To delve deeper into Larry Rivers' work from 1981 or his overall artistic growth, I recommend consulting art historical texts, museum collections, and databases that specialize in modern and contemporary art. If you have a specific aspect of his work or a particular piece in mind, providing more details could help narrow down the search.
(1981) is a controversial video-series and subsequent large-scale painting created by American artist Larry Rivers
. The project is most notable for its explicit documentation of his teenage daughters' physical development through puberty, a work that has faced intense criticism and accusations of exploitation. The Video Series
Rivers filmed his daughters, Emma and Gwynne, at six-month intervals from 1976 to 1981.
: The footage shows the girls either naked or topless as Rivers asks them questions about their changing bodies and budding sexuality.
: The project was edited in the early 1980s with screen credits, intended to play on a continuous loop during exhibitions of his paintings. Controversy
: One of the subjects, Emma Tamburlini, has publicly condemned the film, describing it as "child pornography" and stating that the process contributed to her developing anorexia as a teenager. The 1981 Painting
The video series served as direct source material for a large-scale painting Rivers completed in 1981. Composition
: The painting incorporates still images captured from the video footage.
: True to Rivers' signature style, the work likely features his "drippy, watercolor quality" and a blend of representational figures with abstract elements. Historical Context
: Rivers was known for "smashing sexual taboos," previously painting his aging ex-mother-in-law naked in Double Portrait of Berdie Current Status & Legacy
The project remains largely unexhibited due to its sensitive nature and family opposition. Archive Dispute : In 2010, New York University returned the "Growing" series to the Larry Rivers Foundation after learning of the daughters' objections. Preservation growing 1981 larry rivers
: The Foundation continues to preserve the film, arguing it is essential "art in itself" and vital context for the 1981 painting, despite Emma's requests for the footage to be destroyed. Larry Rivers' other controversial family portraits or his role in the Larry Rivers Paintings, Bio, Ideas - The Art Story
The keyword "Growing 1981 Larry Rivers" refers to a deeply controversial and largely unexhibited 45-minute video work by the American artist Larry Rivers (1923–2002). While Rivers is celebrated as a "godfather of Pop Art," his 1981 film Growing remains one of the most polarizing entries in his career, sparking intense debate over the boundaries between avant-garde art and the exploitation of family. The Origin and Content of Growing
The film was the culmination of a five-year project beginning in the mid-1970s. During this time, Rivers filmed his adolescent daughters, Gwynne and Emma, every six months to document their physical development.
Format and Method: In 1981, Rivers edited this footage into a single film. The content consists of Rivers instructing his daughters to remove their clothing while he uses the camera to zoom in on their developing bodies, specifically their breasts.
The Interviews: Accompanying the visual documentation, Rivers interrogated his daughters about their feelings regarding their bodies and burgeoning sexuality.
The Interrupted Debut: Rivers originally intended to debut the 45-minute cut as part of a 1981 exhibition. However, the girls' mother, Clarice Rivers, intervened and successfully prevented the public screening. Critical and Family Perspectives
The legacy of Growing resurfaced years after Rivers' death when his daughter, Emma Tamburlini, publicly condemned the work.
Condemnation as Exploitation: Emma has described the film as "nothing less than child pornography". She reported that objecting to the filming resulted in being labeled "uptight" or a "bad daughter" by her father.
The Artist's Defense: At the time, Rivers reportedly justified the project to his teenage daughter by telling her that her "intellectual development had been arrested" for not understanding the artistic merit of the work.
Institutional Reaction: When the existence of the film became widely known through Rivers' archived papers, New York University officials distanced themselves from the material, stating they wanted no part in showcasing Growing. Artistic Context of 1981
In the broader context of 1981, Rivers was experiencing a high degree of professional esteem. That same year, a major retrospective of his work traveled through European institutions, including the Kestner-Gesellschaft in Hanover and the Kunsthalle in Berlin. His other 1981 works, such as his cast paper relief Dutch Masters, continued his tradition of blending high art with consumer iconography—a stark contrast to the intensely private and controversial nature of the Growing project. To delve deeper into Larry Rivers' work from
Today, Growing is often cited in discussions regarding the ethical responsibilities of artists when using their children as subjects, sitting at the uncomfortable "crossroads of Abstract Expressionism and Pop Art" where Rivers’ desire to "shatter taboos" collided with the reality of personal trauma. Archives And Privacy In The Age Of Accessibility - AVP
The work " Growing" (1981) by Larry Rivers is not just a painting; it is the culmination of a highly controversial five-year documentary project that explored the boundaries between art, familial intimacy, and exploitation. The Nature of the Project
Between 1976 and 1981, Larry Rivers documented the adolescence of his two daughters, Gwynne and Emma, using film and video. This five-year period resulted in a 45-minute film and a corresponding large-scale painting, both titled Growing. The project was designed as a "diary of experience," capturing the transition from childhood to young adulthood through periodic interviews and visual recordings. Artistic Intent and Ethical Concerns
Rivers often sought to challenge social boundaries and use his personal life as primary material for his art. While some supporters and art historians view the work as a raw, documentary-style exploration of maturation and a significant artifact of the contemporary art scene, it has faced severe criticism regarding the ethics of parental boundaries and consent.
The subjects of the work have expressed differing views, with his daughter Emma publicly criticizing the project's impact on her well-being. She has described the filming process as intrusive and damaging, highlighting a profound conflict between an artist's creative freedom and the privacy and protection of their children. Institutional and Public Response
The controversy surrounding Growing has led to significant actions by cultural institutions:
Archival Removal: In 2010, New York University returned the films to the Larry Rivers Foundation following protests regarding their ethical nature and the lack of consent from the subjects.
Continuing Debate: The work serves as a focal point in discussions about the ethics of "confessional art" and where the line should be drawn when family members are used as subjects.
Alternative Perspectives: In response to her father's work, Emma Rivers has created her own art, such as her "Stage-Set" series, to reclaim her narrative and provide her own perspective on her upbringing.
Exploring these contrasting viewpoints provides a deeper understanding of the complexities surrounding the intersection of art, family, and ethics in the late 20th century. Portrait of the Artist as Creep - Glasstire
In 1981, the American artist Larry Rivers completed a 45-minute documentary film titled "Growing." While Rivers was a celebrated "Godfather of Pop Art" known for his rebellious and innovative style, this specific project remains one of the most controversial and unsettling chapters of his career. The Project’s Origin To create Growing , Rivers employed a technique
Beginning in 1976, Rivers set out to document the physical and psychological changes of his two adolescent daughters, Gwynne and Emma, as they navigated puberty. Twice a year for five years, he filmed them at his home, often asking them to appear topless or entirely naked. The Outcome of the Project
Upon completing the editing in 1981, Rivers faced immediate opposition. His former wife, Clarice Rivers, strongly objected to the film being shown publicly. Consequently, the project was suppressed and stored in private archives, remaining largely out of public view for several decades. Rediscovery and Public Debate
The existence and nature of the film became a matter of significant public record following Rivers' death in 2002. When New York University (NYU) moved to acquire the artist’s archives, the content of the footage led to a major controversy regarding the ethics of the project. The debate centered on several key points:
The Impact on the Subjects: In subsequent years, the daughters expressed that the filming process was a source of significant personal distress. Emma Tamburlini (née Rivers) has spoken publicly about the lasting negative psychological impact the project had on her life, advocating for the permanent removal of the footage from academic and public institutions.
Institutional Decisions: In 2010, following the public outcry and legal discussions, NYU returned the films to the Larry Rivers Foundation. The university indicated that the material was not suitable for its collections due to the nature of the content and the lack of consent from the subjects.
Ethical Boundaries in Art: The case became a landmark discussion in the art world, prompting biographers and critics to evaluate the line between artistic expression and the protection of minors. It serves as a study of how cultural standards and legal understandings of consent have evolved since the late 20th century.
The project remains a significant point of discussion regarding the responsibilities of artists toward their subjects and the legal protections afforded to children in the context of private and professional filming. Portrait of the Artist as Creep - Glasstire
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To create Growing, Rivers employed a technique he perfected in the 1970s: carbon transfer printing combined with oil paint. He would take photographs, transfer them onto the canvas using a chemical process, and then paint over, under, and around them. This created a disorienting depth—the photograph says "reality," but the hand-painted distortions say "memory."
In this piece, notice the hands. The hands in Growing are enormous, disproportionate, and rendered almost entirely in charcoal pencil over a thin wash of oil. They hover near the groin and the heart—two centers of biological growth. The fingers look like roots digging into the soil of the torso. It is gross, tender, and utterly profound.