The Growing series (1976–1981) remains one of the most polarizing entries in Larry Rivers' career. It stands as a complex artifact from an era of the New York art scene where the boundaries of the "private" were frequently challenged. Whether analyzed as a raw attempt at documenting human maturation or criticized as an exploitative misuse of paternal authority, the work necessitates a serious examination of the intersections of artistic freedom, the ethics of consent, and the responsibilities of the artist toward their subjects.
(1981) is a controversial video-series and subsequent large-scale painting created by American artist Larry Rivers
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 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 growing 1981 larry rivers
: Rivers utilized a handheld video camera to capture intimate, unscripted moments, reflecting his interest in the "cinema verité" style of the era.
For decades, "Growing" was a dark rumor in the art world. But the controversy exploded into the mainstream in , when the New York University (NYU) was in the final stages of acquiring Larry Rivers' entire archive from the Larry Rivers Foundation. In the process of reviewing the materials, the university discovered the nature of the "Growing" tapes. The result was swift and decisive: NYU immediately informed the foundation that it would not accept the films and videotapes as part of the archive purchase.
The question of whether Rivers's Growing is a legitimate work of art or an act of child abuse has sparked intense debate. Some argue that an artist's role is to break boundaries and explore difficult subjects, no matter how uncomfortable. They point to Rivers's lifelong pattern of pushing limits as central to his genius. But for many, a line is crossed when the subject is one's own child, whose ability to consent is legally and ethically compromised. In 2010, the debate erupted into the mainstream when New York University announced it was purchasing Rivers's archives. Emma Tamburlini came forward publicly to demand that the Growing films be excluded from the acquisition, calling them a "document of exploitation and abuse". The ensuing public pressure was immense, and NYU ultimately reversed its decision, saying it would not accept the Growing films as part of the purchase. This decision was seen by many as a landmark victory for the rights of the subjects of controversial art. The Growing series (1976–1981) remains one of the
is a 1981 documentary video project produced by Larry Rivers. Known for his eclectic career as a painter, jazz musician, and filmmaker, Rivers used this project to document his family life. The film is approximately 52 minutes long and is currently archived in collections such as the Media Burn Archive .
Larry Rivers passed away in 2002, but his influence echoes through contemporary figurative painting. Artists from David Salle to Jean-Michel Basquiat drew inspiration from Rivers' permission to mix high and low culture, history and autobiography, drawing and painting.
The piece was originally intended to be displayed in a continuous loop alongside his paintings. However, it remained largely unseen for decades due to its highly sensitive nature: However, the girls' mother, Clarice Rivers, intervened and
Today, the discussion surrounding "Growing" is less about its place in the Pop Art canon and more about the protection of children within the context of experimental media and the ethical responsibilities of cultural institutions. Share public link
Larry Rivers helped change the course of American art. He broke the rules of painting, merged jazz with visual expression, and paved the way for Warhol, Lichtenstein, and the entire Pop Art movement. His retrospective exhibitions in 1981 cemented his place in the canon of 20th-century art. But the same year also marked the completion of "Growing," a work that ensures his name will also be associated with an unforgivable breach of trust.
For collectors and art historians tracking 20th-century American art, Larry Rivers' works from the early 1980s represent a fascinating investment vector. While his 1950s and 1960s Pop icons command the highest historical premium, his 1980s large-scale canvases offer incredible technical mastery and depth. Exhibition Context
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.