Carolee Schneemann's diverse career spans from her early abstract-expressionist paintings to the orgiastic 1964 performance Meat Joy (first performed at the First Festival of Free Expression, Paris) to her more recent motorized sculptures with projections (SNAFU, 2004) to politically engaging works, such as Terminal Velocity (2001), in which she scanned and enlarged images of people falling from the Twin Towers.
Perhaps most closely identified with Body Art and as a female performance artist, her work from the 1960s and 1970s is inherently erotic and sensual; rejecting as it does the traditional concept of the "repressed" female sexual being and challenging notions of gender. Schneemann was included in Out of Actions: Between Performance and the Object, 1949-1979, at MoCA, LA, in 1998 as well as WACK! Art and the Feminist Revolution, MoCA, LA, 2007.
Often utilizing her own body, as well as those of the participants, thereby encouraging the viewer to consider and critique the power of the human form to induce and receive pleasure.
Schneemann's work is included in several major collections world-wide including the Museum of Modern Art, NY, Museum of Contemporary Art, LA, and the Hamburger Bahnhof, Germany.