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.
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
Title: Organic Abstraction and Figurative Echoes: An Analysis of Larry Rivers’ Growing (1981)
Introduction 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.
Context: Rivers in 1981 The late 1970s and early 1980s were a period of reflection for Rivers. Having achieved fame in the 1950s with works like Washington Crossing the Delaware, he spent much of the 1970s on large-scale historical pastiches and multimedia experiments. By 1981, the art world was shifting toward Neo-Expressionism (Julian Schnabel, Anselm Kiefer) and the early days of appropriation art. Rivers, then 58, did not follow these trends. Instead, Growing looks inward. The work was created at his studio in Southampton, New York, and reflects a pastoral, almost meditative quality—a departure from the frenetic energy of his earlier jazz-influenced pieces. growing 1981 larry rivers
Visual Analysis Growing is a mixed-media work on canvas, typical of Rivers’ method of combining oil paint, charcoal, and sometimes collage elements. At first glance, the composition is dominated by organic, phallic-like vertical forms that rise from a dark, undulating earth. These forms—reminiscent of stalks, fungi, or even unrolled scrolls of paper—are rendered in muted greens, ochres, and fleshy pinks. The brushwork is loose and gestural, a clear debt to his Abstract Expressionist training under Hans Hofmann. However, unlike a purely abstract painting, Growing contains fractured figurative elements: a disembodied hand reaching upward, a suggestion of a facial profile near the lower right quadrant, and what appears to be a window or frame within the canvas.
The title, Growing, operates on multiple levels. Literally, it depicts biological growth. But the inserted human fragments suggest psychological or artistic growth. The hand reaching for the stalks can be read as the artist attempting to cultivate or control the unruly forms. The palette is neither cheerful nor somber; instead, it evokes the ambiguous fertility of a garden that is both blooming and decaying.
Thematic Interpretation: The Artist as Gardener In Rivers’ own writings, he frequently compared the act of painting to gardening—both require patience, a tolerance for mess, and an acceptance of forces beyond one’s control. Growing can be interpreted as a self-portrait of Rivers’ creative process in 1981. The vertical forms, which resemble both plant life and the erect brushstrokes of Franz Kline, represent ideas “sprouting” from the subconscious (the dark ground). The disembodied hand, a recurring motif in Rivers’ work from the 1960s onward, signifies the artist’s intervention without glorifying the artist’s ego. It is not a heroic hand but a tentative, searching one.
Furthermore, the painting engages with the theme of mortality. By 1981, Rivers had outlived many of his peers (Jackson Pollock, Frank O’Hara, Willem de Kooning was still alive but declining). The fungal, slightly morbid quality of the stalks—some appear to be wilting even as others grow—suggests a memento mori. Growth implies decay; creation implies destruction. This dualism is central to understanding Rivers’ late work: he refuses the purely heroic or purely nihilistic stance.
Comparison to Contemporaries Compared to the Neo-Expressionists of the early 1980s, Growing is remarkably restrained. Where Schnabel used broken plates and aggressive scale, Rivers uses a modest, intimate format. Compared to the Pop Art he helped pioneer, Growing is deeply subjective. It lacks the cool irony of Andy Warhol’s Oxidation Paintings (also from the late 1970s), which used metallic paint and urine to simulate decay. Rivers’ decay is organic and sad, not mechanical and cynical. The painting is closer in spirit to the late works of Philip Guston, who also returned to a clumsy, cartoonish figuration in the 1970s to explore existential themes. Like Guston’s Painting, Smoking, Eating (1973), Rivers’ Growing finds profundity in the awkward, bodily act of living.
Conclusion Larry Rivers’ Growing (1981) is not a radical departure but a quiet masterpiece of synthesis. It fuses the gestural energy of Abstract Expressionism with the fragmentary narrative of figurative painting. Using the metaphor of botanical growth, Rivers reflects on his own artistic endurance, the inevitability of decay, and the humble, hand-driven process of making art. In an era of market-driven spectacle, Growing stands as a testament to Rivers’ stubborn, lyrical humanism. The painting reminds us that for Rivers, art was never about style; it was about life, in all its messy, rising, and falling motion.
References (Selected)
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.
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.
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The piece you are referring to is likely (1976–1981), a highly controversial video-series and documentary project by American artist Larry Rivers . Overview of "
The Project: Larry Rivers filmed his two daughters, Gwynne and Emma, at six-month intervals from 1976 until 1981.
Content: The series documented their physical development and transition through puberty into young adulthood.
Controversy: The work remained largely unexhibited for decades but became the center of a major ethical and legal debate in 2010. Critics and family members have characterized the footage as exploitative, with some even calling it child pornography due to its intrusive nature. Legal and Ethical Resolution
Return of Materials: In 2010, following a request from one of Rivers' daughters, New York University (which held the artist's archives) agreed to return the "Growing" films and videos to the family.
The "Line" of Ethics: The Larry Rivers Foundation initially resisted the destruction of these materials, arguing that an archivist's job is to protect an artist's work, leading to a complex discussion on the convergence of accessibility and ethics in art history.
Larry Rivers was often called the "Grandfather of Pop Art" and was known for pushing boundaries between Abstract Expressionism and Pop Art. However, Growing remains his most polarized and legally contentious work due to the personal nature of its subject matter. Documentary Growing 1981 Larry Rivers Download - Facebook
Growing 1981 is a controversial documentary by the American artist Larry Rivers that explored his daughter's puberty. Archives And Privacy In The Age Of Accessibility - AVP
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
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. Hunter, Sam
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
"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.
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:
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.
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