“This painting owes its existence to prior paintings. By liking this solution, you should not be blocked in your continued acceptance of prior inventions. To attain this position, ideas of former painting had to be rethought in order to transcend former work. To like this painting, you will have to understand prior work. Ultimately this work will amalgamate with the existing body of knowledge.”
In his own analysis, he said he would be best remembered as “the guy who puts dots over people’s faces.”
When I discovered Parliament-Funkadelic in the 1990s, part of the attraction was the visual style and the grand narrative holding the whole project together. This style was just as much due to George Clinton as to Pedro Bell.
A seminal text in his poetic oeuvre is from the sleeve notes of Standing on the Verge of Getting It On (1974):
“AS IT IS WRTTEN HENCEFORTH… On the Eighth Day, the Cosmic Strumpet of Mother Nature was spawned to envelope this Third Planet in FUNKADELICAL VIBRATIONS. And she birthed Apostles Ra, Hendrix, Stone, and CLINTON to preserve all funkiness of man unto eternity… But! Fraudulent forces of obnoxious JIVATION grew…only seedling GEORGE remained! As it came to be, he did indeed begat FUNKADELIC to restore Order Within the Universe. And nourished from the pamgrierian mammaristic melonpaps of Mother Nature, the followers of FUNKADELIA multiplied incessantly!”
Her best-known piece is Interior Scroll (1975), a performance in which she produced a scroll from her vagina while standing.
Her films include Fuses (1967) in which Schneemann and her then-boyfriend James Tenney are having sex, a reaction to Stan Brakhage’s Window Water Baby Moving (1959) which shows Brakhage’s wife giving birth.
Above are fragments of Fuses set to an educative narration made as a school or university assignment.