Mapplethorpe, Robert - Fotografia
Leatherman II, 1970
Rosie, 1976
Gelatin-silver print
edition 8/10, 20 x 16 inches
Guggenheim Museum, New York
Philip Glass and Robert Wilson, 1976
gelatin silverprint
51 x 41 cm
Jesse McBride, 1976
Gelatin-silver print
edition 3/5, 20 x 16 inches
Guggenheim Museum, New York
Patti Smith, 1978
gelatin silverprint
51 x 41 cm
Joe, 1978
Brian Ridley and Lyle Heeter, 1979
Self-Portrait, 1980
Alistair Butler, 1980
William Burroughs, 1981
gelatin silverprint
51 x 41 cm
Ajitto, 1981
Louise Bourgeois, 1982
Derrick Cross, 1982
Phillip Prioleau, 1982
Orchid and Leaf in White Vase, 1982
Melia Marden, 1983
Gelatin-silver print
edition 7/10, 20 x 16 inches
Guggenheim Museum, New York
Ken Moody, 1983
Robert, 1983
Gelatin silver photograph
38.7 x 38.7cm
Art Gallery of New South Wales, Sydney, Australia
Phillip Prioleau, 1983
White Gauze, 1984
gelatin silverprint
51 x 41 cm
Flower, 1984
Calla Lily, 1984
Lindsay Key, 1985
Gelatin-silver print
edition 2/10, 20 x 16 inches
Guggenheim Museum, New York
Ken and Tyler, 1985
Platinum print
edition 2/3, 25 7/8 x 22 1/4 inches
Guggenheim Museum, New York
Raymond, 1985
Portrait of Cindy Sherman, 1985
Untitled #1, 1985
color photogravure and screenprint
University of South Florida Contemporary Art Museum
Charles, 1985
Self-Portrait, 1985
Louise Nevelson, 1986
gelatin silverprint
61 x 51 cm
Calla Lily, 1986
Gelatin-silver print
edition 10/10, 23 7/8 x 19 3/4 inches
Guggenheim Museum, New York
Self-Portrait, 1986
Thomas, 1987
Carleton, 1987
gelatin silver print; edition 1/10
19 1/4 x 19 1/4 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Hyacinth, 1987
photogravure with silk colle
University of South Florida Contemporary Art Museum
Baby's Breath, 1987
Leaf, 1987
Irises, 1987
photogravure with silk colle
University of South Florida Contemporary Art Museum
Orchid, 1987
photogravure with silk colle
University of South Florida Contemporary Art Museum
Eva Amurri, 1988
Gelatin-silver print
edition 1/10, 23 3/4 x 19 7/8 inches
Guggenheim Museum, New York
Self-Portrait, 1988
Gelatin-silver print
artist’s proof 1/1, 26 5/8 x 22 1/2 inches
Guggenheim Museum, New York
Irises, 1988
gelatin silver print; edition 5/10
23 x 19 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Poppy, 1988
Apollo, 1988
Tulip, 1988
Jack-in-the-pulpit, 1988
Orchid, 1989
Nathaniel, 1989
Orchid, 1989
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Em "Thomas, 1987", a luz cai sobre as curvas e a textura da pele de Thomas, em contraste com o vazio negra por detrás. Limitado por um círculo, ele torna-se foco de uma energia intensa e contida. As ftografias de Mapplethorne foram objecto de uma controvérsia sem precedentes. A sua obra é conflituosa, não apenas por apresentar frequentemente um conteúdo erótico homessexual e sado-masoquista, mas também por implicar o duplo papel do autor como observador e como participante. A controvérsia atingiu o auge em 1990, quando a polícia invadiu uma exposição póstuma em Cincinnati - o primeiro caso de um museu americano processado criminalmente por uma exposição. Em contraste com este tipo de trabalho, Mapplethorpe elaborou também retratos de sociedade, fotografias de moda e uma maravilhosa série de estudos de flores. No entanto, o tema que o trouxe para a ribalta foi o da identidade sexual que, apesar da emergência da SIDA e do movimento gay, poucos artistas têm tratado com a mesma intensidade. Robert Mapplathorne nasceu em Long Island, NY (EUA) em 1946 e morreu em Nova Iorque (EUA) em 1989.
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Robert Mapplethorpe was born in 1946, the third of six children. He remembered a very secure childhood on Long Island, which he summed up by saying, “I come from suburban America. It was a very safe environment, and it was a good place to come from in that it was a good place to leave.” He received a B.F.A. from Pratt Institute in Brooklyn, where he produced artwork in a variety of media. He had not taken any of his own photographs yet, but he was making art that incorporated many photographic images appropriated from other sources, including pages torn from magazines and books. This early interest reflected the importance of the photographic image in the culture and art of our time, including the work of such notable artists as Andy Warhol, whom Mapplethorpe greatly admired. Mapplethorpe took his first photographs soon thereafter, using a Polaroid camera. He did not consider himself a photographer, but wished to use his own photographic images in his paintings, rather than pictures from magazines. “I never liked photography,” he is quoted as saying, “Not for the sake of photography. I like the object. I like the photographs when you hold them in your hand.”His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. The shift to photography as Mapplethorpe’s sole means of expression happened gradually during the mid-seventies. He acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. Mapplethorpe told ARTnews in late 1988, “I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before…I was in a position to take those pictures. I felt an obligation to do them.” During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities. He continued to challenge the definition of photography by introducing new techniques and formats to his oeuvre: color Polaroids, photogravure, platinum prints on paper and linen, Cibachomes and dye transfer color prints, as well as his earlier black-and-white gelatin silver prints. Mapplethorpe produced a consistent body of work that strove for balance and perfection and established him in the top rank of twentieth-century artists. In 1987 he established the Robert Mapplethorpe Foundation to promote photography, support museums that exhibit photographic art, and to fund medical research and finance projects in the fight against AIDS and HIV-related infection.
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This entry was posted
on Terça-feira, Março 06, 2007 at 4:27 PM.
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7:32 PMNão me canso de constatar a excelência desse blog.
10:12 PM
Fiquei deslumbrada.
Não conheço melhor termo para dizer o que este post me causou.
Corpos ou flores, maravilhosamente mostrados.
Obrigada, JG.
11:41 AM
Mapplethorpe é excelente. Um de meus fotógrafos preferidos.
Boa seleção, mas faltaram algumas fotos mais ousadas, e mais especiais, do artista.
1:25 AM
Essas mais ousadas de que fala, Peterson, toda a gente as conhece e não há revista gay que as não publique. Procurei fazer uma galeria com a fotos menos visíveis.
11:05 PM
amei. adoro-o. obrigada
6:27 PM
Adoro ele e a Patti tb
5:09 PM
Todo un placer encontrar tu blog.
Excelente, muchas gracias
salud
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