Infinity Kisses II
Carolee Schneemann
Contemporary Art
Not one to rest on her renegade avant-garde laurels, Carolee Schneemann’s series Infinity Kisses, begun in 1981, proposes an eccentric interspecies intimacy, one that the artist nurtured with generations of cats in her eighteenth-century farmhouse in upstate New York. Seeing her pets as reincarnations of a single being, Schneemann extended her career-long exploration of taboo sensuality into a series of blurry images that capture fleeting moments of hedonistic contact with a being she loved. Largely rejected by the art world at the time, Schneemann embraced her self-determined role as the ultimate outlandish cat lady, having learned from years of experience that it often takes the art world decades to catch up with transgressive women artists.
MEDIUM
Chromogenic photograph
DATES
1990–1998
DIMENSIONS
Each sheet: 60 × 40 in. (152.4 × 101.6 cm)
(show scale)
ACCESSION NUMBER
2005.60a-b
CREDIT LINE
Gift of Marc Routh by arrangement with the Remy-Toledo Gallery
PROVENANCE
By 2004, acquired from the artist by Galerie Samuel Lallouz, Montreal, Canada; 2004, purchased from Galerie Samuel Lallouz by Marc Routh of New York, NY; 2005, gift of Marc Routh to the Brooklyn Museum.
Provenance FAQ
MUSEUM LOCATION
This item is not on view
CAPTION
Carolee Schneemann (American, Fox Chase, PA, born 1939, died 2019, New Paltz, NY). Infinity Kisses II, 1990–1998. Chromogenic photograph, Each sheet: 60 × 40 in. (152.4 × 101.6 cm). Brooklyn Museum, Gift of Marc Routh by arrangement with the Remy-Toledo Gallery, 2005.60a-b. © artist or artist's estate (Photo: Brooklyn Museum, 2005.60a_PS20.jpg)
IMAGE
overall, 2005.60a_PS20.jpg. Brooklyn Museum photograph, 2023
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RIGHTS STATEMENT
© Carolee Schneemann
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Tell me more.
From 1981 to 1988, Schneemann produced a series of 140 photographs documenting the morning ritual of her cat Cluny, followed by her cat Vesper, giving her a "kiss."
She had a tiny Olympus automatic camera, which she kept by her bed, and stated:
"Every morning when the cat would kiss me, I would take a picture, so long as my partner — my human partner — was not annoyed. I gave myself the following conditions for making the pictures: I would have no control over lighting or focus, and, as much as possible, I would attempt to get the camera to capture what the kisses felt like. I have hundreds of images from this series."