Growing 1981 Larry Rivers [work]

"Growing" (1981) is an experimental video project by artist Larry Rivers documenting his daughters from childhood to their mid-teens, which became the subject of intense ethical and legal controversy due to its content [1]. Following attempts to sell the tapes, the artist's daughter, Emma Tamburlini, publicly denounced the work as exploitative and sought its destruction, leading to its refusal by NYU [1]. The case is widely cited in debates concerning the boundaries of transgressive art and the protection of minors, according to reports from the New York Times and Vanity Fair.

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.

In 1981, Rivers was 58 years old and already an established figure in the art world. During this period, he continued to experiment with new techniques and themes, further solidifying his reputation as a versatile and innovative artist.

: The series documented their physical development and transition through puberty into young adulthood. growing 1981 larry rivers

The film was the culmination of a five-year project beginning in the mid-1970s. During this time, Rivers filmed his adolescent daughters, Gwynne and Emma, every six months to document their physical development.

While Rivers described the project as a document of development for his daughters to look back on, it remained unexhibited during his lifetime. In later years, his daughter Emma Tamburlini condemned the work, describing it as child pornography and stating it contributed to her developing an eating disorder. Controversial Legacy:

, the footage often shows them topless or naked while Rivers asks them questions about their changing bodies and sexuality. Intent vs. Reality: "Growing" (1981) is an experimental video project by

The series documented the children's physical growth over several years, with Rivers providing commentary and conducting interviews with his daughters during the sessions.

: True to Rivers' signature style, the work likely features his "drippy, watercolor quality" and a blend of representational figures with abstract elements. Historical Context

In subsequent years, the daughters expressed that the filming process was a source of significant personal distress. Emma Tamburlini (née Rivers) has spoken publicly about the lasting negative psychological impact the project had on her life, advocating for the permanent removal of the footage from academic and public institutions. The Growing series (1976–1981) remains one of the

In this piece, notice the hands. The hands in Growing are enormous, disproportionate, and rendered almost entirely in charcoal pencil over a thin wash of oil. They hover near the groin and the heart—two centers of biological growth. The fingers look like roots digging into the soil of the torso. It is gross, tender, and utterly profound.

In this article, we explore the Growing series (1981), its context within Rivers’ career, the artistic and ethical questions it raises, and its legacy in contemporary art discussions.

is a highly controversial 45-minute experimental film created by the prominent American proto-Pop artist Larry Rivers , documenting the physical development and maturation of his two adolescent daughters. Shot over a five-year period from 1976 to 1981, the film remains one of the most polarizing artifacts in modern art history. It forces a difficult conversation regarding the boundaries between artistic expression, parental ethics, and child exploitation. The Production and Context of Growing

: Emma Rivers (later Emma Tamburlini) publicly condemned the work, describing the filming process as coercive and detailing the long-term psychological distress it caused. She sought the return and destruction of the footage to protect her privacy. The Ethical and Artistic Debate

Fast-forward to 1981, a pivotal year in Rivers' career. At this time, he began experimenting with a new series of works that would become highly sought after by collectors and institutions. The 1981 series showcases Rivers' unique blend of Pop Art, Abstract Expressionism, and figurative painting.