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Her 1976 piece Up to and Including Her Limits, involves a naked Scheemann suspended from a tree surgeon's harness attached from a 25-foot high ceiling above a canvas using the motions of her body to make marks with a crayon. A video monitor records the movement of the artist.This video capturing the concentration and raw intensity of Schneemann's presence and use of her own body. Through this piece Schneemann addresses the male-dominated art world of Abstract Expressionism and action painting, specifically work done artists Jackson Pollock and Willem de Kooning. Schneeman arrived at the museum when it opened- with the cleaners, guards, secretaries, maintenance crew- and remained until it closed. Through this practice the artist explored the political and personal implications of the museum space by enabling the place art creation and art presentation to become one.

Through this piece Schneemann intended to do away with performance, a fixed audience, rehearsals, improvisation, sequences, conscious intention, technical cues, and a central metaphor or theme in order to explore what is left.

In an interview, Schneemann stated, "All my work is about trying to find other ways to paint. Film became another way to paint in time."

In 1984, Schneemann completed the final video, a compilation of video footage from six performances: the Berkeley Museum, 1974; London Filmmaker's Cooperative, 1974; Artists Space, NY, 1974; Anthology Film Archives, NY, 1974; The Kitchen, NY, 1976; and the Studio Galerie, Berlin, 1976.

List of Video Works[1]

[ | Left Side Right Side ] 1972, 8:50 min, b&w, sound.

[ | Vertical Roll ] 1972, 19:38 min, b&w, sound.

[ | Organic Honey's Visual Telepathy ] 1972, 17:24 min, b&w, sound.

[ | Glass Puzzle ] 1973, 17:27 min, b&w, sound.

[ | Disturbances ] 1974, 11 min, b&w, sound.

[ | Good Night Good Morning ] 1976, 11:38 min, b&w, sound.

[ | I Want to Live in the Country (And Other Romances ] 1976, 24:06 min, color, sound.

[ | Upsidedown and Backwards ] 1980, 29:03 min, color, sound.

[ | He Saw Her Burning ] 1983, 19:32min, color, sound.

[ | Double Lunar Dogs ] 1984, 24:04 min, color, stereo sound.

[ | Big Market ] 1984, 23:36 min, color, sound.

[ | Brooklyn Bridge ] 1988, 6:22 min, color, stereo.

[ | Volcano Saga ] 1989, 28 min, color, stereo sound.

Video Art

Among her most widely known works are the pioneering videotapes Semiotics of the Kitchen (1974/75), Vital Statistics of a Citizen, Simply Obtained (1977), Losing: A Conversation with the Parents (1977), and, with Paper Tiger Television, Martha Rosler Reads Vogue (1982) andBorn to Be Sold: Martha Rosler Reads the Strange Case of Baby S/M (1988).

Her work focuses on the public sphere, exploring issues from everyday life and the media to architecture and the built environment, especially as they affect women. Throughout these works Rosier manipulates performance based narratives and symbolized images of mass media to disrupt expectations of the viewer. Rosier says, "Video itself 'isn't innocent' : Yes video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial TV."

These concepts are emphasized in works like Semiotics of the Kitchen in which a static camera is focused on a woman in a kitchen who interacts with kitchen utensils, naming and demonstrating their uses in off putting gestures, speaking on the expectations of women in certain spaces.