In an era of AI-generated perfection and Instagram-filtered beauty, Growing (1981) feels prophetic. It reminds us that authentic growth—artistic or biological—is messy. It leaves scars. It leaves erased lines. It does not always make sense.
To understand Growing , we must first understand the mind that created it. Larry Rivers, born Yitzroch Loiza Grossberg in the Bronx in 1923, was a force of nature. He was a jazz saxophonist who performed with the likes of Charlie Parker before turning to painting. He is widely celebrated as the "Godfather" of Pop Art for his radical decision to merge the emotional, vigorous brushstrokes of Abstract Expressionism with narrative, recognizable, and often commercial imagery in the 1950s, paving the way for Andy Warhol and Roy Lichtenstein. His work, often described as a hybrid of representational abstract expressionism, consistently pushed formal boundaries. However, Rivers was as famous for his art as he was for his provocative, unabashedly "bad boy" persona, which included drug use, bisexuality, and an unquenchable desire to shatter societal taboos. A new documentary described him as a "complex character who never shied away from saying or doing the uncomfortable thing". It was within this combustible mix of artistic ambition and personal provocation that Growing was conceived.
The Vanity Fair article describes the film as a project where Rivers "used [video] mainly to explore sexual taboos". The footage depicts the adolescent girls at a highly vulnerable stage of life, discussing intimate details about their physical development while being partially undressed on camera. One daughter has stated that the process included being told to touch themselves or roll in bedsheets. For Rivers, this was an artistic project akin to his paintings, a documentary study of natural growth. For his daughters, however, it was a very different experience—one they say has haunted them into adulthood. The title "Growing" thus takes on a dark double meaning: it describes both the physical changes being documented and the escalating psychological damage being inflicted. growing 1981 larry rivers
While Growing is a video work, it reflects Rivers' lifelong obsession with the human figure and "unfashionable" subjects. His style—often described by The Art Story as a bridge between and Pop Art —frequently used "iconographic clichés" and personal imagery to challenge established norms.
: Filming began in 1976 and continued for five years. The project involved semi-annual recording sessions with his daughters, Emma and Gwynne. In an era of AI-generated perfection and Instagram-filtered
The documentary's director, Peter Rosen, along with co-producers, sought to present "an unvarnished look at a complex character," showing both his pivotal role in art history and the deeply troubling choices he made. It asks whether the contributions of such a "godfather of Pop Art" should be denied because of his actions as a father, a question that remains deeply divisive among critics and viewers alike.
By the early 1980s, Larry Rivers was already established as an artist who thrived on challenging boundaries. His work frequently explored raw, unvarnished scenes of life, and he was known for being experimental with media, including film and video. It leaves erased lines
The production of the film involved Rivers recording his daughters at regular intervals to document their transition into adulthood. During these sessions, the artist directed the subjects and asked questions intended to capture their thoughts on their physical and psychological development. Although the project was completed and edited into a 45-minute documentary in 1981, Rivers noted at the time that the project was met with significant concern from those close to the family, including the daughters themselves. The 1981 Exhibition and Suppression
It serves as a point of reflection on the ethics of the late 20th-century art world, highlighting the necessity of protecting individuals from potential exploitation, even within the context of creative exploration. The project is now primarily discussed in terms of the ethical responsibilities of artists and the legal frameworks governing the documentation of family life. Share public link
The revelation of the project's existence prompted a public discussion about the impact of such artistic endeavors on the individuals involved.
The growing interest in 1981 Larry Rivers is a testament to the artist's innovative spirit and his ability to push boundaries. As the art world continues to evolve, it's clear that Rivers' work will remain relevant, offering a unique perspective on the intersection of art, music, and culture.