Abstract
Bullets of projection are aimed into our bodies: tra-jectories of phallocratic apprehension produce our “wounds.” A smoking gun grasped in that frozen hand. There's a cock/dick tracing this Saturday Night Special directed at our “privates.” Word play/gun play focus sexual frame-up, the dissolve, deception — the veritable sleight of hand by which patriarchal culture constructs its myths, imposes superstitions on “the facts of life.” Projection deforms perception of the female body. As bizarrely consecrated in Western creation myths as Athena emerging from Zeus's head: as usurpative of Mother Right as the birth of Dionysus from his father's thigh: as biologically contorted as a Lord Jesus born from the body of a virgin mother. Political and personal violence against women is twined behind/within this stunting defeminization of history. For many of us, the layers of implicit and explicit censorship constructing our social history combine with contemporary contradictions to force our radicalization.
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Carolee Schneemann
CAROLEE SCHNEEMANN's installations were shown in 1990–91 at the Venice Biennale, the San Francisco Museum of Modern Art, the Pittsburgh Center for the Arts, and Emily Harvey Gallery, New York.