Rivers — Growing 1981 Larry
To understand Growing, one must remember the state of the art world in 1981. Neo-Expressionism was beginning to boil over in Germany and Italy (Baselitz, Kiefer, Chia), while in New York, the graffiti-inspired work of Jean-Michel Basquiat and Keith Haring was crashing the gallery scene. Minimalism had run its course.
Larry Rivers, then 58 years old, had already lived several artistic lives. He had survived the shadow of Abstract Expressionism (having been a protégé of Willem de Kooning) and had shocked the world in the 1950s with Washington Crossing the Delaware, a monumental history painting that broke every rule of history painting.
By 1981, Rivers was deep into his "collaborations" with poetry and medical imagery. Growing sits at the intersection of these two fascinations: the organic process of flora and the rigid structure of anatomical drawing.
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.
"Growing" (1981) is an experimental video project by artist Larry Rivers documenting his daughters from childhood to their mid-teens, which became the subject of intense ethical and legal controversy due to its content [1]. Following attempts to sell the tapes, the artist's daughter, Emma Tamburlini, publicly denounced the work as exploitative and sought its destruction, leading to its refusal by NYU [1]. The case is widely cited in debates concerning the boundaries of transgressive art and the protection of minors, according to reports from the New York Times and Vanity Fair.
If you are researching growing 1981 larry rivers, you likely have seen the piece (or a reproduction) and are trying to parse its strangeness. The composition typically features a stark, isolated plant—often a thick-stemmed succulent or a bleeding heart—set against a muted, grayish background.
But the "growing" is not passive.
Growing (1981) is emblematic of Larry Rivers’s late practice: intimate, referential, and formally resourceful. By layering autobiographical content, painterly bravura, and cultural signifiers, Rivers creates a compact meditation on development—personal, artistic, and cultural—affirming his place in the conversation between mid‑century innovation and late 20th‑century painting’s pluralism.
Further reading suggestions (not exhaustive): monographs on Rivers, catalogues raisonnés, and exhibition catalogues from the 1970s–90s provide deeper archival and pictorial context.
Larry Rivers was a pivotal figure in American art, often described by contemporaries like Andy Warhol as the bridge between Abstract Expressionism and Pop Art. While he is celebrated for his "unique personality" and draftsmanship, the specific keyword "Growing 1981" refers to one of the most controversial chapters of his career: a documentary film project titled Growing, completed in 1981, which remains a focal point of intense ethical debate. The Context of Growing (1976–1981)
Growing was a multi-year documentary project where Rivers filmed his two daughters, Gwynne and Emma, at six-month intervals starting when they were roughly 11 years old. The footage, spanning from 1976 to 1981, recorded their physical development during puberty.
Rivers intended the 45-minute film to be an artistic exploration of human growth and a challenge to social taboos regarding the body. However, the methods he used—which included filming his daughters topless or naked and questioning them about their changing bodies—have been condemned by his children and critics alike. The 1981 Turning Point
In 1981, Rivers edited the five years of footage into a final version intended for public exhibition. This release was blocked by the girls' mother, Clarice Rivers, and the film was subsequently withheld from the public eye for decades.
The controversy resurfaced in 2010 when New York University (NYU) attempted to acquire the Larry Rivers Foundation archive. Upon learning of the film's contents and the lack of consent from the subjects, NYU returned the tapes to the Foundation. Emma Rivers Tamburlini has since characterized the work as child pornography and "a document of exploitation and abuse," leading to a movement to have the original tapes destroyed or permanently suppressed. Art Style and Wider Influence in 1981
Beyond the Growing controversy, 1981 was a significant year for Rivers' established career:
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. growing 1981 larry rivers
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
Larry Rivers —the "Godfather of Pop Art" known for his restless, jazz-fueled approach to the canvas—unveiled a massive painting titled
. This was not just another piece of art; it was the culmination of a decade-long experiment that blurred the lines between fatherhood, filmmaking, and a disturbing obsession with the passage of time. The Story of the Artwork
The 1981 painting was inspired by a much more controversial project: a video series Rivers began in 1968. For over a decade, Rivers used a camera to document his two adolescent daughters, Gwynne and Emma, as they grew. Every six months, he would film them nude, asking intimate questions about their developing bodies and their feelings on womanhood.
When the footage was eventually translated into the 1981 painting, the artwork utilized a sequential, film-like structure. Artistic Composition and Impact
The piece is noted for its specific technical and thematic elements:
Sequential Narrative: The painting presents a series of figures across the canvas, mimicking the frames of a film to illustrate the chronological progression of time and physical change.
Visual Style: Typical of his later style, the figures are depicted with blurred lines and a sense of incompleteness, a technique used to evoke a feeling of memory rather than a static portrait.
The Documentation Obsession: The work reflects a lifelong preoccupation with recording every detail of life, treating personal and family history as raw material for public art. The Critical and Ethical Debate
The legacy of this specific project is marked by a significant divide between artistic intent and the privacy of the subjects involved.
Artistic Boundary-Pushing: Within the art world, the work is often analyzed as an example of a creator pushing past traditional social boundaries to document the human condition.
Impact on the Subjects: The project has faced intense criticism regarding the ethics of using family members in such a vulnerable manner. His daughters have expressed significant distress over the project, leading to public discussions about the rights of subjects versus the freedom of the artist. To understand Growing , one must remember the
Institutional Perspective: Foundations and museums often find themselves navigating the tension between preserving a historical record of an artist's career and addressing the ethical concerns raised by the artwork's creation.
The 1981 painting remains a complex part of the artist's history, highlighting the debate over whether any aspect of life should remain private or if everything is subject to the artist's gaze.
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.
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.
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(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
: 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
To understand Growing, one must look at the artist’s timeline. By 1981, Rivers had survived the tumultuous 60s and 70s. He had moved away from the clean, appropriated imagery of his early Pop works toward a more complex, multi-paneled narrative style often referred to as "History Painting with a dirty mouth." He was also dealing with the recent death of friends (like poet Frank O’Hara) and the aging of his own body.
The year 1981 marked a cultural shift. The excesses of the 70s were giving way to the neoliberal conservatism of the Reagan/Thatcher era. In the art world, Neo-Expressionism (Basquiat, Schnabel) was beginning to roar. Rivers, always a step ahead, had already been doing a grittier, more emotionally raw form of figuration for decades. Growing was his response to the idea of "maturity" in a culture obsessed with youth.
The genius of Growing (1981) lies in its subversion of the word "growing." For most people, growing implies progress. For Rivers, a student of history and a chronicler of the messy human condition, growing is synonymous with entropy.
Look closely at the brushwork. In the 1950s, Rivers had a lush, almost de Kooning-esque touch. By 1981, that touch has turned aggressive and dry. There are sections of Growing where the paint seems scraped off rather than applied. There are areas of raw, unpainted canvas—gaps in the "growth." This formal decision suggests that growing is not a smooth process; it is full of holes, erasures, and false starts.
Rivers is asking a radical question: What if growing is just a slower form of dying?
In the top-left panel of the work, a tiny, photographic image of a child (presumably Rivers’ own son) is silkscreened. Below it, the same child’s face appears aged and skull-like. The "growth" from one to the other is linear, but the emotional impact is tragic. Rivers the father sees his child growing; Rivers the artist sees the clock ticking.