Posts Tagged ‘Robert Mapplethorpe: The Photographs

25
Jul
16

Exhibition: ‘Robert Mapplethorpe: The Perfect Medium’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 20th March – 31st July 2016

 

Robert Mapplethorpe is a formalist.

Apollonian and Dionysian ideals are two sides of the same coin.

Marcus

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Many thankx to the Los Angeles County Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

An extract from one of my earliest piece’s of research and writing (1996):

“In the work of the American photographer Robert Mapplethorpe, we can see the formalised classical aesthetic of beauty combined with content which many people are repelled by (pornography, sexuality, violence, power) creating work which is both Apollonian and Dionysian.14 Peoples’ disgust at the content of some of Mapplethorpe’s images is an Apollonian response, an aesthetic judgement, a backing away from a connection to ‘nature’, meaning ‘that which is born’. Mapplethorpe said, “I’ve done everything I show in my photographs,”15 revealing a connection to an inner self, regardless of whether he intended to shock. Those seeking suppression of Mapplethorpe’s photographs, mainly conservative elements of society, cite the denigration of moral values as the main reason for their attacks. However Mapplethorpe’s S&M photographs sought to re-present the identity of a small subculture of the gay community that exists within the general community and by naming this subculture he sought to document and validate its existence. The photograph can and does lie but here was the ‘truth’ of these Dionysian experiences, which conservative bigots could not deny – that they exist.

In the NEA/Cincinnati Contemporary Arts Center controversy surrounding Mapplethorpe16 his work was defended on aesthetic grounds, not on the grounds of homoerotic content, of freedom of expression or artistic freedom. The classical Apollonian form of his images was emphasised. As one juror put it, “Going in, I would never have said the pictures have artistic value. Learning as we did about art, I and everyone else thought they did have some value. We are learning about something ugly and harsh in society.”17 Ugly and harsh. To some people in the world S&M scenes are perfectly natural and beautiful and can lead to the most transcendent experience that a human being can ever have in their life. Who is to decide for the individual his or her freedom to choose?

This Apollonian fear of the Dionysian ‘Other’, the emotional chaotic self, was found to involve fear of that which is potentially the ‘same as’ – two sides of the same coin. This fear of ‘the same’, or of the proximity of the same, or of the threat of the same, can lead to violence, homophobia, racism and bigotry. Mapping out sexual identities’ toleration of difference, which is ‘the same as’, recognises that there are many different ways of being, and many truths in the world.”

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Extract from Marcus Bunyan. “The defining of Apollonian and Dionysian ideals in images of the male body,” (1996 Master of Arts exegesis) published September 2012 on Art Blart.

 

Footnotes

14. Danto, Arthur C. Mapplethorpe – Playing With The Edge. Essay. London: Jonathon Cape, 1992, p. 331
15. Interview with Robert Mapplethorpe quoted in Cooper, Emmanuel. The Sexual Perspective. London: Routledge, 1986, p. 286
16. Ellenzweig, p. 205, Footnote 1
17. Cembalest, Robin. “The Obscenity Trial: How They Voted To Acquit,” in Art News December 1990 89 (10): 141 quoted in Ellenzweig, Allan. The Homoerotic Photograph. New York: Columbia University, 1992, p. 208

 

 

Robert Mapplethorpe. 'Self-portrait' c. 1970

 

Robert Mapplethorpe (American, 1946-1989)
Self-portrait
c. 1970
Paint, canvas, and stickers on fiver-based gelatin silver print
6/5/16 x 9 1/4 in. (16 x 23.5 cm)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Leatherman #1' 1970

 

Robert Mapplethorpe (American, 1946-1989)
Leatherman #1
1970
9 7/16 x 6 3/4 in. (23.97 x 17.15 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Candy Darling' 1972

 

Robert Mapplethorpe (American, 1946-1989)
Candy Darling
1972
Dye diffusion transfer print, cardboard
3/34 x 2 7/8 in. (9.6 x 7.3 cm)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Untitled (Nancy Nortia/Dugan)' c. 1974

 

Robert Mapplethorpe (American, 1946-1989)
Untitled (Nancy Nortia/Dugan)
c. 1974
4 1/2 x 5 1/8 in. (11.4 x 13 cm)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Nick' 1977

 

Robert Mapplethorpe (American, 1946-1989)
Nick
1977
Gelatin silver print
14 x 14 1/16 in. (35.56 x 35.72 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Self-portrait' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Self-portrait
1980
13 3/4 x 13 3/4 in. (34.93 x 34.93 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

“The Los Angeles County Museum of Art (LACMA) presents Robert Mapplethorpe: The Perfect Medium, a major retrospective examining the work and career of one of the most influential visual artists of the 20th century. Robert Mapplethorpe: The Perfect Medium is co-organized by LACMA and the J. Paul Getty Museum. In a historic collaboration, the two institutions will trace the artist’s working methods and materials, presenting the improvisational, experimental aspects of his practice alongside the refined perfection of his prints. The works on display provide new context for understanding the key genres that Mapplethorpe pursued: portraiture, the nude, and still life. His personal connections to sitters, his ability to manage a successful studio, and his ambition to elevate photography to the status of contemporary art will be demonstrated through rarely seen correspondence, books, and other ephemera, including those from the artist’s archive held by the Getty Research Institute.

LACMA’s presentation (March 20 – July 31, 2016) focuses on Mapplethorpe’s working methods, sources, and creative processes – the experimental and performative aspects of his work – while the J. Paul Getty Museum (March 15 – July 31, 2016) highlights the artist’s disciplined studio practice, figure studies, and legacy. Between the two museums, more than 300 works by Mapplethorpe will be on view, making this one of the largest-ever presentations of his work. The objects on view in Robert Mapplethorpe: The Perfect Medium are drawn almost entirely from the landmark joint acquisition of art and archival materials made in 2011 by the J. Paul Getty Trust and LACMA from The Robert Mapplethorpe Foundation.

“4 years ago LACMA and the Getty came together to jointly acquire the art and archives of Robert Mapplethorpe,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “It has been an exciting collaboration ever since, as our researchers, conservators, and curators have all spent time with this trove of Mapplethorpe’s art. Now, we are glad to present this large-scale joint exhibition to Los Angeles and the world.”

“Through this historic collaboration, the LACMA and J. Paul Getty Museum exhibitions offer a new perspective on this influential artist,” said Britt Salvesen, curator and head of the Wallis Annenberg Photography department. “Robert Mapplethorpe: The Perfect Medium reveals the rich resources of the Mapplethorpe archive, which provides a broader context for the iconic images that brought him fame. Mapplethorpe’s refined style challenged viewers to consider his portraits, flowers, and sexually explicit images as equal expressions of a personal vision. His drive to capture the perfect moment is the core of his art.”

Following its Los Angeles debut, Robert Mapplethorpe: The Perfect Medium will travel internationally beginning with the Montreal Museum of Fine Arts in Canada (September 10, 2016 – January 15, 2017), the Art Gallery of New South Wales, Sydney, Australia, (October 28, 2017 – February 4, 2018), and another international venue. This will be the first major traveling retrospective in North America since the landmark exhibition The Perfect Moment, organized in 1988 by the Institute of Contemporary Art in Philadelphia.

The exhibition is accompanied by a fully illustrated book, Robert Mapplethorpe: The Photographs, co-published by LACMA and the J. Paul Getty Museum. A comprehensive guide to the artist’s work and career, this publication will feature an introduction by co-curators Britt Salvesen and Paul Martineau, five scholarly essays, an illustrated chronology, and a selected exhibition history and bibliography.

Exhibition organization

The LACMA presentation is organized in five thematic sections. The first gallery establishes Mapplethorpe in the milieu of 1970s and 1980s urban gay culture, depicting himself and his models openly declaring their sexuality through clothing, body adornment, and gesture. The second gallery highlights the work Mapplethorpe created in the late 1960s and early 1970s before he took up photography in earnest. As a student of graphic design at the Pratt Institute, he demonstrated an early facility for draftsmanship and a penchant for geometric composition. He designed jewelry and temporary assemblages using items of clothing. Inspired by Andy Warhol, Jasper Johns, and Robert Rauschenberg, he also experimented with collages and constructions, often incorporating Catholic iconography and appropriated imagery from homosexual periodicals.

Mapplethorpe borrowed a Polaroid camera from a friend in 1970 and, over the course of the next year, honed his vision as a photographer. These early unique images, installed in the third gallery, reveal his observational acuity and his ability to be in the moment. Mapplethorpe was one of his own best subjects, as his many self-portraits attest, and he was open about being a participant in the scenarios he depicted. The fourth gallery focuses on Mapplethorpe’s engagement with the leather and bondage community, his appropriation of pornographic source material, and his exploration of the African American male nude. Additionally, this gallery features ephemera relating to Mapplethorpe’s first breakout exhibitions in New York, including a joint exhibition at The Kitchen and Holly Solomon Gallery in 1977. The fifth gallery presents work from the mid-1980s, when Mapplethorpe was running a successful studio and producing many commissioned portraits. Among his favorite subjects were the artists, musicians, and other performers he first encountered in the downtown art scene in the ’70s. He commented that photography was “the perfect medium for the 70s and 80s, when everything was fast. If I were to make something that took two weeks to do, I’d lose my enthusiasm. It would become an act of labor and the love would be gone.”

Exhibition highlights

Self-portrait (1980)

Mapplethorpe’s turn to photography in the early 1970s coincided with his embrace of New York’s leather subculture, and, throughout the decade, he explored the potential of both forms of expression simultaneously. His 1980 self-portrait as a surly, smoking leatherman captures the hyper masculine posturing that was concomitant with the choice of leather as a fashion statement and as a sexual fetish. Staring defiantly into the camera, Mapplethorpe declares his participation in the leather community. At the same time, the photograph expresses the playful and performative aspects of his studio practice. An element of dress-up and theater is evident in much of his portraiture. This self-portrait shows the artist posing in the role of an archetypal tough-guy – a greaser complete with popped collar, a lit cigarette dangling from his lip, and hair styled into a pompadour.

Patti Smith (1978)

Mapplethorpe was studying art at the Pratt Institute, in Brooklyn, when he met Patti Smith in spring 1967. Mapplethorpe and Smith spent the next decade in close proximity, inspiring one another’s artistic aspirations. Mapplethorpe chose photography as his medium in the early 1970s, whereas Smith gravitated toward poetry and music, and the two collaborated in a number of portrait sessions. Here, Smith poses in the act of cutting her hair, a gesture of defiance. As she explained in a 1975 interview, she didn’t “want to walk around New York looking like a folk-singer. I like rock ‘n’ roll. So I got hundreds of pictures of Keith Richards, and I hung them up and then just took scissors and chopped away until I had a real Rolling Stones haircut.” Mapplethorpe captured Smith’s androgynous style, composing the photograph to emphasize contrasts of black and white in Smith’s features and wardrobe, in the background, and even in the cat.

Lisa Lyon (1982)

Mapplethorpe met Lisa Lyon at a party in 1979, and he would go on to produce nearly 200 photographs of her over the next several years. The first woman to win the International Federation of Body Builders female competition, Lyon had an androgynous, muscular physique that appealed to Mapplethorpe’s interest in the sculptural body. “I’d never seen anybody that looked like that before,” he said. “Once she took her clothes off it was like seeing something from another planet.” The pinnacle of their collaboration came with the release of the book Lady (1983), a series of portraits of Lyon. In this portrait, Mapplethorpe captures Lyon in her work-out attire, a nod to her role as an early advocate for fitness and weight training, which came to be a defining feature of early and mid-1980s American culture.

Complementary exhibition

The LACMA exhibition will also be accompanied by the installation Physical: Sex and the Body in the 1980s, which will feature roughly 30 works from the museum’s permanent collection. Placing Mapplethorpe’s work in dialogue with his contemporaries, the installation examines the cultural and artistic upheavals of a pivotal decade in the history of American art and society. Featured artists include Bruce Weber, Kiki Smith, Sarah Charlesworth, Laura Aguilar, and Marina Abramovic, among others. Physical: Sex and the Body is curated by Ryan Linkof, assistant curator of the Wallis Annenberg Photography department.”

Press release from the Los Angeles County Museum of Art

 

Robert Mapplethorpe (American, 1946-1989) 'Parrot Tulips' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Parrot Tulips
1988
Dye imbibition print
20 11/16 x 26 in. (52.55 x 66.04 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Joe, N.Y.C.' 1978

 

Robert Mapplethorpe (American, 1946-1989)
Joe, N.Y.C.
1978
Gelatin silver print
7 11/16 x 7 5/8 in.
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Patti Smith' 1978

 

Robert Mapplethorpe (American, 1946-1989)
Patti Smith
1978
Gelatin silver print
13 7/8 x 13 3/4 in. (35.24 x 34.93 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Keso Dekker' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Keso Dekker
1979
Gelatin silver print
14 x 13 13/16 in. (35.56 x 35.08 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Tim Scott' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Tim Scott
1980
Gelatin silver print
13 15/16 x 14 in. (35.4 x 35.56 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Phillip Prioleau' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Phillip Prioleau
1980
Gelatin silver print
13 13/16 x 13 13/16 in. (35.08 x 35.08 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lisa Lyon' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Lisa Lyon
1982
Gelatin silver print
15 3/16 c 16 3/16 in. (38.58 x 38.58 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Brian Ridley and Lyle Heeter' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Brian Ridley and Lyle Heeter
1979
Gelatin silver print
14 x 14 in. (35.56 x 25.56 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Kathy Acker' 1983

 

Robert Mapplethorpe (American, 1946-1989)
Kathy Acker
1983
Gelatin silver print
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

Robert Mapplethorpe (American, 1946-1989)
Ken Moody
1985
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Larry and Bobby Kissing' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Larry and Bobby Kissing
1979
Gelatin silver print
17 13/16 x 13 11/16 in. (45.24 x 34.77 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Melody Danielson' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Melody Danielson
1987
Gelatin silver print
23 3/16 x 19 5/16 in. ( 58.9 x 49.05 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Poppy' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Poppy
1988
Dye imbibition print
19 13/16 x 18 11/16 in. (50.32 x 47.47 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lucinda's Hand' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Lucinda’s Hand
1985
Gelatin silver print
19 3/16 x 15 1/4 in. (48.74 x 38.74 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Two Men Dancing' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Two Men Dancing
1984
Gelatin silver print
19 1/8 x 15 3/16 in. (72.4 x 59.7 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857 6000

Opening hours:
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Friday: 11am – 8pm
Saturday, Sunday: 10am – 7pm
Closed Wednesday

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21
Jul
16

Exhibition: ‘Robert Mapplethorpe: The Perfect Medium’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 15th March – 31st July 2016

 

The Perfect Moment, The Perfect Medium and … Mapplethorpe, that seminal exhibition for Australia that I saw at the Museum of Contemporary Art (MCA) in Sydney in 1995.

The technical brilliance, ravishing platinum prints (even though he never printed them himself), formalism, beauty, sensuality and, dare I say it, morality – of his work … fair bowled me over. His was an eye with a innate sensibility – “a quick sense of the right and wrong, in all human actions. And other objects considered in every view of morality and taste.”

I have never forgotten that exhibition, yet until recently there was hardly a sentence online about Mapplethorpe at the MCA. Now, thankfully, there are a some installation photographs and a few lines of text. The exhibition and the lack of information about it was one of the driving forces behind the setting up of this website.

Museums spend inordinate amounts of money putting on these exhibitions and after they are finished and the art work packed up, the catalogue shelved in a bookcase, that’s it. I wanted this website to be a form of cultural memory, where I could record the exhibition objects, installation photos and my thoughts about them so that they could live online.

I had great fun sequencing these images from the Getty (part of a double exhibition with the Los Angeles County Museum of Art (LACMA) second posting to follow): self-portraits in chronological order; portraits of the body as flesh and stone spliced by sculptural grapes; Lily and Lisa Lyon’s leg; the cross-over between tulips and white curtain; the sinuousness of Poppy and fabric of Lisa Lyon’s gown; Hermes/Moody/Sherman; and the blindness of all three men – the perfect Ken Moody, the darker (in both psychological and bodily sense) Ajitto, and the roughest, Jim, Sausalito.

I doubt that Mapplethorpe would have ever have sequenced them thus, but I hope it gives insight and a different perspective into his work.

Marcus

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Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“I don’t understand the way my pictures are. It’s all about the relationship I have with the subject that’s unique to me. Taking a picture and sexuality are parallels. They’re both unknowns. And that’s what excites me most.”

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Robert Mapplethorpe

 

 

Robert Mapplethorpe (American, 1946-1989) 'Self-portrait of Robert Mapplethorpe with trip cable in hand' 1974

 

Robert Mapplethorpe (American, 1946-1989)
Self-portrait of Robert Mapplethorpe with trip cable in hand
1974
Gelatin silver print
Sheet (each): 9.3 x 11.6 cm (3 11/16 x 4 9/16 in.)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Self-Portrait' 1975

 

Robert Mapplethorpe (American, 1946-1989)
Self-Portrait
1975
Gelatin silver print
35.4 x 35.7 cm (13 15/16 x 14 1/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Self-Portrait' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Self-Portrait
1980
Gelatin silver print
35.6 x 35.6 cm (14 x 14 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Self-Portrait' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Self-Portrait
1985
Gelatin silver print
38.7 x 38.6 cm (15 1/4 x 15 3/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Self-Portrait' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Self-Portrait
1988
Platinum print
58.7 x 48.3 cm (23 1/8 x 19 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Sam Wagstaff' 1977

 

Robert Mapplethorpe (American, 1946-1989)
Sam Wagstaff
1977
Gelatin silver print
35.2 x 35.3 cm (13 7/8 x 13 7/8 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Andy Warhol' 1983

 

Robert Mapplethorpe (American, 1946-1989)
Andy Warhol
1983
Gelatin silver print
39.1 x 38.5 cm (15 3/8 x 15 3/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Wrestler' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Wrestler
1988
Gelatin silver print
49 x 49 cm (19 5/16 x 19 5/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Derrick Cross' 1983

 

Robert Mapplethorpe (American, 1946-1989)
Derrick Cross
1983
Gelatin silver print
48.5 x 38.2 cm (19 1/8 x 15 1/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Grapes' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Grapes
1985
Gelatin silver print
38.5 x 38 cm (15 3/16 x 14 15/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lydia Cheng' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Lydia Cheng
1987
Gelatin silver print
59 x 49.1 cm (23 1/4 x 19 5/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Melody (Shoe)' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Melody (Shoe)
1987
Gelatin silver print
48.9 x 49.2 cm (19 1/4 x 19 3/8 in.)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

“Since his death in 1989, Robert Mapplethorpe (American, 1946-1989) has become recognized as one of the most significant artists of the late 20th century. He is best known for his perfectly composed photographs that explore gender, race, and sexuality, which became hallmarks of the period and exerted a powerful influence on his contemporaries. The J. Paul Getty Museum will present one half of Robert Mapplethorpe: The Perfect Medium, a major retrospective exhibition of Mapplethorpe’s work, on view March 15-July 31, 2016 at the Getty Center. The Los Angeles County Museum of Art (LACMA) will host the other half of the exhibition March 20-July 31, 2016. The two exhibitions are drawn from the landmark joint acquisition and gift of art and archival materials made in 2011 by the J. Paul Getty Trust and LACMA from the Robert Mapplethorpe Foundation.

“The historic acquisition of Mapplethorpe’s art and archival materials in 2011 has enabled our institutions’ curators and other scholars to study and assess Mapplethorpe’s achievement in greater depth than ever before,” says Timothy Potts, director of the J. Paul Getty Museum. “The rich photographic holdings in the Getty Museum and LACMA, together with the artist’s archive housed at the Getty Research Institute, make Los Angeles an essential destination for anyone with a serious interest in the late 20th-century photography scene in New York. These exhibitions will provide the most comprehensive and intimate survey of Mapplethorpe’s work ever seen.”

The Getty’s exhibition features the full range of Mapplethorpe’s photographs from his portraits, self-portraits, and figure studies to his floral still lifes. It includes some of Mapplethorpe’s best-known images alongside work that has been seldom exhibited. Key themes include Mapplethorpe’s studio practice, the controversy provoked by the inclusion of his sexually explicit pictures in the 1988-90 retrospective exhibition The Perfect Moment, and the legacy he left behind after his death from AIDS-related complications in 1989.

The exhibition begins with a survey of some of Mapplethorpe’s most familiar portraits, including those of his long-time benefactor and lover Samuel J. Wagstaff Jr., poet-musician Patti Smith, and fashion designer Carolina Herrera, among others. It also includes a number of intimate self-portraits, images of artists, and a rarely exhibited series of portraits of the eleven dealers who dominated the downtown New York City art scene during the late 1970s.

Mapplethorpe searched for well-proportioned models and underscored their powerful physical presence through obsessive attention to detail, the precision of their statuesque poses, and sophisticated lighting. This interest becomes evident in examples of the sculptural bodies he enlisted as subjects through the years. In particular, Mapplethorpe was attracted to the color of black skin (he liked to refer to it as “bronze”), and the exhibition includes a number of photographs of African-American models such as Ajitto and Thomas, whom he frequently used to evoke classical themes. Mapplethorpe’s Ken and Lydia and Tyler (1985) suggests the ancient trope of the Three Graces through three models of different racial backgrounds, while select photographs of model Lydia Cheng were further idealized through the application of a shimmering bronze powder on her skin.

One of Mapplethorpe’s frequent subjects was Lisa Lyon, a bodybuilding champion who considered herself a performance artist or sculptor whose body was her medium. After meeting Lyon at a party in 1979, Mapplethorpe and his new model embarked on a six-year collaboration that resulted in 184 editioned portraits. A selection of these images in the exhibition shows her dressed, undressed, and in various guises, ranging from ingénue to dominatrix. In his art Mapplethorpe was a perfectionist who preferred to make photographs in the highly controlled environment of his New York City studio loft. His style was predominately directorial – during a shoot he used short verbal commands and gestures to communicate the poses he wanted his models to strike. Afterwards, he would spend hours reviewing his contact sheets and hired master printer Tom Baril to make finely crafted gelatin silver prints.

“Mapplethorpe was more sophisticated than most people realize,” says Paul Martineau, associate curator of photographs at the J. Paul Getty Museum and curator of the exhibition. “He was an artist who understood the value of his own intuition and eye, who taught himself the history of photography, how to network, how to run a studio, and how to keep the public interested in him.”

The exhibition includes a selection of Mapplethorpe’s floral still lifes, which further demonstrate his skill in the studio. In these photographs he imbued orchids, calla lilies, poppies, and irises with an erotic charge through carefully orchestrated compositions and meticulous lighting. The Getty’s installation also features Mapplethorpe’s X Portfolio, which depicts the gay s&m community of which he was not just an observer, but a participant. It comprises 13 photographs of sex acts that Mapplethorpe staged for the camera with particular attention to the harmonious arrangement of forms. The careful selection, sizing, sequencing, and packaging of these prints in a luxurious portfolio case wrapped in black silk help to blur the line between fine art and pornography.

The exhibition directly addresses Robert Mapplethorpe: The Perfect Moment, a retrospective exhibition that opened in 1988 at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia before beginning an eight-venue tour. After the exhibition caught the attention of conservative politicians, it was canceled at the Corcoran Gallery of Art in Washington, D.C., two weeks before its scheduled opening. When it was later shown at the Contemporary Arts Center in Cincinnati, director Dennis Barrie was arrested and charged with pandering obscenity – a charge of which he was acquitted. The exhibition also traveled to the Washington Project for the Arts (WPA), where it had record-breaking attendance. The Getty exhibition documents the media uproar surrounding The Perfect Moment through items that include a 1989 cover of ArtForum International featuring a protest that took place outside the Corcoran, exhibition catalogues that include images that were considered “obscene,” by some and Mapplethorpe’s photograph of an American flag.

“When planning this exhibition, I wanted the focus to be on Mapplethorpe’s work and not on the sensationalism that accompanied The Perfect Moment. I’ve included it in a small way because that exhibition not only represents a highpoint in Mapplethorpe’s career, but the controversy it engendered puts his sex pictures in a historical context,” says Paul Martineau. “I’m afraid that the first thing that comes to people’s minds when they think of Mapplethorpe is that controversy. There is so much more to discover about Mapplethorpe and his work than that. He continues to have an enormous impact on the photographic scene.”

The exhibition also emphasizes the care that Mapplethorpe took to craft his legacy. After being diagnosed with AIDS in 1986, Mapplethorpe continued to work more ardently than ever. In 1988 he established the Robert Mapplethorpe Foundation to steward his own work into the future, provide support for photography at the institutional level, and help fund AIDS research. A 1988 self-portrait on view shows Mapplethorpe’s face revealing signs of illness, his hand gripping a skull-topped cane, a symbol of his impending death. The simple composition and brutal honesty combine to make this photograph one of his most visually and psychologically powerful images.

The two complementary presentations at the Getty and LACMA highlight different aspects of the artist’s complex personality. LACMA’s exhibition underscores the artist’s relationship to New York’s underground, as well as his experimentation with a variety of media. Following its Los Angeles debut, the exhibition will go on an international tour, traveling to the Montreal Museum of Fine Arts in Montreal, Canada (8/29/16-1/22/17), the Art Gallery of New South Wales in Sydney, Australia (10/28/17-2/4/18), and another international venue. The Getty and LACMA will be the exhibition’s sole U.S. venues, and the exhibitions will be combined and toured as one for the international locations. The LACMA exhibition is curated by Britt Salvesen, Department Head and Curator, Wallis Annenberg Photography Department and the Department of Prints and Drawings at LACMA.

Two books will be published in conjunction with the Mapplethorpe exhibition: Robert Mapplethorpe: The Photographs by Paul Martineau and Britt Salvesen with an essay by Eugenia Parry and an introduction by Weston Naef, and Robert Mapplethorpe: The Archive by Frances Terpak and Michelle Brunnick, with essays by Patti Smith and Jonathan Weinberg.”

Press release from the J. Paul Getty Museum

 

Robert Mapplethorpe (American, 1946-1989) 'Orchid' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Orchid
1987
Gelatin silver print
49.1 x 49.2 cm (19 5/16 x 19 3/8 in.)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Calla Lily' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Calla Lily
1988
Gelatin silver print
49 x 49 cm (19 5/16 x 19 5/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lisa Lyon' 1981

 

Robert Mapplethorpe (American, 1946-1989)
Lisa Lyon
1981
Gelatin silver print
45.1 x 35 cm (17 3/4 x 13 3/4 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Tulips' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Tulips
1988
Gelatin silver print
49.1 x 49 cm (19 5/16 x 19 5/16 in.)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Phillip Prioleau' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Phillip Prioleau
1982
Gelatin silver print
38.8 x 38.8 cm (15 1/4 x 15 1/4 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Tulips' 1978

 

Robert Mapplethorpe (American, 1946-1989)
Tulips
1978
Gelatin silver print
35.4 x 35.4 cm (13 15/16 x 13 15/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Flower Arrangement' 1986

 

Robert Mapplethorpe (American, 1946-1989)
Flower Arrangement
1986
Gelatin silver print
49 x 49 cm (19 5/16 x 19 5/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Flower With Knife' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Flower With Knife
1985
Platinum print
49.2 x 49.5 cm (19 3/8 x 19 1/2 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Poppy' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Poppy
1988
Gelatin silver print
49.1 x 49.2 cm (19 5/16 x 19 3/8 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lisa Lyon' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Lisa Lyon
1982
Gelatin silver print
38.4 x 38.4 cm (15 1/8 x 15 1/8 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lisa Lyon' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Lisa Lyon
1982
Gelatin silver print
40 x 38.5 cm (15 3/4 x 15 3/16 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Calla Lily' 1986

 

Robert Mapplethorpe (American, 1946-1989)
Calla Lily
1986
Gelatin silver print
48.6 x 48.6 cm (19 1/8 x 19 1/8 in.)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

Text

 

Robert Mapplethorpe (American, 1946-1989) 'Thomas' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Thomas
1987
Gelatin silver print
48.8 x 48.8 cm (19 3/16 x 19 3/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Ken and Lydia and Tyler' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Ken and Lydia and Tyler
1985
Gelatin silver print
38.4 x 38.2 cm (15 1/8 x 15 1/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Ken Moody and Robert Sherman' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Ken Moody and Robert Sherman
1984
Platinum print
49.4 x 50.2 cm (19 7/16 x 19 3/4 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Hermes' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Hermes
1988
Gelatin silver print
49 x 49 cm (19 5/16 x 19 5/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Ken Moody' 1983

 

Robert Mapplethorpe (American, 1946-1989)
Ken Moody
1983
Gelatin silver print
38.5 x 38.7 cm (15 3/16 x 15 1/4 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Ajitto' 1981

 

Robert Mapplethorpe (American, 1946-1989)
Ajitto
1981
Gelatin silver print
45.4 x 35.5 cm (17 7/8 x 14 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Jim, Sausalito' 1977

 

Robert Mapplethorpe (American, 1946-1989)
Jim, Sausalito
1977
from The X Portfolio
Selenium toned gelatin silver print mounted on black board
19.5 x 19.5 cm (7 11/16 x 7 11/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Patrice, N.Y.C.' 1977

 

Robert Mapplethorpe (American, 1946-1989)
Patrice, N.Y.C.
1977
from The X Portfolio
Selenium toned gelatin silver print mounted on black board
19.5 x 19.5 cm (7 11/16 x 7 11/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
Robert Mapplethorpe Foundation

 

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 5.30 pm
Monday closed

The J. Paul Getty Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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