Carolee
Schneemann
"Kenneth
Anger's 'Scorpio Rising'", Carolee Schneemann, Film
Culture, n.32, 1964.
"Meat
Joy", P. Adams Sitney, Village Voice, 3rd
December, 1964.
"Underground-
Panvision 70 Penis meets mammoth vagina”, Gene Youngblood, Los
Angeles Free Press, 19th May, 1968.
"Fuses", Cannes
Film Festival Bulletin, May, 1969.
Joseph
Berke (ed), Counter Culture, Peter
Owen, London, 1970.
"Carolee
Schneemann-Image as Process", Creative Camera, n.76, 1970, pp. 304-309.
Gene
Youngblood, Expanded Cinema, Dutton, New
York, 1970, pp. 366-371.
"Expanded
Cinema - Free Form recollections of New York", Carolee
Schneemann, International Underground Film festival (cat), Arts
Laborarory/ NFT, London, 1970.
"Play
Power in London", Jonathan Cott,
Rolling
Stone, n.76, 1970.
"Interviews
With Three Film Makers", Verina Glaessner, Time
Out, 17th March, London, 1972, p.47.
Carolee
Schneemann, Parts Of A Body House, Beau
Geste Press, Devon, UK, 1972.
Amos
Vogel, Film As A Subversive Art, Random
House, New York, 1974, p.224.
Stephen
Dwoskin, Film Is, Peter Owen, 1975, ISBN: 0879510722, pp. 48, 214, 243.
"Movie
Journal", Jonas Mekas, Village Voice, 3rd
February, 1975.
"Eye
Body-Meat Joy", Valie Export,
Heute
Kunst, Sept, 1975.
"Up
To & Including Her Limits", Ann-Sargent Wooster, Artforum, May, 1976.
"Up
To & Including Her Limits", Axel Beyer, Internationale
Forum Des Films, June, Berlin, 1976.
"Kitch's
Last Meal, Cornell Letters", Malcolm Le Grice, Time
Out, 1976.
"Amy
Greenfield and Carolee Schneemann: An Introduction", Robert
Haller, Field of Vision, n.4, 1978.
"Independent
Film: Where is the Audience?", Scott MacDonald, AfterImage, march, USA, 1978.
Carolee Schneemann, More Than Meat Joy, McPherson
& Co, New York, 1979, reprinted 1997.
"Sex
and Cinema", B Ruby Rich,
New Art
Examiner, Spring, 1979.
"Film
& Performance: An Interview with Carolee Schneemann", Scott
MacDonald, Millenium Film Journal, n.7/8/9, 1980, pp.
95-114.
"An
Interview with Carolee Schneemann", Scott MacDonald, Afterimage, n.7, USA, 1980.
"Carolee
Schneemann's Autobiographical Trilogy", Scott MacDonald, Film
Quarterly, 34:1. Fall, 1980, pp. 27-32.
"Kitch's
Last Meal", Carolee Schneemann, Cinema
News (Super 8 Edition, n.2-6, 1981, pp.
55-58.
"Words
Without Pictures", Lynn Tillman,
Bomb, n.4, 1981, p.52.
"Carolee
Schneemann's Autobiographical Trilogy", Scott MacDonald, Sheldon
Film Theater program , University of Nebraska, Lincoln,
NE, Winter/Spring, 1981.
"Plumb
Line", Scott MacDonald, Millenium Film Journal, n.10/11, 1982, pp.11-14.
Amy
Greenfield (ed), Film Dance, Public
Theatre, New York, 1983.
"Carolee
Schneemann to Robert Haller", Carolee Schneemann, Idiolects, n.13, 1983.
"Film
As Installation", Leandro Katz,
The Clocktower, April-May, 1984, p.23.
Sarah
Kent and J. Morreau, Women's Images of Men, Writers
& Readers, London, 1984, pp. 179-192.
"Carolee
Schneemann: Early Work/Recent Work", Robert Haller, Field
of Vision, n.13, 1985, p.27.
"Carolee
Schneemann's ABC: The Men Cooperate", Scott MacDonald, Afterimage, n.12
April, USA, 1985, pp. 12-15.
"On
Walter Gutman", Carolee Schneemann, Field
of Vision (Letters), n.13, 1985.
"The
Gender & Case of Carolee Schneemann",
Carey Lovelace, Millenium
Film Journal, Summer/Fall, 1986.
"Carolee
Schneemann", David James,
Cinematograph:
A Journal of Film and Media Criticism, Foundation for Art Cinema, n.3, 1988, pp.
36-38.
"Carolee
Schneemann", Scott MacDonald, A
Critical Cinema, University of California Press,
Berkeley, 1988.
David
James, Allegories of Cinema: American Film in the Sixties, Princeton
University Press, 1989, pp.317-20.
R.
Bruce Elder, The Body in Film, Art
Gallery of Ontario, Toronto, 1989, pp.
12, 13, 34-42.
"Aspects
of Feminist Actionism", Valie Export,
New German
Critique, Spring/ Summer, 1989, pp.69-92.
"Carolee
Schneemann", Udo Kulterman,
Contemporary
Artists (Colin Naylor ed), St. James, Chicago/
London, 1989.
"Of
Cats, Dreams and Interior Knowledge: An Interview with Carolee Schneemann", William
Peterson, Performance, n.59, 1989, pp.
11-23.
".
. . Cat Torture In The Liquid Gate", Carolee Schneemann, International
Experimental Film Congress , Art Gallery of Ontario, Toronto, 1989, pp 38,
46-47.
"Censorship
and the Moscow Film Festival" (interview),
Aviva Rahmani,
Barbara Zucker, Enclitic, University
of Southern California Press, v. 19: n.1,
1989, pp.
79-87, 95.
"Films
by Carolee Schneemann", Catalogue for film festival, Anthology
Film Archives, 4-6 May, 1990.
"Blowing
Fuses", Marjorie Baumgarten, The Austin Chronicle, 9th
March, 1990.
David
James, Films Against the War in Vietnam, Whitney
Museum of Modern Art, November, 1990.
Maria
Klonaris, Katerina Thomadaki (eds.), Technologies et Imaginaire-Art
Cinema/Art Video, Centre National de la Cinematographie,
F.I.A.C.R.E, Paris, 1990, p.17,
142.
Lucy
Lippard, A Different War-Vietnam in Art, Whatcom
Museum of History and Art, Bellingham, Washington, 1990, p.25.
Sylvia
Moore, C. Navaretta, Artists and Their Cats, Mid-March
Arts Press, New York, 1990, pp.44-6.
"Interview
with Carolee Schneemann", William Peterson, The
Act, Vol. 2, No. 1, 1990, pp.54-7.
"Shadow
Capture", Carolee Schneemann, In Seeing in the Dark (Ian
Breakwell and Paul Hammond, eds), Serpentstail, London, 1990, pp.9-10.
David James (ed), To Free The Cinema: Jonas
Mekas and the New York Underground, Princeton University Press, 1992, p. 151,
242, 275.
Carolee
Schneemann, Video Burn. San Francisco (artists book), San
Francisco Art Institute, 1992.
"Interview
- Carolee Schneemann", Carl Heyward ,
Art Papers, vol.
17 no.1, 1993.
Scott
MacDonald, Avant-Garde Film: Motion Studies, Cambridge
University Press, 1993, p. 5, 105.
"Carolee
Schneemann's Viet-Flakes (1965)", Robert C Morgan, After
The Deluge: Essays On Art In The Nineties,
Red Bass
Publications, 1993, pp.36-40.
"Women
Pioneers of American Experimental Film: Bute, Arledge, Menken, Deren, Schneemann", Catrina Nieman,
Feministische
Streifzuge durch's Punkte-Universum, Film Werkstatt, 1993.
"Fuses,
1965, Carolee Schneemann", Nicola Bongard,
Oh Boy
It's A Girl: Feminismen in der Kunst, Kunsterverein, Munich, 1994, pp.25-33.
"Hors
Limites: L'art et la Vie", Alain-Alacide Sudre, Le
Magazine, Centre National d'art et de
culture Georges Pompidou, Paris, 1994, pp.4-8.
Marie-Laure
Bernadac, Robert Stors, Feminin/ Masculin Le Sexe
de L'Art, Editions du Centre Pompidou, Paris, 1995.
Kerry
Brougher, Hall of Mirrors: Art and Film Since 1945, Museum
of Contemporary Art, Los Angeles,
1996.
Cameron,
Stiles, Levi-Strauss, Carolee Schneemann: Up To
And Including Her Limits, New Museum of Contemporary
Art, USA, 1996.
Vertigo:
Esthetique et Histoire du Cinema, Centre Georges Pompidou. Editions
Jean Michel Place, Paris, 1996.
Thomas Crow, The Rise of the Sixties: American
and European Art in the Era of Dissent, Harry
Abrahams Inc, 1996, pp.124-127, 138, 139.
"Miroslaw
Rogala & Carolee Schneemann - Instructions Per Second: Chapter One", 14th
World Wide Video Festival - Catalogue, Den Haag, 1996.
Delia
Gaze (ed.), Dictionary of Women Artists: Vol II, Fitzroy
Dearborn Publishers, London/ Chicago, 1997.
"Carolee
Schneemann", Light Cone catalogue , Collectif
Jeune Cinema, Paris, 1997.
"Cinema
16: Documents Toward a History of the Film Society", Scott
MacDonald, Wide Angle: A Quarterly Journal of Film History, Theory,
Criticism, and Practice, Vol.19 n.1, 1997, p.12.
Selz Stiles (ed), Theories and Documents of
Contemporary Art: A Sourcebook of Artists' Writings, University
of California Press, Berkeley.
Edward
Lucie-Smith, Race, Sex & Gender in Contemporary Art, Abrams, London, 1997, p.147.
"Tripod
Women: Visionary Women - Carolee Schneemann",
Michelle
Handelman, www.tripod.com/women/feature/columns/artists/carright.frame, 1998.
"Femme
Experimentale: Interviews with Carolee Schneemann, Barbara Hammer, and Chick
Strand", Kate Haug, Wide Angle: A Quarterly Journal
of Film History, Theory, Criticism, and Practice, Vol.
20, n. 1, 1998, pp.1-49.
"From
Danger to Ascendancy: Notes Toward Carolee Schneemann", Caroline
Koebel, Wide Angle: A Quarterly Journal of Film History, Theory,
Criticism, and Practice, Vol. 20, n. 1, 1998, pp.50-63.
"Kitch's
Last Meal", Jeffrey P Lord,
Big As
Life: An American History of 8mm Films,
Museum
of Modern Art, NY/ San Francisco Cinematheque, 1998, pp.77-78,
100, 112, 117.