Water Light/Water Needle (Lake Mah Wah, NJ)

This film is a scrambled narrative that illustrates, in soap opera fashion, life of artists in Lower Manhattan and at the same time dramatizes questions about the nature of filmic representation. Split decision is a boxing term used when the judges divide their votes in finding a winner. In this case the fight is between the two heroes of the film who are seen intermittently in a bar, negotiating a pick-up, and at home, breaking up in a domestic quarrel. The fight is also in the telling, between modes of conventional representation and modes of radical representation - between conventional continuity editing, and abstraction created through computer generated grids. The film features an appearance by Carolee Schneemann and digital imaging from before the era of personal computers.

An unfulfilled man renders himself to the unrealized sensuality of four women. In his drifting search, he fails and fades in the same loneliness as the women.

Viet Flakes was composed from an obsessive collection of Vietnam atrocity images, compiled over five years, from foreign magazines and newspapers. Schneemann uses the 8mm camera to “travel” within the photographs, producing a volatile animation.

"Meat Joy is an erotic rite — excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic — shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the 'sacred erotic.' This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City."

Performance by Robert Morris and Carolee Schneemann.

Schneemann’s cat, Kitch, who was featured in works such as Fuses, was a major figure in Schneemann’s work for almost twenty years. The moving conclusion to her Autobiographical Trilogy documents the routines of daily life whilst time passes, a relationship winds down and death closes in: filming and recording stopped when the elderly cat died.

This is a newly restored version of documentation of the 1967 group performance Snows, which was built out of Schneemann's outrage and sorrows over the atrocities of the Vietnam War. An ethereal stage environment combining colored light panels, film projection, torn collage, hanging sacks of colored water, "snow," crusted branches, rope, foil and foam was the set and setting in which an audience-activated electronic switching system controlled elements of the performance/installation. Images from film, slide and live action propel silent, ghostly performers to become aggressor and victim, torturer and tortured, lover and beloved, as well as simply themselves in this breakthrough mixed-media film performance. (The film Viet-Flakes is a central element).

Infinity Kisses - The Movie completes Schneemann's exploration of human and feline sensual communication. It incorporates extracts of the original 124 self-shot 35mm color slide photo sequence, Infinity Kisses, in which the expressive self-determination of the ardent cat was recorded over an eight-year period. Infinity Kisses - The Movie recomposes these images into a video, in which each dissolving frame is split between its full image and a hugely enlarged detail.

An experimental short in which a couple engaged in lovemaking is superimposed over ocean and beach scenes.

The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8 mm is printed as 16 mm, moving images freeze, frames recur and dissolve until the film bursts into flames, consuming its own substance. Sound: Carolee Schneemann. -- EAI

From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives.

Home movies shot on Super 8mm by W+B Hein over 10 years.

Produced over several years between 1962 and 1967, Grimaces shows the faces of over a hundred artists, gallery owners and critics grimacing to the camera.

When Annie Sprinkle has an orgasm with her lover in the hot tub, she reflects upon the incredibly diverse aspects of the orgasm experience. She then introduces twenty-six “orgasm experts” who have, over the years, taught her some key piece of knowledge about orgasm—and now she wants to share that knowledge with you. The interviews of the orgasm experts are inter-cut and layered with a lively collage of archival film clips, sexual imagery, and special effects.

Body Collage is a visceral "movement-event" from 1967, in which Schneemann paints her body with wallpaper paste and molasses, and then runs, leaps, falls into and rolls through shreds of white printer's paper, creating a physicalized corporal collage. "My intention was not simply to collage my body (as an object), but to enact movement so that the collage image would be active, found, not predetermined or posed," writes Schneemann.

Vulvic puns, jokes and ruminations on the meanings of menstrual blood activate a range of taboos surrounding cultural notions of the feminine as a metaphoric battle ground of the body and of language itself. Schneemann, naked and in red pajamas, merged her physical movements within a continuous slide projection. The projected images weave into archeology of unconscious forms, pulled to the surface of conscious recognition. This videotape is a compilation of several performances, edited by Schneemann.