Carolee Schneemann
«Eye Body»

«Her first body action was made in private for the expressed purpose of producing photographs, taken by her friend, the Icelandic artist Errò. The photographs are still generally accepted as among the first visual images that constitute the lexicon of an explicitly feminist avant-garde vocabulary. [...] Schneemann wanted ‹to do a series of physical transformations› of her body in her ‹constructions and wall environment,› as a means for makin gher body into ‹visual territory, [exploring] the image values of flesh as material.› This environment eventually became ‹Eye Body›, comprised of several constructions: ‹Four Fur Cutting Boards (1962), ‹Ice Box› (1962), ‹Window to Brakhage› (1962), ‹Fur Wheel› (1962), and ‹Gift Science› (1963).»

(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions», in: Out of Actions: between performance and the object, 1949–1979, MoCA Los Angeles, New York/London, 1998, pp. 296f.)