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To understand Growing , we must first understand the mind that created it. Larry Rivers, born Yitzroch Loiza Grossberg in the Bronx in 1923, was a force of nature. He was a jazz saxophonist who performed with the likes of Charlie Parker before turning to painting. He is widely celebrated as the "Godfather" of Pop Art for his radical decision to merge the emotional, vigorous brushstrokes of Abstract Expressionism with narrative, recognizable, and often commercial imagery in the 1950s, paving the way for Andy Warhol and Roy Lichtenstein. His work, often described as a hybrid of representational abstract expressionism, consistently pushed formal boundaries. However, Rivers was as famous for his art as he was for his provocative, unabashedly "bad boy" persona, which included drug use, bisexuality, and an unquenchable desire to shatter societal taboos. A new documentary described him as a "complex character who never shied away from saying or doing the uncomfortable thing". It was within this combustible mix of artistic ambition and personal provocation that Growing was conceived.
Today, the discussion surrounding "Growing" is less about its place in the Pop Art canon and more about the protection of children within the context of experimental media and the ethical responsibilities of cultural institutions. Share public link
Growing (1981) stands as a quintessential representation of Rivers' mature style. Measuring on a grand scale, the artwork demands physical presence from the viewer, mirroring the outsized personality of Rivers himself. The Fragmented Narrative growing 1981 larry rivers
: Both daughters developed severe eating disorders, including anorexia, which they directly attributed to the trauma of the bi-annual filming sessions.
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.
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. If you are looking to research specific auction
The question of whether Rivers's Growing is a legitimate work of art or an act of child abuse has sparked intense debate. Some argue that an artist's role is to break boundaries and explore difficult subjects, no matter how uncomfortable. They point to Rivers's lifelong pattern of pushing limits as central to his genius. But for many, a line is crossed when the subject is one's own child, whose ability to consent is legally and ethically compromised. In 2010, the debate erupted into the mainstream when New York University announced it was purchasing Rivers's archives. Emma Tamburlini came forward publicly to demand that the Growing films be excluded from the acquisition, calling them a "document of exploitation and abuse". The ensuing public pressure was immense, and NYU ultimately reversed its decision, saying it would not accept the Growing films as part of the purchase. This decision was seen by many as a landmark victory for the rights of the subjects of controversial art.
: Larry Rivers and the Tragic Intersection of Avant-Garde Art and Child Exploitation
This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. N.Y.U. Doesn't Want Film of Larry Rivers's Naked Daughters He is widely celebrated as the "Godfather" of
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In this article, we explore the Growing series (1981), its context within Rivers’ career, the artistic and ethical questions it raises, and its legacy in contemporary art discussions.
: 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
: Much of the controversy stems from Rivers' fixation on his daughters' physical maturation, which many viewers and art historians find invasive and inappropriate.