Those are two things that quintessential 1970s feminist artist Carolee Schneeman has done. This weekend is the last chance to see her latest exhibition at Presentation House Gallery in Vancouver, BC. It closes Sunday (April 9). Here’s an image from it, and a shot from her classic 1975 performance, “Interior Scroll.”

When I was in Vancouver a few weeks ago, I didn’t have a chance to see the Schneeman show. But Anne Lesley Selcer, a freelancer for The Stranger, pointed out that it’s worth giving a little ink and support to a contemporary show of a historically important artist, and one whose presence helps to counterbalance the overwhelming maleness of the Vancouver scene.

If you’re up there, stop by.

Here’s Selcer’s description and assessment of Devour, Schneeman’s 2003 response to world events, especially the war on terror:

As for the piece itself: it was a large, dual-screen video with 2 additional monitors placed off to the side on the floor showing large, slightly pixelated shots, each slowly fading into the next—an airplane coming in, a hectic war scene, a baby nursing, a mouth slurping a noodle, a vague torture scene, and a human & cat touching mouths. I believe that Schneeman is still working on the ’60s assumption that a collective rise of the positive or the intimate can counter aggression & war. Her piece doesn’t really work because the viewer will likely not share that assumption, so will not connect the images the way they seem to mean to work. The piece, though, is formally striking, ambitious, and subtle if given lots of time and a very quiet and generous reception. Schneeman does massive research into global conflict and power imbalance. I believe the highly personal way she responds—though part of ’70s feminist politics—is too easy to discount, for bad reasons but also good ones. Her assumption of what constitutes the personal is vaguely projective. I would rather see a just slightly more dispassionate reflection of global power imbalance, something which does reach the deepest interstices of the personal and the intimate, but in specific ways for those people that Schneeman may not just be able to just ‘tap into’ with general images of suckling and animal/human intimacy.