DOCSLIB.ORG

ROBERT MAPPLETHORPE the Perfect Medium

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ROBERT MAPPLETHORPE the Perfect Medium ROBERT MAPPLETHORPE the perfect medium www.Mapplethorpe.LA ! The J. Paul Getty Museum 1. Robert Mapplethorpe 2. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Thomas, 1987 Self-Portrait, 1980 Gelatin silver print Gelatin silver print Image: 48.8 x 48.8 cm (19 3/16 x 19 3/16 in.) Image: 35.6 x 35.6 cm (14 x 14 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul County Museum of Art; partial gift of The Robert Mapplethorpe Getty Trust and the David Geffen Foundation, 2011.7.31 Foundation; partial purchase with funds provided by the J. Paul © Robert Mapplethorpe Foundation Getty Trust and the David Geffen Foundation, 2011.9.21 © Robert Mapplethorpe Foundation 3. Robert Mapplethorpe 4. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Calla Lily, 1988 Lisa Lyon, 1981 Gelatin silver print Gelatin silver print Image: 49 x 49 cm (19 5/16 x 19 5/16 in.) Image: 45.1 x 35 cm (17 3/4 x 13 3/4 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles Promised Gift of The Robert Mapplethorpe Foundation to the County Museum of Art; partial gift of The Robert Mapplethorpe J. Paul Getty Trust and the Los Angeles County Museum of Art, Foundation; partial purchase with funds provided by the J. Paul L.2012.88.482 Getty Trust and the David Geffen Foundation, 2011.9.26 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 [email protected] Communications Department Los Angeles, CA 90049-1681 www.getty.edu ! 5. Robert Mapplethorpe 6. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Orchid, 1987 Self-portrait of Robert Mapplethorpe with trip cable in hand, 1974 Gelatin silver print Gelatin silver print Image: 49.1 x 49.2 cm (19 5/16 x 19 3/8 in.) 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 Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art, 2012.52.23 Trust and the Los Angeles County Museum of Art, 2011.M.20.24 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 7. Robert Mapplethorpe 8. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Ajitto, 1981 Ken Moody, 1983 Gelatin silver print Gelatin silver print Image: 45.4 x 35.5 cm (17 7/8 x 14 in.) Image: 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 Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.13 Trust and the David Geffen Foundation, 2011.7.16 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 9. Robert Mapplethorpe 10. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Ken and Lydia and Tyler, 1985 Grapes, 1985 Gelatin silver print Gelatin silver print Image: 38.4 x 38.2 cm (15 1/8 x 15 1/16 in.) Image: 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 Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.19 Trust and the David Geffen Foundation, 2011.7.20 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 11. Robert Mapplethorpe 12. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Self-Portrait, 1985 Lisa Lyon, 1982 Gelatin silver print Gelatin silver print Image: 38.7 x 38.6 cm (15 1/4 x 15 3/16 in.) Image: 38.4 x 38.4 cm (15 1/8 x 15 1/8 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles Promised Gift of The Robert Mapplethorpe Foundation to the County Museum of Art, with funds provided by the J. Paul Getty J. Paul Getty Trust and the Los Angeles County Museum of Art, Trust and the David Geffen Foundation, 2011.7.21 L.2012.88.614 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 13. Robert Mapplethorpe 14. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Derrick Cross, 1983 Andy Warhol, 1983 Gelatin silver print Gelatin silver print Image: 48.5 x 38.2 cm (19 1/8 x 15 1/16 in.) Image: 39.1 x 38.5 cm (15 3/8 x 15 3/16 in.) Promised Gift of The Robert Mapplethorpe Foundation to the Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art, J. Paul Getty Trust and the Los Angeles County Museum of Art, L.2012.88.910 L.2012.89.156 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 15. Robert Mapplethorpe 16. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Flower Arrangement, 1986 Melody (Shoe), 1987 Gelatin silver print Gelatin silver print Image: 49 x 49 cm (19 5/16 x 19 5/16 in.) Image: 48.9 x 49.2 cm (19 1/4 x 19 3/8 in.) Promised Gift of The Robert Mapplethorpe Foundation to the Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty J. Paul Getty Trust and the Los Angeles County Museum of Art, Trust and the Los Angeles County Museum of Art, 2012.52.22 L.2012.89.566 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 1 7. Robert Mapplethorpe 18. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Tulips, 1988 Self-Portrait, 1975 Gelatin silver print Gelatin silver print Image: 49.1 x 49 cm (19 5/16 x 19 5/16 in.) Image: 35.4 × 35.7 cm (13 15/16 × 14 1/16 in.) Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Jointly acquired by the J. Paul Getty Trust and the Los Angeles Trust and the Los Angeles County Museum of Art, 2012.52.27 County Museum of Art, with funds provided by the J. Paul Getty © Robert Mapplethorpe Foundation Trust and the David Geffen Foundation, 2011.7.2 © Robert Mapplethorpe Foundation 19. Robert Mapplethorpe 20. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Tulips, 1978 Ken Moody and Robert Sherman, 1984 Gelatin silver print Platinum print Image: 35.4 × 35.4 cm (13 15/16 × 13 15/16 in.) Image: 49.4 × 50.2 cm (19 7/16 × 19 3/4 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.7.9 Trust and the David Geffen Foundation, 2011.7.23 © Robert Mapplethorpe Foundation © Robert Mapplethorpe Foundation 21. Robert Mapplethorpe 22. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Flower With Knife, 1985 Self-Portrait, 1988 Platinum print Platinum print Image: 49.2 × 49.5 cm (19 3/8 × 19 1/2 in.) Image: 58.7 × 48.3 cm (23 1/8 × 19 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty County Museum of Art; partial gift of The Robert Mapplethorpe Trust and the David Geffen Foundation, 2011.7.28 Foundation; partial purchase with funds provided by the J. Paul © Robert Mapplethorpe Foundation Getty Trust and the David Geffen Foundation, 2011.9.25 © Robert Mapplethorpe Foundation 23. Robert Mapplethorpe 24. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Ermes, 1988 Jim, Sausalito, 1977 Gelatin silver print from The X Portfolio Image: 49 × 49 cm (19 5/16 × 19 5/16 in.) Selenium toned gelatin silver print mounted on black board Jointly acquired by the J. Paul Getty Trust and the Los Angeles Image: 19.5 × 19.5 cm (7 11/16 × 7 11/16 in.) County Museum of Art; partial gift of The Robert Mapplethorpe Jointly acquired by the J. Paul Getty Trust and the Los Angeles Foundation; partial purchase with funds provided by the J. Paul County Museum of Art; partial gift of The Robert Mapplethorpe Getty Trust and the David Geffen Foundation, 2011.9.36 Foundation; partial purchase with funds provided by the J. Paul © Robert Mapplethorpe Foundation Getty Trust and the David Geffen Foundation, 2011.9.41.2 © Robert Mapplethorpe Foundation 25. Robert Mapplethorpe 26. Robert Mapplethorpe American, 1946–1989 American, 1946–1989 Patrice, N.Y.C., 1977 Joe, N.Y.C., 1978 from The X Portfolio from The X Portfolio Selenium toned gelatin silver print mounted on black board Selenium toned gelatin silver print mounted on black board Image: 19.5 × 19.5 cm (7 11/16 × 7 11/16 in.) Image: 19.5 × 19.5 cm (7 11/16 × 7 11/16 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J.
Load more

Recommended publications
  • Mapplethorpe: Assault with a Deadly Camera
    How To Quote This Material ©Jack Fritscher www.JackFritscher.com Mapplethorpe: Assault with a Deadly Camera — Take 2: Pentimento for Robert Mapplethorpe Manuscript TAKE 2 © JackFritscher.com PENTIMENTO FOR ROBERT MAPPLETHORPE FETISHES, FACES, AND FLOWERS Of EVIL1 “He wanted to see the devil in us all... The man who liberated S&M Leather into international glamor... The man Jesse Helms hates... The man whose epic movie-biography only Ken Russell could re-create...” Photographer Mapplethorpe: The Whitney, the NEA and censorship, Schwarzenegger, Richard Gere, Susan Sarandon, Paloma Picasso, Hockney, Warhol, Patti Smith, Scavullo, sex, drugs, rock ’n’ roll, S&M, flowers, black leather, fists, Allen Ginsberg, and, once-upon-a-time, me... The pre-AIDS past of the 1970s has become a strange country. We lived life differently a dozen years ago. The High Time was in full upswing. Liberation was in the air, and so were we, performing nightly our high-wire sex acts in a circus without nets. If we fell, we fell with splendor in the grass. That carnival, ended now, has no more memory than the remembrance we give it, and we give remembrance here. In 1977, Robert Mapplethorpe arrived unexpectedly in my life. I was editor of the San Francisco—based international leather magazine, Drummer, and Robert was a New York shock-and-fetish photographer on the way up. Drummer wanted good photos. Robert, already infamous for his leather S&M portraits, always seeking new models with outrageous trips, wanted more specific exposure within the leather community. Our mutual, professional want ignited almost instantly into mutual, personal passion.
    [Show full text]
  • Art in America, March 1, 2016. Robert Mapplethorpe
    Reid-Pharr, Robert. “Putting Mapplethorpe In His Place,” Art in America, March 1, 2016. Robert Mapplethorpe: Self-Portrait, 1988, platinum print, 23⅛ by 19 inches. With a retrospective for the celebrated photographer about to open at two Los Angeles institutions, the author reassesses the 1990 “X Portfolio” obscenity trial, challenging its distinction between fine art and pornography. Americans take their art seriously. Stereotypes about Yankee simplicity and boorishness notwithstanding, we are a people ever ready to challenge each other’s tastes and orthodoxies. And though we always seem surprised when it happens, we can quite efficiently use the work of artists as screens against which to project deeply entrenched phobias regarding the nature of our society and culture. In hindsight it really was no surprise that the traveling retrospective “Robert Mapplethorpe: The Perfect Moment” would so fiercely grip the imaginations of artists, critics, politicians and laypersons alike. Curated by Janet Kardon of the Institute of Contemporary Arts (ICA) in Philadelphia, the exhibition opened in December of 1988, just before the artist’s death in March of 1989. It incorporated some of Mapplethorpe’s best work, including stunning portraits and still lifes. What shocked and irritated some members of his audiences, however, were photographs of a naked young boy and a semi-naked girl as well as richly provocative erotic images of African-American men and highly stylized photographs of the BDSM underground in which Mapplethorpe participated. Indeed, much of what drew such concentrated attention to Mapplethorpe was the delicacy and precision with which he treated his sometimes challenging subject matter.
    [Show full text]
  • Triptych Eyes of One on Another
    Saturday, September 28, 2019, 8pm Zellerbach Hall Triptych Eyes of One on Another A Cal Performances Co-commission Produced by ArKtype/omas O. Kriegsmann in cooperation with e Robert Mapplethorpe Foundation Composed by Bryce Dessner Libretto by korde arrington tuttle Featuring words by Essex Hemphill and Patti Smith Directed by Kaneza Schaal Featuring Roomful of Teeth with Alicia Hall Moran and Isaiah Robinson Jennifer H. Newman, associate director/touring Lilleth Glimcher, associate director/development Brad Wells, music director and conductor Martell Ruffin, contributing choreographer and performer Carlos Soto, set and costume design Yuki Nakase, lighting design Simon Harding, video Dylan Goodhue/nomadsound.net, sound design William Knapp, production management Talvin Wilks and Christopher Myers, dramaturgy ArKtype/J.J. El-Far, managing producer William Brittelle, associate music director Kathrine R. Mitchell, lighting supervisor Moe Shahrooz, associate video designer Megan Schwarz Dickert, production stage manager Aren Carpenter, technical director Iyvon Edebiri, company manager Dominic Mekky, session copyist and score manager Gill Graham, consulting producer Carla Parisi/Kid Logic Media, public relations Cal Performances’ 2019 –20 season is sponsored by Wells Fargo. ROOMFUL OF TEETH Estelí Gomez, Martha Cluver, Augusta Caso, Virginia Kelsey, omas McCargar, ann Scoggin, Cameron Beauchamp, Eric Dudley SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Lisa Oman, executive director ; Eric Dudley, artistic director Susan Freier, violin ; Christina Simpson, viola ; Stephen Harrison, cello ; Alicia Telford, French horn ; Jeff Anderle, clarinet/bass clarinet ; Kate Campbell, piano/harmonium ; Michael Downing and Divesh Karamchandani, percussion ; David Tanenbaum, guitar Music by Bryce Dessner is used with permission of Chester Music Ltd. “e Perfect Moment, For Robert Mapplethorpe” by Essex Hemphill, 1988.
    [Show full text]
  • Robert Mapplethorpe
    GALERIE THADDAEUS ROPAC ROBERT MAPPLETHORPE ROBERT MAPPLETHORPE CURATED BY HEDI SLIMANE PARIS DEBELLEYME 13 Thursday - 19 Saturday The Thaddaeus Ropac Gallery is pleased to present an important exhibition of works by American photographer Robert Mapplethorpe. Hedi Slimane, the artistic director of Dior Homme, also a photographer in his own right, will curate the show. The concept of the show is to invite a contemporary artist to rediscover a major body of work such as Mapplethorpe's, by reframing the whole, based on his own sensibilities and tastes thus helping us to view the renowned works in a new light. This show follows in the footsteps of a series of exhibits. Previous shows include- « Robert Mapplethorpe: Eye to Eye » organized in 2003 by the American artist Cindy Sherman in New York, as well as the exhibit « Robert Mapplethorpe curated by David Hockney » which took place in London in early 2005. Both Slimane and Mapplethorpe share a passion for photography, and both, by different means, each in his own generation, have defined the mood and aesthetic of the artistic community to which they belong. Hedi Slimane has been given free reign to explore themes that inspire him in Mapplethorpe's work. Last May, in conjunction with the release of his book of photographs of rocks bands, Slimane also edited the layout for the daily paper Libération. We can expect to find, in his selection of works for the show, images that reflect themes in both he and Mapplethorpe's lives where their sensibilities, moods and observations converge. By offering this face-to-face between two creative forces, this event allows us to revisit the work in an intimate, rather than critical manner.
    [Show full text]
  • Robert Mapplethorpe Curated by Arthur Jafa 515 West 24Th Street March 12 – April 24, 2021 Opening March 12, 10Am – 6Pm
    Robert Mapplethorpe Curated by Arthur Jafa 515 West 24th Street March 12 – April 24, 2021 Opening March 12, 10am – 6pm Gladstone Gallery is pleased to present a career-spanning exhibition of works by Robert Mapplethorpe curated by artist Arthur Jafa. Comprised of both the iconic studio photographs that are synonymous with Mapplethorpe’s oeuvre as well as a selection of his rarely exhibited Polaroids, Jafa employs the visual sequencing found throughout his own work to reconfigure and destabilize our understanding of the familiar. Orbiting around the concept that re-oriented chains of connotation imbue culturally entrenched imagery with new narrative power, Jafa proposes a fresh reading of works that have long been embraced as art-historical canon. Breaching the tacit barricades that quarantine Mapplethorpe’s classically composed studio work from his notoriously unmitigated depictions of gay sexuality, Jafa’s image selection spans the full arc of Mapplethorpe’s practice. Silver gelatin portraits and still-lifes are displayed with a series of Polaroids that fluctuate between the tender and the transgressive, all of which are granted equal footing in Jafa’s hierarchy-leveling hands. Suggesting that visual information can supply narrative meaning in much the same way as a text, Jafa’s sequencing re- examines the issues of agency and power that reverberate throughout both Mapplethorpe’s work and his own. Of particular interest to Jafa is the literal and metaphorical space between Mapplethorpe and his subjects, the delicate balance between intimacy and formalism that often charges the photographer’s imagery. Sam Wagstaff is here presented as both a lover and public figure—an object of erotic desire and a revered mentor whose varying depictions in Mapplethorpe’s work trespass simultaneously on the public and the private.
    [Show full text]
  • Patti Smith & Robert Mapplethorpe Both Became Art-World Legends and ’70S Icons of Radical Downtown Bohemia
    They WERE NEW YORK BEFORE NEW YORK KNEW what to do WITH THEM. They WERE LOVERS, BEST FRIENDS, FELLOW SURVIVORS. PATTI SMITH & ROBERT MAppLETHORPE BOTH BECAME ART-WORLD LEGENDS and ’70S ICONS OF RADICAL DOWNTOWN BOHEMIA. Now SMITH FINALLY OPENS UP about THEIR DAYS together, LIVING at the CHELSEA HOTEL, BUYING ART SUppLIES BEFORE FOOD, MIXING with WARHOL SUPERSTARS and FUTURE ROCK GODS, and DOING WHATEVER they HAD to DO JUST to STAY TOGETHER By CHRISTOPHER BOLLEN THIS SPREAD: PATTI SMITH AND ROBERT MAppLETHOrpE IN NEW YORK, 1970. PHOTOS: NORMAN SEEFF. In 1967, Patti Smith moved to New York City from and a pot of water and I keep diluting it, because it’s certainly hasn’t changed. When I was a kid, I South Jersey, and the rest is epic history. There are not even the coffee, it’s the habit. wore dungarees and little boatneck shirts and the photographs, the iconic made-for-record-cover BOLLEN: That’s my problem. I really don’t braids. I dressed like that throughout the ’50s, to black-and-whites shot by Smith’s lover, soul mate, and smoke cigarettes that much except when I write. the horror of my parents and teachers. co-conspirator in survival, Robert Mapplethorpe. But when I write, I smoke. It’s bad, but I’m scared BOLLEN: Most people take a long time to find Then there are the photographs taken of them that if I break the habit, I won’t be able to write. themselves—if they ever do. How did you catch together, both with wild hair and cloaked in home- SMITH: It’s part of your process.
    [Show full text]
  • Mapplethorpe, Robert (1946-1989) by Ken Gonzales-Day
    Mapplethorpe, Robert (1946-1989) by Ken Gonzales-Day Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Robert Mapplethorpe Reprinted from http://www.glbtq.com (standing) with author Jack Fritscher. Gifted American photographer Robert Mapplethorpe brought rigorously formal Copyrighted photograph courtesy Jack Fritscher. composition and design, and an objectifying "cool" eye, to extreme subject matter. In so doing, he sparked a firestorm of outrage that led to debate about the public funding of art in the United States. Born into a Catholic family in Queens, New York on November 4, 1946, Mapplethorpe grew up in suburban Long Island. He studied painting, sculpture, and drawing at Pratt Institute in Brooklyn from 1963 until 1969, when he moved to the Chelsea Hotel with the singer and poet Patti Smith, who was to become one of his favorite models. In the early 1970s, Mapplethorpe began making black and white photographs. In 1972, he began a long-term intimate relationship with Sam Wagstaff, former curator of the Wadsworth Atheneum in Hartford and the Detroit Institute of Arts, who served as his mentor as well as his lover. Wagstaff encouraged Mapplethorpe's photography and helped arrange for his first solo show, "Polaroids," at the Light Gallery in 1973. Subsequently, Mapplethorpe began exhibiting widely and quickly earned a reputation as an extraordinarily accomplished photographer. In 1978, Mapplethorpe published the X Portfolio and the Y Portfolio in limited editions. X centers around photographic images of S&M behavior, while Y focuses on flowers and still lifes. In 1981, Mapplethorpe published the Z Portfolio, which focuses on black men, also in a limited edition.
    [Show full text]
  • Mapplethorpe, Schor, and Sherman
    2 Developing the negative: Mapplethorpe, Schor, and Sherman [C]onfronted with the photograph, as in the dream, it is the same effort, the same Sisyphean labor: to reascend, straining toward the essence, to climb back down without having seen it, and to begin all over again. (Roland Barthes, Camera Lucida: 66) [T]he relation between the gaze and what one wishes to see involves a lure. The subject is presented as other than he is, and what one shows him is not what he wants to see. It is in this way that the eye may function as objet a, that is to say, at the level of the lack. (Lacan, Four Fundamental Concepts: 104) Barthes’ Camera Lucida is a lamentation for his mother. An anatomy of the grief of the surviving singular I/eye, Camera Lucida details the search for the perfect image, the punctum of the photograph which will return her to him. Employing public and “private” photographs, Barthes educates his eye to see that he has not seen what he wants to see and to look again. This double action, the recognition of not-seeing and the will to look again, is the lure of the image repertoire. The double action confirms the distinction between the gaze and the eye: the eye, ever hungry, ever restless, temporarily submits to the law of the gaze, the ocular perspective which frames the image, sees what is shown and discovers it to be “lacking.” Not quite the thing one wants/needs/ desires/to see. And what is that thing? An image of self-seeing that is complete.
    [Show full text]
  • Fall 2015 the Journal of Kcc Reads
    PAIDEIA VOLUME 3 | FALL 2015 THE JOURNAL OF KCC READS EDITORIAL STAFF: EDITOR-IN-CHIEF: Maureen E. Fadem | English SECTION EDITORS: LAYOUT: Irina Pistsov | KCC Graphic Artist ARTWORK: Madeline Sorel | Art PHOTOGRAPHY: Farin Kautz | KCC Graduate, Class of ‘12 Niaz Mosharraf | KCC Graduate, Class of ‘14 Catherine McConney | KCC Graduate, Class of ‘15 ASSOCIATE EDITORS: Jay Bernstein | Library Kevicha Echols | Health JoAnne Meyers | Office of Communications & Gov’t Relations Robert Schacter | Office of the Associate Provost Diana Treglia | Health ASSISTANT EDITORS: Robert Gutenmakher | KCC Student Jamila Wallace | KCC Student EDITORIAL STATEMENT: PAIDEIA: The Journal of KCC Reads is the annual publication of the common reading program at Kingsborough Community College, CUNY. The journal publishes work on adopted common reading texts by students of the college. Given that the program’s first priority is student enrichment, all KCC students are welcome to submit work for publication. We consider any work completed by a student of the college, at any level, as long as it engages the current year’s common reading text in a thoughtful way that contributes meaningfully to the conversation on the book. In the main, work published in Paideia will have been presented at the annual KCC Reads Annual Student Conference, held each year in the Spring semester and featuring scholarship by hundreds of students in various formats and from multiple disciplinary standpoints. KCC Reads is part of the Coordinated Undergraduate Education Initiative (CUE) at Kingsborough, overseen by Associate Provost Dr. Reza Fakhari (room M-386 | 718-368-5029). PAIDEIA The Journal of KCC Reads Volume 3 | Fall 2015 PAIDEIA IS THE ANNUAL PUBLICATION OF KCC READS, THE COMMON READING PROGRAM AT KINGSBOROUGH COMMUNITY COLLEGE | CUNY KCC READS IS PART OF THE COORDINATED UNDERGRADUATE EDUCATION INITIATIVE (CUE) AT KINGSBOROUGH COMMUNITY COLLEGE, OVERSEEN BY ASSOCIATE PROVOST DR.
    [Show full text]
  • PRESSRELEASE Robert Mapplethorpe
    P R E S S R E L E A S E Robert Mapplethorpe: XYZ Portfolios Robert Mapplethorpe selected by Robert Wilson Opening: Friday, 13 March 2020, 7 – 9 pm Duration: 14 March – 18 April 2020 Location: Galerie Thomas Schulte, Charlottenstraße 24, 10117 Berlin Robert Mapplethorpe, Joe / Rubberman, 1978 (left) l Calla Lilies, 1985 (middle) l Scott, NYC, 1978 (right), all works: Courtesy of Galerie Thomas Schulte , Berlin, © Robert Mapplethorpe Foundation. Used by permission Robert Mapplethorpe´s preeminent X, Y, and Z Portfolios will be shown together for the first time in Berlin at Galerie Thomas Schulte. This is the second time the complete suits have been shown together in Germany since 1997. Created between 1978 and 1981, the three portfolios contain 13 photographs each: X features imagery from New York´s homosexual S&M scene; Y floral still lifes; and Z nude portraits of black men. The gallery is also presenting a large group of Mapplethorpe´s prints selected by another artist of the gallery, avant-garde theatre director and designer Robert Wilson. The exhibitions will be on view 14 March through 18 April with two special film screenings of the documentary Mapplethorpe: Look at the Pictures (2016) at the gallery the day after the opening and during Berlin Fetish week. Robert Mapplethorpe (born in New York in 1946, died in Boston 1989) was an acclaimed photographer, most noted for his black and white portraits of celebrities, flowers, as well as female and male nudes. While initially creating collages using found photographs, objects, and painting, Mapplethorpe turned to photography in the early 1970’s, through which—using a Polaroid SX-70 camera—he quickly became known for the portraits he took of his wide circle of friends, including famous artists, musicians, porn stars, and socialites.
    [Show full text]
  • Warhol Mapplethorpe Labels.Pdf
    Warhol & Mapplethorpe GUISE & DOLLS The portraits created by New York artists Andy Warhol (1928–1987) and Robert Mapplethorpe (1946–1989) challenge our notions of gender and sexuality. The title Guise & Dolls refers to the ways in which identity— including gender— is a performance. Both Warhol and Mapplethorpe were masters of this performance, and these portraits were their stage. This exhibition, the first to consider the two artists together, examines specific groups of portraits made in the 1970s and 1980s. This is the period that began with the Stonewall Riots and the launch of the gay rights movement, and ended with the AIDS crisis. Both Warhol and Mapplethorpe took part in the sexual freedom and gender fluidity of the new social climate. And both were affected by the first wave of the AIDS epidemic, as the sense of personal and creative freedom changed to one of mounting anxiety. In this exhibition you will see images of cross-dressing, gender ambiguity, disguise, alter-egos, drag queens, and sadomasochistic personas. Portraits of Warhol and Mapplethorpe are presented alongside other paintings, photographs, prints, films, and ephemera. Together, these works demonstrate the artists’ engagement with gender, identity, sexuality, beauty, and performance. Robert Mapplethorpe Untitled, 1973 Six dye diffusion transfer prints (Polaroid) in painted plastic mounts and acrylic frame Solomon R. Guggenheim Museum, N.Y. Gift, The Robert Mapplethorpe Foundation, 1993; 93.4276 This grid of Polaroids combines self-portraits of Mapplethorpe along the bottom, images of his lover David Croland on the top, and photos of a marble sculpture, The Oath of Spartacus. The work is framed in plastic storage cases painted by Mapplethorpe.
    [Show full text]
  • Sexual Politics in the Defense of Art: Culture Wars, Mapplethorpe, and the Road from Formalism to Identity Politics
    SEXUAL POLITICS IN THE DEFENSE OF ART: CULTURE WARS, MAPPLETHORPE, AND THE ROAD FROM FORMALISM TO IDENTITY POLITICS Dustin Kidd ABSTRACT This paper examines the 1990 trial in Cincinnati that resulted from the ~ ;:if" display of controversial photographs by Robert Mapplethorpe. 1 focus J' on how the art world attempted to defend Mapplethorpe's work from the charge of obscenity and to demonstrate the artistic merit of the photographs. Although formalist aesthetics provided the primary defense, by the trial's end,formalism had been abandoned infavor of identity politics - specifically, a sexual politics that focused on the sexual identity of the photographer and the content of the photographs. Bringing content 'and context into the discussion of art has made, 1 argue, for a more democratic art world. It has opened the door to forms of art that are less elite and that offer voices of counter-hegemonic contestation. These findings reveal that large-scale cultural conflict can have positive benefits for the public square. Politics of Change: Sexuality, Gender and Aging Research in Political Sociology, Volume 13, 79-112 Copyright © 2004 by Elsevier Ltd. All rights of reproduction in any form reserved ISSN: 0895-9935/doi:l0.l016/S0895-9935(04)13003-9 79 80 DUSTIN KIDD Sexual Politics ill the Defense ofArt 81 INTRODUCTION the Contemporary Arts Center. The resulting trial, as well as associated art world activities surrounding the trial, is the focus of this paper. On May 18th, 1989, the New York art world turned out for a memorial service at The arts were not the only American institution to experience such controversy, the Whitney Museum of American Art to mourn the death of photographer Robert as heated debate erupted in the media, the courts, and the houses of public Mapplethorpe.
    [Show full text]