The painting Growing (oil and mixed media on canvas, approximately 72 x 84 inches) is a quintessential example of Rivers’ "multi-panel" approach. The canvas is not a single, unified perspective but a collage of fragmented moments—a visual diary stapled to a single surface.
Here is what the eye encounters:
Currently, Growing (1981) resides in a private collection in New York, though it was exhibited as part of the Larry Rivers: The Last Decade retrospective at the Jewish Museum (then traveling to the Corcoran Gallery) in the mid-1990s. If you are attempting to locate this piece for academic study, your best resource is the Larry Rivers Foundation archives. The work is rarely traded, as it is considered a crown jewel of his late period.
Its influence can be seen in the work of later artists like John Currin (in the distorted flesh tones) and even in the melancholic self-portraits of Alice Neel, though Neel was Rivers’ contemporary. What makes Growing unique is its refusal to be beautiful. It is ugly in the way that a biopsy is ugly—revealing the truth beneath the skin.
Growing Up in 1981: The Life and Art of Larry Rivers
Larry Rivers, born Israel Eisenberg on May 8, 1923, was an American artist, painter, sculptor, and filmmaker. He was a prominent figure in the development of Pop Art in the 1960s. However, let's explore Larry Rivers' life and work in 1981, a pivotal year for the artist.
Early Life and Artistic Beginnings
Born in Brooklyn, New York, to Russian immigrant parents, Rivers grew up in a traditional Jewish household. He developed an interest in art at an early age and attended the Brooklyn Museum of Art School and the American Artists' School. Rivers' early work was influenced by Abstract Expressionism, but he soon transitioned to a more figurative style.
The 1960s: Pop Art and Beyond
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.
1981: A Year of Growth and Experimentation
In 1981, Rivers was 58 years old and at the height of his career. He continued to experiment with various mediums, including painting, sculpture, and printmaking. This year marked a period of significant growth and innovation for the artist.
Some notable works from 1981 include:
Influence and Legacy
Rivers' work in 1981 reflects his ongoing interest in exploring the intersection of art, culture, and history. His contributions to the Pop Art movement paved the way for future generations of artists. Rivers' legacy extends beyond his own work, as he influenced a wide range of artists, including Andy Warhol, Jasper Johns, and Roy Lichtenstein.
Conclusion
In 1981, Larry Rivers continued to push the boundaries of art, experimenting with new mediums and themes. His work from this period showcases his innovative spirit and enduring influence on the art world. Today, Rivers' art remains a testament to his creative genius and his role as a pioneer of Pop Art.
Larry Rivers was a prominent American artist known for his work in various mediums, including painting, sculpture, and printmaking. Born in 1923, Rivers gained fame for his unique style that blended elements of Abstract Expressionism and Pop Art. growing 1981 larry rivers
In 1981, Rivers was 58 years old and already an established figure in the art world. During this period, he continued to experiment with new techniques and themes, further solidifying his reputation as a versatile and innovative artist.
Some notable features of Larry Rivers' work in 1981 include:
Some notable works from Larry Rivers' 1981 include:
Overall, 1981 was a significant year for Larry Rivers, marked by continued innovation and experimentation in his art. His work from this period reflects his ongoing engagement with themes of culture, history, and identity, as well as his commitment to pushing the boundaries of traditional art forms.
(1981) is one of Larry Rivers' most controversial works, moving beyond his traditional canvas into the medium of film and video. While often categorized alongside his late 20th-century experimentation, the piece has sparked significant ethical debate regarding art, privacy, and the exploitation of family members. Overview of the Work
Medium & Format: Unlike his famous "Pop Art" paintings, Growing was a series of films and videotapes edited into a final project in the early 1980s.
Subject Matter: The project documented the physical maturation of his two daughters, Gwynne and Emma Tamburlini, over a five-year period from 1976 to 1981.
Content: Rivers filmed his daughters at six-month intervals, often focusing on their developing bodies and asking them intimate, probing questions about puberty and sexuality. Artistic and Ethical Controversy
The piece was originally intended to be displayed in a continuous loop alongside his paintings. However, it remained largely unseen for decades due to its highly sensitive nature:
Lack of Consent: In recent years, his daughter Emma Tamburlini has publicly stated she felt extremely uncomfortable and did not consent to the filming.
Public Fallout: When the Larry Rivers Foundation attempted to donate his archives to New York University in 2010, the inclusion of Growing caused a "firestorm" of criticism. NYU eventually returned the tapes to the foundation to avoid legal and ethical complications.
Critical Reception: The work is often used as a case study for the "line between nudity and pornography" and the ethics of using family members as artistic subjects. Relation to Rivers' Broader Style
While Growing is a video work, it reflects Rivers' lifelong obsession with the human figure and "unfashionable" subjects. His style—often described by The Art Story as a bridge between Abstract Expressionism and Pop Art—frequently used "iconographic clichés" and personal imagery to challenge established norms.
The work titled Growing" (1981) is a highly controversial documentary series created by American artist Larry Rivers
. This project has become a central point of debate regarding the boundaries between art, privacy, and exploitation. Overview of the Series 1976 and 1981 , Rivers filmed his two adolescent daughters, Emma Tamburlini Gwynne Rivers , at six-month intervals.
The series documents the girls' physical development through puberty. According to reports from The New York Times Vanity Fair
, the footage often shows them topless or naked while Rivers asks them questions about their changing bodies and sexuality. Intent vs. Reality: The painting Growing (oil and mixed media on
Rivers originally intended for the film to be played in a continuous loop during a 1981 exhibition of his paintings. However, he was dissuaded by the girls' mother, Clarice Rivers , and the footage remained unexhibited during his lifetime. The Modern Controversy The series resurfaced in 2010 when New York University (NYU) was in the process of purchasing Rivers' archive from the Larry Rivers Foundation Daughters' Stance:
Emma Tamburlini has publicly condemned the work, describing it as "nothing less than child pornography" and stating that the experience caused her long-term emotional distress and contributed to an eating disorder. NYU's Response:
After the content of the tapes became public, NYU announced it did not want the footage
as part of its archive and returned the materials to the Foundation. Current Status:
The daughters have spent years seeking the return of the footage to ensure it is never made public, while the Foundation initially sought to keep the materials restricted during the daughters' lifetimes rather than destroying them.
Critics and art historians often cite "Growing" as a significant example of Rivers' "taboo-busting" style overstepping ethical lines. How would you like to frame the discussion around this specific piece for your post? N.Y.U. Doesn't Want Film of Larry Rivers's Naked Daughters
(1981) is a controversial and largely suppressed video work by the American artist Larry Rivers
. Originally intended for a 1981 exhibition, the work features footage of Rivers’ two young daughters, Emma and Gwynne, as they grew up. History and Controversy
The work has been the subject of significant ethical debate regarding the boundaries between art and the privacy of its subjects. Although created decades ago, it remained largely unseen for many years following concerns raised by the girls' mother. Archive and Privacy Rights
The project returned to public discourse in 2010 when New York University (NYU) acquired the artist's personal archives. This led to a public discussion regarding the rights of the individuals depicted in the footage versus the preservation of an artist's body of work: Request for Removal
: The daughters formally requested that the materials be removed from the public archive to protect their privacy. Resolution
: Following a period of public attention and institutional review, NYU eventually returned the specific tapes to the Larry Rivers Foundation. Current Status
: The Foundation has maintained a policy that the work will not be exhibited publicly, respecting the privacy and wishes of the family members involved.
Information is available regarding Larry Rivers' broader impact on the Pop Art movement or his notable collaborations with members of the New York School of poets if that is of interest. The Crimes Against Thérèse Blanchard - Carolyn Gage
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In the sprawling, chaotic narrative of 20th-century art, few figures defy categorization as stubbornly as Larry Rivers. A Jewish kid from the Bronx who played jazz saxophone, hung out with the Beat Generation, and bridged the gap between Abstract Expressionism and Pop Art, Rivers spent his career smashing boundaries. But by 1981, Rivers was a different artist than the one who shocked the art world with Washington Crossing the Delaware (1953). He was older, more introspective, and grappling with a new set of anxieties: mortality, legacy, and the relentless forward march of time.
It is within this mature, reflective context that we encounter "Growing" (1981). At first glance, the title suggests nature, biology, or the wholesome passage of time. But in the hands of Larry Rivers, "growing" is a loaded, ironic, and deeply visceral concept. This article explores the history, formal qualities, and thematic depth of this lesser-known but crucial work, revealing why Growing remains a pivotal piece in understanding Rivers’ late-career genius. Influence and Legacy Rivers' work in 1981 reflects
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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
It seems you're interested in information about Larry Rivers, an American artist known for his work in painting, sculpture, and other media, particularly in the context of his artistic development or specific works from around 1981. Larry Rivers (1925-2002) was a significant figure in American art, often associated with the Pop Art movement, although his work spanned a broad range of styles and themes.
If you're looking for information on Larry Rivers' work from 1981 or his artistic growth around that period, here are a few points to consider:
Rivers was a master draftsman who hated perfection. He studied under Hans Hofmann, where he learned the push-pull theory of color and space, but he rejected Hofmann’s purity.
In Growing (1981), look closely at the line work. The charcoal is thick and "dirty." Rivers often wiped away lines before they were finished, creating a ghost of an alternative drawing underneath the final piece. This technique—known as pentimento—is crucial to the keyword "growing."
Rivers once said in an interview, "The greatest thing about a drawing is the evidence of the artist changing his mind." Growing is that philosophy in action. The stray marks are not mistakes; they are the history of the eye moving.
Growing (1981) belongs to Larry Rivers (1923–2002), an American painter whose career bridged Abstract Expressionism, Pop, and a revived figurative painting. Known for works that mix loose painterly gestures, appropriated imagery, and autobiographical text, Rivers challenged tidy art-historical categories. Created during a period when he revisited narrative and portraiture alongside symbolic motifs, Growing exemplifies his mature synthesis of image, memory, and cultural commentary.