Description
Book SynopsisAn epistolary history of the international avant-garde of happenings, Fluxus, and performance and conceptual art emerges from decades of correspondence between Carolee Schneemann and other artists and intellectuals.
Trade Review“
Correspondence Course is a book at once combative and communal, aesthetic and feminist. Schneeman chronicles a life dedicated to uncompromised artistic exploration of her own assumptions, as well as those of others, all in the name of conceptual progress.” - Trinie Dalton,
Bookforum“One realizes in reading this hefty collection just how stealthily [Stiles] has made her way through the culture of her times, how she has maintained a brilliant dwelling for her creative process and psychic space, and steered a course based entirely on her own unique direction.
Correspondence Course offers an ingenious view into a cultural life that does not fit neatly into the history books, if it’s there at all.” - Stephen Motika,
Bomb“[A]n amazing look into the heart, soul, and psyche of a trend setting artist.” - Gypsey Elaine Teague,
ARLIS/NA Reviews“A thick book of exuberant and extensive correspondence is a wonderful rarity in this era of tweets, emoticons, and Facebook updates. . . . [T]his selection provides an engaging historical document of a major segment of the American avant-garde in the last half of the 20th century. . . . Throughout her correspondence, Schneemann has the remarkable quality of being both unfailingly giving and fiercely honest.” - Kim Levin,
ARTNews“
Correspondence Course is many things: it is a book that encompasses an impressive amount of historical data that is of immense use to any
researcher of late 20th-century art. It is also an archive of an extraordinary life during a time of tremendous changes in society and technology. Finally, it is a gripping story, at times difficult to put down—not your typical art historical
book—and a tremendous achievement on the part of the editor, the artist and the publisher.” - Kathy Battista,
Art Monthly“An accidental record of the way friends, enemies, the art world and ideas all crowd into an artist’s work can be found in
Correspondence Course. . . . What a fascinating cacophony it is. . . . It is unusual to be given access to this kind of archive during the central figure’s lifetime. . . .” - Barry Schwabsky,
The Nation“Kristine Stiles’s subtitle,
An Epistolary History of Carolee Schneemann and Her Circle, suggests that like the correspondence of Virginia Woolf and the Bloomsbury Group, these letters will afford a privileged insight into the cultural milieu in which they were written. The first section in the book, focused on 1956–1968, may have the most historical
éclat, but Schneemann’s letters are great throughout the forty-three years the book covers, and Stiles performed a careful and attentive scholarly treatment of them. This book is another brick in the edifice of modern art.”—
Thomas McEvilley, author of
The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism“Not only a revelatory stroll in Carolee Schneemann’s teeming archive,
Correspondence Course demonstrates that letters, no less than canvases or installations, are works of art. An exquisitely dense meditation on address, Schneemann’s revelatory letters and Kristine Stiles’s deft critical framing perform a radical reconception of art history itself. At once deeply personal and profoundly philosophical,
Correspondence Course illuminates and complicates pretty much every notion I have had about the past fifty years of avant-garde art. A brilliant, breathtaking, stunning book.”—
Peggy Phelan, Stanford University
“
Correspondence Course is a book at once combative and communal, aesthetic and feminist. Schneeman chronicles a life dedicated to uncompromised artistic exploration of her own assumptions, as well as those of others, all in the name of conceptual progress.” -- Trinie Dalton * Bookforum *
“
Correspondence Course is many things: it is a book that encompasses an impressive amount of historical data that is of immense use to any researcher of late 20th-century art. It is also an archive of an extraordinary life during a time of tremendous changes in society and technology. Finally, it is a gripping story, at times difficult to put down—not your typical art historical book—and a tremendous achievement on the part of the editor, the artist and the publisher.” -- Kathy Battista * Art Monthly *
“[A]n amazing look into the heart, soul, and psyche of a trend setting artist.” -- Gypsey Elaine Teague * ARLIS/NA Reviews *
“A thick book of exuberant and extensive correspondence is a wonderful rarity in this era of tweets, emoticons, and Facebook updates. . . . [T]his selection provides an engaging historical document of a major segment of the American avant-garde in the last half of the 20th century. . . . Throughout her correspondence, Schneemann has the remarkable quality of being both unfailingly giving and fiercely honest.” -- Kim Levin * ARTNews *
“An accidental record of the way friends, enemies, the art world and ideas all crowd into an artist’s work can be found in
Correspondence Course. . . . What a fascinating cacophony it is. . . . It is unusual to be given access to this kind of archive during the central figure’s lifetime. . . .” -- Barry Schwabsky * The Nation *
“One realizes in reading this hefty collection just how stealthily [Stiles] has made her way through the culture of her times, how she has maintained a brilliant dwelling for her creative process and psychic space, and steered a course based entirely on her own unique direction.
Correspondence Course offers an ingenious view into a cultural life that does not fit neatly into the history books, if it’s there at all.” -- Stephen Motika * Bomb *
Table of ContentsList of Illustrations vii
Preface xi
Acknowledgments xxi
Introduction xxv
The Letters
1956–1968 3
1969–1975 142
1976–1986 269
1987–1999 382
Index 491
