Growing 1981 Larry Rivers !link!
The controversy surrounding the 1981 project remains a significant case study in art history, focusing on the tension between an artist's desire for "unvarnished" documentation and the fundamental rights of the subjects—particularly when those subjects are minors within the artist's own family.
: The series documented their physical development and transition through puberty into young adulthood. growing 1981 larry rivers
The Growing series involved filming his daughters, Gwynne and Emma Rivers, at six-month intervals starting around 1976. The project continued through roughly 1981, tracking their physical development through adolescence. The controversy surrounding the 1981 project remains a
Rivers likely framed this project as a provocative study of human maturation and the domestic sphere, intending to present it as a continuous loop within a gallery setting. He approached the subject matter with the same lack of sentimentality found in his other figurative works. The project continued through roughly 1981, tracking their
Larry Rivers (1923–2002) occupies a unique position in the history of postwar American art. Often cited as a "godfather" of Pop Art for his incorporation of commercial imagery and text, Rivers consistently defied easy categorization. By 1981, Rivers had moved through Abstract Expressionism, figurative realism, and Pop, synthesizing these influences into a mature, idiosyncratic style. His painting Growing (1981) exemplifies this synthesis, using botanical metaphor to explore themes of creativity, mortality, and the cyclical nature of life. This paper argues that Growing represents a pivotal moment in Rivers’ late career, where the tension between abstraction and figuration serves as a visual allegory for the artistic process itself.
: Upon reviewing the material, NYU officials expressed grave concerns. The university eventually declined to accept the specific tapes related to the daughters, citing ethical standards and the potential for legal complications.
The 1960s catapulted Rivers to fame with his involvement in the Pop Art movement. His work often incorporated everyday objects, images, and cultural icons. Notable pieces like "Washington Crossing the Delaware" (1959) and "The Bricklayer's Breakfast" (1959) showcased his unique blend of humor, history, and popular culture.
