhibiting, lecturing and teaching.
Scope and Content
The archive documents Schneeman's performances, happenings, film and book production, and exhibitions from 1959-1994. It includes
original materials relating to performances and publication projects in the form of notes, drawings, performance scripts and
mss.; correspondence with visual, literary and performing artists, art critics, and other individuals prominent in the international
avant garde; printed ephemera, artists' books, and Fluxus objects by Schneemann and others; lecture notes and other materials
pertaining to Schneemann as teacher and lecturer; research files on performance and feminist topics; mss. by others about
Schneemann's work; and photograph albums which provide visual documentation of much of her performance work.
Arrangement
Indexing Terms
Subjects
Performance art—United States
Feminism and art
Sex in art
Body art
Dreams in art
Fluxus (Group of artists)
Happening (Art)
Censorship in art—United States
Experimental films—United States
Art, Modern—20th century
Genres and Forms of Material
Photographic prints
Photographs, Original
Notebooks
Contributors
Andersen, Eric
Ay-o, 1931-
Bergé, Carol
Brakhage, Stan
Burns, Gerald
Constantinides, Kathy, 1936-
Copp, Fletcher
Corner, Philip
Eshleman, Clayton
Friedman, Ken, 1949-
Giorno, John
Hendricks, Bici
Hendricks, Geoffrey
Higgins, Dick, 1938-
Johnson, Ray
Kaprow, Allan
Kultermann, Udo
Lebel, Jean Jacques
Lerner & Turner
Malloy, Judy
McCall, Anthony D.
McPherson, Bruce R. (Bruce Rice)
Moore, Peter, 1932-1993
Moorman, Charlotte
Oldenburg, Claes, 1929-
Rothenberg, Jerome, 1931-
Rogala, Miroslaw
Sayre, Henry M., 1948-
Sondheim, Alan
Tillman, Lynne
Varèse, Edgard, 1883-1965
Vostell, Wolf, 1932-
Wikarska, Carol
Series I.
Projects,
1960-1994
Physical Description:
8.5 lin. ft.
17 boxes
Scope and Content Note
Series I contains typed and handwritten notes, drafts, performance instructions, drawings and some correspondence, pertaining
to approximately 70 of Schneemann's performance, film, book and exhibition projects. Most files offer a complete record of
a project's progression. Particularly well documented are "Snows," "Illinois Central (Transposed)," and "Cezanne: She was
a great painter." There is also material on Schneemann's controversial performances of "Meat Joy" and "Interior Scroll."
Box 1, Folder 2
Newspaper Event,
Dec 1962
Box 1, Folder 3
Environment for Sound and Motion,
1962
Box 1, Folder 13-14
Water Light/Water Needle,
1966
Box 2, Folder 4-6
Illinois Central Transposed,
1968
Box 2, Folder 7
Naked Action Lecture,
1968
Box 2, Folder 8
Chicago Festival of Life,
1970
Box 2, Folder 9-10
Banana Hands and Partitions,
1970
Box 3, Folder 1-4
Parts of a Body House Book,
1972
Box 3, Folder 6
University of California, Berkeley,
1974
Box 3, Folder 8
Up to and Including Her Limits,
1974
Box 3, Folder 9
Cezanne: She was a Great Painter,
1975
Box 4, Folder 1-2
Cezanne: She was a Great Painter,
1975
Box 4, Folder 5
University of Wisconsin,
1976
Box 5, Folder 1
ABC We Print Anything,
1976
Scope and Content Note
Plus 4 versions of cards
Box 11, Folder 2
Fresh Blood: A Dream Morphology,
1981
(1986)
Box 11, Folder 5
University of Iowa,
1982-1983
Box 12, Folder 1
Early and Recent Work,
1983
Box 12, Folder 3
Center for Contemporary Arts, Santa Fe,
1984
Box 12, Folder 7
Randy Rosen Arts Association,
1986
Box 12, Folder 8
Perspectives of New Music,
1986
Box 12, Folder 10
Yellow Springs Institute,
1986
Box 12, Folder 12
Bottle in the Tree,
ca. 1986
Box 13, Folder 3
SUNY, Binghamton,
Apr 1988
Box 13, Folder 4
El Museo del Barrio,
1988
Box 13, Folder 6
Spirituality Conference,
Sep 1989
Box 16, Folder 5
Bush Artist Fellowships,
1992
Box 16, Folder 10
In the Spirit of Fluxus,
1992
Box 17
Grant Applications, Bios,
1992-1994
Box 17, Folder 5
Linda Weintrab essay,
1994
Box 17, Folder 8
Ye Olde Sex Chart,
undated
Box 17, Folder 9
Grant applications,
1970s-1990s
Series II.
Notes,
ca. 1959-1994
Physical Description:
4.5 lin. ft.
9 boxes
Scope and Content Note
Series II has an extensive quantity of notebooks, address books, and notes typed or handwritten on single sheets. In particular,
the notebooks record Schneemann's day to day thoughts relating to projects and personal matters with notations such as lists,
reminders, schedules, ideas and finances, and have been richly embellished with drawings and sketches. The single sheets are
mostly typed, with a substantial portion recording Schneemann's dreams.
Box 21-24
Dream and miscellaneous notes
Series III.
Correspondence,
ca. 1959-1994
Physical Description:
9.5 lin. ft.
19 boxes
Scope and Content Note
Series III includes exchanges of both a professional and personal nature between Schneemann and numerous artists, critics,
dealers, friends and lovers. Correspondents include: Stan Brakhage, Clayton Eshleman, Ken Friedman, Dick Higgins, Jean Jacques
Lebel, Charlotte Moorman, her second husband Anthony McCall, her former live in lover Bruce McPherson, Claes Oldenburg, Miroslaw
Rogala, her first husband James Tenney, Edgard Varèse, Wolf Vostell and Carol Wikarska. Some files include printed ephemera,
especially by McCall and McPherson.
Box 27-34
USA (chronological)
1960-1994
Box 37, Folder 8
Hadley, Ellen and Mary Moss
Box 41, Folder 1-9
McPherson, Bruce (and Jaimy Gordon)
Box 42, Folder 8
Sanford, Christy Sheffield
Box 43, Folder 1-5
Tenney, James (and Lauren Pratt)
Box 43-45
Foreign (alpha by country)
Box 44, Folder 7
France/Belgium/Switzerland
Series IV.
Ephemera and objects,
ca. 1959-1994
Physical Description:
3.5 lin. ft.
7 boxes
Scope and Content Note
Series IV contains announcements, invitations, programs, and artists' books, and also includes drawings, mail art, and Fluxus
objects sent to Schneemann from Fluxus and mail artists, writers and others, such as Eric Andersen, Ay O (orange finger box),
Carol Bergé, Fletcher Copp, Philip Corner, Dwan Gallery (catalog for the exhibition "Boxes," February 2-26, 1964), John Giorno,
Bici Hendricks, Geoffrey Hendricks, Judy Malloy, Charlotte Moorman and Jerome Rothenberg. A substantial quantity of ephemera
created by Schneemann may also be found in this series.
Box 47, Folder 9
Hendricks; Jon, Geoff and Marten
Box 47, Folder 19
Lerner & Turner (conceptualist team)
Box 48, Folder 5
Moorman, Charlotte (NY avant-garde festival)
Box 49, Folder 3
Rauschenberg, Robert ("Open Score" instructions; see also "9 Evenings" project in EAT archive, acc. no. 940003)
Box 50, Folder 8
Miscellaneous greeting cards
Box 51
Objects, includes (selected):
Box 51
Ay-O. Orange finger box,
ca. early 1960s
Box 51
Rothenberg, Jerome and Harris Lenowitz. "Gematria 27," autographed and dated by Rothenberg,
1977
Box 51
Hendricks, Bici. "Language Box Box Language,"
1966
Box 51
Knowles, Alison. Cassette tape "Frijoles Canyon,"
1991
Box 51
Tienhoven, Ronald v. "The Oxidizing Accumulator Book,"
1978
Box 52
Dwan Gallery catalog for "Boxes,"
Feb. 2-29, 1964
Box 52
Arnason, Jón Gunnar. "Cellophony,"
1972
Box 52
Iannone, Dorothy. 2 sets of "Complimentary Cards,"
1971
Box 52
Program cards for Dramatic Arts Center, Ann Arbor, Michigan's performance of "Once,"
1965
Series V.
Teaching and students' work,
1959-1992
Physical Description:
3 lin. ft.
6 boxes
Scope and Content Note
Series V documents Schneemann's teaching and lecture activities with lecture notes, students' papers, photographs of student
performances and correspondence with universities. Arranged by date
Box 58
By date and miscellaneous,
1991-1992
Series VI.
Feminist research files,
1970s-1990s
Physical Description:
1.25 lin. ft.
3 boxes
Scope and Content Note
Series VI contains Schneeman's files on feminism consisting of clippings, photocopied articles, notes, and ephemera.
Box 59, Folder 1
The Artists-She, notes,
1970s
Box 59, Folder 2-5
Articles (photocopies)
ca. mid 1970-ca. 1989
Box 60, Folder 1
Articles (photocopies)
ca. 1990-1991
Box 60, Folder 2-3
Feminist Conference Workshop Readings (photocopies)
1991
Box 60, Folder 4
Missing gender clippings,
1971
Series VII.
Film and performance files,
1960-1994
Physical Description:
1.25 lin. ft.
3 boxes
Scope and Content Note
Series VII contains Schneeman's research files on film and performance and include clippings, photocopied articles, notes,
and ephemera.
Box 62
Film notes and ephemera,
1960-1970
Series VIII.
Other clippings,
ca. 1959-1994
Physical Description:
.83 lin. ft.
2 boxes
Scope and Content Note
Series VIII contains topical research files of clippings, photocopied articles, notes, and ephemera.
Box 65, Folder 3
Lennon/Ono (mostly upon his death)
Box 65, Folder 4-5
London miscellaneous and reviews,
1970s
Box 66, Folder 4-6
Miscellaneous,
1960s-1990s
Series IX.
Writings about or by Schneemann,
ca. 1959-1994
Physical Description:
4.5 lin. ft.
9 boxes
Scope and Content Note
Series IX contains manuscripts and published articles by various art critics, artists, literary figures, and students on subjects
about or relating to Schneemann's work, filed alphabetically by author. Some have been annotated by Schneemann or have photocopies
of letters from Schneemann with her comments. Authors include Gerald Burns, Kathy Constantinides, Dick Higgins, Allan Kaprow,
Udo Kultermann, Henry Sayre, Alan Sondheim, and Lynne Tillman. A separate box holds interviews with Schneemann in typescript
form, and two other boxes house journals and anthologies which contain writings by Schneemann. An oversize box includes large
materials from this series and previous series.
Box 68, Folder 5
Fend, Fitzgibbon, Holzer, Nadin, Prince, Winters
Box 68, Folder 9
Friedlander, Benjamin (and various)
Box 71, Folder 7
Semmel, Joan (and various)
Box 72, Folder 4
Ulster County Artist
Dec 77-Jan 78
Box 72, Folder 5
University of Texas-Austin (on Merce Cunningham)
Box 72, Folder 8
Woolger, Roger and Jennifer (Laughing Bear Prods.)
Box 124*
Oversize ephemera and materials from other series
Series X.
Performance albums,
1962-1989
Physical Description:
48 albums
Scope and Content Note
Series X consists of albums that document approximately 35 of Schneemann's performances and kinetic theater events. The albums
contain photographs, manuscript and printed material. Many of the photographs are original prints by Schneemann or by Peter
Moore and others who have achieved prominence as photographers of performance art. Some albums also include performance texts,
notes, clippings, and programs that complement material in Series I.
Box 76
Album 1: '62 The Living Theatre Performance, "An Environment for Sounds and Motions" and "Poem for Chairs, Tables and Benches,"
1962
Scope and Content Note
Sidney, Illinois: 9 8x10 and 4 5x7 in a hand-painted album.
Box 77
Album 2: A Concert of Dance #3 and #4, Judson Church,
1963
Scope and Content Note
25 photos by Robert McElroy and Al Giese, some smaller than 8x10 and 3 of which are color; program; and photocopied announcement
and review in a hand-painted album.
Box 78
Album 3: Dance by 5, Judson Church: "Lateral Splay"
Scope and Content Note
original performance (10 8x10 by Peter Moore); "Lateral Splay" St. Mark's Revival (13 color, 10 b/w 5x7 or smaller); and "Queen's
Dog" (15 8x10 by Giese). Also includes a slide of an original drawing; 2 Judson announcements; performance instructions for
both pieces; 3 pp. of notes; and photocopies of drawings.
Box 79
Album 4: Chromelodeon (4th Concretion),
1963
Scope and Content Note
25 8x10 by Giese; 3 5x7; 8 5x7 color; 1 3x5 color; and 1 review clipping.
Box 80
Album 5: Eye Body,
1963
Scope and Content Note
29 8x10, 28 of which are by Erró and 1 by Tenney; 1 photo-collage; 2 contact sheets; 20 slides; 6 slides of drawings; and
2 pp. of notes.
Box 81
Album 6: Meat Joy, Paris,
1964
Scope and Content Note
26 8x10 by Harold Chapman, F. Massal and Cheney.
Box 82
Album 7: Meat Joy, New York,
1964
Scope and Content Note
68 8x10 by Harvey Zucker, Moore, Giese, T. Ray-Jones and Manfred Schroeder; 1 photocopy of an 8x10; 3 5x7; and program.
Box 83
Album 8: Meat Joy
Scope and Content Note
49 slides; copies of 2 drawings, announcement and performance instructions; many small prints, including 1 3x5 color; and
contact sheet clippings.
Box 84
Album 9: Meat Joy
Scope and Content Note
30 small color prints. Photographer unidentified.
Box 85
Album 10: Several performances,
1963-1967
Scope and Content Note
Snug Harbor, 1967; Push & Pull, 1965; Noise Bodies, 1965; Loose-leaf, 1963. Includes NY avant-garde festival programs, review
of the festival, notes and performance instructions for "Push and Pull," 2 8x10, and 2 5x7 of "Loose Leaf" with performance
instructions.
Box 86
Album 11: Noise Bodies,
1965
Scope and Content Note
15 8x10 by Moore, Ted Wester and Charlotte Victoria; program; and performance notes (4 sheets).
Box 87
Album 12: Several performances,
1966
Scope and Content Note
Ghost Rev, 1966: 9 8x10 by Moore and Wester, 3 5x7 or smaller and announcement. "2nd Thermo Couple" and "V" (Tenney): 4 8x10
by Moore. and "Site" (Robert Morris), 1966: 2 8x10 by Hans Namuth, 8 3x4 color, and 7 slides.
Box 88
Album 13: Water Light/Water Needle,
1966
Scope and Content Note
48 8x10 many by Moore and some by Victoria; 2 5x7; 5 3x5 color; and a program.
Box 89
Album 14: Water Light/Water Needle, St. Mark's in the Bowery and Havermyer Estate
Scope and Content Note
29 8x10 mostly by Victoria; 34 3x5; 4 5x7; 22 small color; 5 slides; and photocopies of reviews and drawings.
Box 90
Album 15: Snows,
1967
Scope and Content Note
63 8x10 mostly by Buggiani and Victoria, and also some by A.V. Sobolewski, Wester and Moore; 3 5x7; 12 3x5; and a program.
Box 91
Album 16: Snows,
1967
Scope and Content Note
35 3x5 color by Victoria and Herbert Migdoll; 80 slides, some by Migdoll; contact sheets; 1 color transparency; 3x5 cards
with addresses; performance instructions; 4 photocopied drawings; and 3 pp. of notes.
Box 92
Album 17: Manipulations-Ordeals,
1967
Scope and Content Note
8 8x10, 3 by Moore (one of which is cropped) and 2 by Victoria; "Manipulations" announcement; program and 1 pp. of notes for
"Ordeals"; and Schneemann manuscript for
Aspen Magazine n. 6A.
Box 93
Album 18: "Round House, London,
1967
Scope and Content Note
26 8x10, most by Michael Boone and some by John Haynes, Leena Komppa and Jennifer Pike; 7 5x7; 1 10x12; notes on 5 3x5 cards;
clipping; program; and performance instructions.
Box 94
Album 19: Illinois Central (Transposed),
1968
Scope and Content Note
52 8x10, many by Wester and a few by Holbrook, Victoria and Migdoll; and photocopy of "The Chicago Saga of Carolee Schneemann"
by Peter Holbrook.
Box 95
Album 20: Mail Art, London
Scope and Content Note
includes photocopies and photos of some of Schneemann's mail art/ephemera, postcards, and a collage, 15 items (See also ephemera
files).
Box 96
Album 21: Colby College,
1968
Scope and Content Note
7 8x10 by Lyhte and MacKay, announcement, and notes, some of which are photocopies.
Box 97
Album 22: Intermedia,
1968
Scope and Content Note
10 8x10, notebook with sketches and text, announcements, press release, and bios.
Box 98
Album 23: Naked Action Lecture, 1968 and "Expansions," 1969,
1968-1969
Scope and Content Note
12 8x10, many by Massal and Sidney Zamochnick; announcements, one with notes and sketch; performance instructions; sheet of
notes; and photocopied review.
Box 99
Album 24: Montreal Expo, Viet-Flakes,
1968
Scope and Content Note
16 8x10 by Shunk-Kender, and notes (10 items).
Box 100
Album 25: Body Collage,
1968
Scope and Content Note
15 8x10 by Michael Benedikt, 1 5x7, 3 3x5, and 1 color xerox.
Box 101
Album 26: Thames Crawling
Scope and Content Note
2 8x10 with 4 images on each; 1 contact photo-collage; photocopied sketches and collages; International Underground Film
Festival schedule book of notes and sketches (originally listed under Köln, 1970); substantial quantity of other notes and
sketches; performance instructions; and an announcement.
Box 102
Album 27: Köln,
1970
Scope and Content Note
9 8x10, most by Balthasar Burkhard, 5 5x7, and many photocopied notes and sketches.
Box 103
Album 28: Aggression for Couples, London,
1971
Scope and Content Note
22 8x10, many are painted and some have collage elements; 57 3x5 or smaller; and statement.
Box 104
Album 29: Schlaget Auf 1970, and Ices Strip 1971,
1970-1971,
Scope and Content Note
12 8x10; 1 3x5; contact collage; announcement; notes; performance instructions; and many photocopied notes and sketches.
Box 105
Album 30: Cooking with Apes, Sweden,
1973
Scope and Content Note
13 8x10; 1 5x7; 14 color; 20 slides; Nutida Musik 2 1973/74; announcement; performance instructions; notes; sketches; clippings;
7 letters, most with Susanne Valentin of Fylkingen.
Box 106
Album 31: Interior Scroll,
Sep 1975
Scope and Content Note
includes 13 8x10; 2 5x7; contact sheets; and notes.
Box 107
Album 32: Up to and Including Her Limits,
1974-1975
Scope and Content Note
70 8x10 by Gianfranco Gorgoni, Alan Power, McCall, Moore, Tal Streeter, Carol Wikarska, Gwenn Thomas, A. Tannenbaum, Shelley
Farkas, Jill Lynne, Susan Weiley, Mary Harding, Terry Slotkin, Henrik Gaard, Diane Nilsen, and Susan Hiller; 6 slides; 1 color
xerox; and announcements.
Box 108
Album 33: Up to and Including Her Limits,
1974
Scope and Content Note
2 8x10 by Shelley Farkas and C. Mary Harding; 1 color xerox; program; installation plan; clippings; announcement; notes and
small sketches, some of which are photocopied; and corresp. with Axel Beyer and Jill Lynne (photographer).
Box 109
Album 34: Up to and Including Her Limits,
1974
Scope and Content Note
includes 4 8x10 and 4 5x7 by Farkas and Harding (some are possibly laser prints), photocopies of sketches and notes, and photocopied
clipping.
Box 110
Album 35: Moon in a Tree, Cornell,
1976
Scope and Content Note
includes 2 color copies, notes, photocopied articles, letter from Walker Art Center, exhibition catalog from Minneapolis Institute
of the Arts.
Box 111
Album 36: Cornell
Scope and Content Note
7 8x10 by Farkas and Haller, 4 color xeroxes, 1 clipping, and 3 pp. notes.
Box 112
Album 37: Missing Precedents,
1973
Scope and Content Note
notes, text, images.
Box 113
Album 38: Homerunmuse,
1977
Scope and Content Note
24 8x10 by Farkas and Bill Thompson, 96 color slides, 3 color xeroxes, score, notes, announcements, and photocopied clippings.
Box 114
Album 39: Fresh Blood,
1981-1983
Scope and Content Note
32 8x10, some by Ginerva Portlock, Leigh Williams and James Brown; 1 5x7; 6 3x5; 44 3x5 color; 27 color slides; numerous sketches
and notes; performance instructions; 5 color copies of color slides; poster; bibliography and image credits; and statement.
Box 115
Album 40: ABC We Print Anything,
1977
Scope and Content Note
20 8x10, some by Haller and Jürgen Vogdt; 13 5x7 or smaller; 3 color xeroxes; performance description; a few sketches; and
corresp. to Irena (?).
Box 116
Album 41: C. Schneemann and Her Work
Scope and Content Note
25 8x10; 16 5x7 or smaller; 9 small color; 1 color xerox; and 1 photo-calendar page of Schneemann working.
Box 117
Album 42: Early Work
Scope and Content Note
26 8x10; 29 5x7 or smaller; 50 color; 3 small color xeroxes; 1 color polaroid; and 1 contact sheet.
Box 118
Album 43: Early Work
Scope and Content Note
19 8x10; 16 5x7 or smaller; 1 small color; 96 color slides.
Box 119
Album 44: Reproduction Prints - Early Drawings, Watercolors
Scope and Content Note
53 8x10, 8 smaller b/w.
Box 120
Album 45: Teaching/Student Performance Art,
1979-1989
Scope and Content Note
at UCLA, Ohio State, Univ. of Texas at Austin, Univ. of Massachusetts. Photocopy prints of student drawings; 2 contact sheets
from Kent State; 85 slides; and 10 smaller b/w by Colin Klein.
Box 121
Album 46: Infinity Kisses (with Cluny),
1987
Scope and Content Note
1 8x10, 40 slides, a color xerox, and performance article.
Box 122
Album 47: Cat Scan,
1987
Scope and Content Note
flyer cards, text, 1 8x10 and 18 smaller by Plauto; 3 color xeroxes; 3 3x5 color; 4 5x7 color; performance instructions; notes;
program; and 2 announcements.
Box 123
Album 48: Dirty Pictures,
1980
Scope and Content Note
contact sheets; reviews; flyers; notes; text; scores; 16 8x10 by Lisa Kahane; and 18 color slides.
