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David Lebe

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David Lebe
Title of photo TK, date
Born	April 4, 1948 New York, N.Y.
Nationality	American
Education	Philadelphia College of Art
Known for	Photography
Patron(s)
Website	davidlebe.com

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Robert Mapplethorpe (/ˈmeɪpəlˌθɔːrp/; November 4, 1946 – March 9, 1989) was an American photographer, known for his sensitive yet blunt treatment of controversial subject-matter in the large-scale, highly stylized black and white medium of photography. His work featured an array of subjects, including celebrity portraits, male and female nudes, self-portraits and still-life images of flowers. His most controversial work is that of the BDSM subculture in the late 1960s and early 1970s of New York City. The homoeroticism of this work fuelled a national debate over the public funding of controversial artwork.

Contents

• 1Biography
  • 1.1Death
  • 1.2Foundation
• 2Art
• 3Controversy
  • 3.1The Perfect Moment (1989 solo exhibit tour)
  • 3.2University of Central England incident
  • 3.3The Black Book
• 4Posthumously
  • 4.1Art market
• 5Selected publications
• 6Selected exhibitions
• 7See also
• 8References
• 9Further reading
• 10External links

Biography[edit]

Mapplethorpe was born in Floral Park, Queens, New York City, the son of Joan Dorothy (Maxey) and Harry Irving Mapplethorpe, an electrical engineer. He was of English, Irish, and Germandescent, and grew up as a Roman Catholic in Our Lady of the Snows Parish. He had three brothers and two sisters. He studied for a Bachelor of Fine Arts from the Pratt Institute in Brooklyn, where he majored in Graphic Arts, though he dropped out in 1969 before finishing his degree. Mapplethorpe lived with his girlfriend Patti Smith from 1967 to 1972, and she supported him by working in bookstores. They created art together, and maintained a close relationship. Mapplethorpe's studio at 24 Bond Street in Manhattan, later kept by him for use as a darkroom

Mapplethorpe took his first photographs in the late 1960s or early 1970s using a Polaroid camera. In 1972 he met art curator Sam Wagstaff who would become his mentor and lifetime companion. In the mid-1970s Wagstaff acquired a Hasselblad medium-format camera and Mapplethorpe began taking photographs of a wide circle of friends and acquaintances, including artists, composers, and socialites. During this time, he became friends with New Orleans artist George Dureau, whose work had such a profound impact on Mapplethorpe that he restaged many of Dureau's early photographs. From 1977 until 1980, Mapplethorpe was the lover of writer and Drummer magazine editor Jack Fritscher, who introduced him to Mineshaft.

By the 1980s Mapplethorpe's subject matter focused on statuesque male and female nudes, delicate flower still lifes, and highly formal portraits of artists and celebrities. Mapplethorpe's first studio was at 24 Bond Street in Manhattan. In the 1980s, Wagstaff bought a top-floor loft at 35 West 23rd Street for Robert, where he resided, also using it as a photo-shoot studio. He kept the Bond Street loft as his darkroom. In 1988, Mapplethorpe selected Patricia Morrisroe to write his biography, which was based on more than 300 interviews with celebrities, critics, lovers, and Mapplethorpe himself.

Foundation[edit]

Nearly a year before his death, the ailing Mapplethorpe helped found the Robert Mapplethorpe Foundation, Inc. His vision for the Foundation was that it would be "the appropriate vehicle to protect his work, to advance his creative vision, and to promote the causes he cared about". Since his death, the Foundation has not only functioned as his official estate and helped promote his work throughout the world, but has also raised and donated millions of dollars to fund medical research in the fight against AIDS and HIV infection and to promote fine art photography at the institutional level. The Foundation also determines which galleries represent Mapplethorpe's art. In 2011, the Robert Mapplethorpe Foundation donated the Robert Mapplethorpe Archive, spanning from 1970 to 1989, to the Getty Research Institute.

From 1966 to 1970 I studied photography at the Philadelphia College of Art (PCA) with Ray K. Metzker, Barbara Blondeau and Tom Porett, all graduates of the Institute of Design in Chicago. I taught photography at PCA, (which in 1985 became the University of The Arts), from 1972 to 1990.

Robert Mapplethorpe (/ˈmeɪpəlˌθɔːrp/; November 4, 1946 – March 9, 1989) was an American photographer, known for his sensitive yet blunt treatment of controversial subject-matter in the large-scale, highly stylized black and white medium of photography. His work featured an array of subjects, including celebrity portraits, male and female nudes, self-portraits and still-life images of flowers. His most controversial work is that of the BDSM subculture in the late 1960s and early 1970s of New York City. The homoeroticism of this work fuelled a national debate over the public funding of controversial artwork.

Art[edit]

Mapplethorpe worked primarily in a studio, and almost exclusively in black and white, with the exception of some of his later work and his final exhibit "New Colors". His body of work features a wide range of subjects, but his main focus and the greater part of his work is erotic imagery. He would refer to some of his own work as pornographic, with the aim of arousing the viewer, but which could also be regarded as high art. His erotic art explored a wide range of sexual subjects, depicting the BDSM subculture of New York in the 1970s, portrayals of black male nudes, and classical nudes of female bodybuilders. Mapplethorpe was a participant observer for much of his erotic photography, participating in the sexual acts which he was photographing and engaging his models sexually.

Other subjects included flowers, especially orchids and calla lilies, children, statues, and celebrities and other artists, including Andy Warhol, Louise Bourgeois, Deborah Harry, Kathy Acker, Richard Gere, Peter Gabriel, Grace Jones, Amanda Lear, Laurie Anderson, Iggy Pop, Philip Glass, David Hockney, Cindy Sherman, Joan Armatrading and Patti Smith. Smith was a longtime roommate of Mapplethorpe and a frequent subject in his photography, including a stark, iconic photograph that appears on the cover of Smith's first album, Horses. His work often made reference to religious or classical imagery, such as a portrait of Patti Smith  from 1986 which recalls Albrecht Dürer's 1500 self-portrait. Between 1980 and 1983, Mapplethorpe created over 150 photographs of bodybuilder Lisa Lyon, culminating in the 1983 photobook Lady, Lisa Lyon, published by Viking Press and with text by Bruce Chatwin.

Controversy[edit]

The Perfect Moment (1989 solo exhibit tour)[edit]

In the summer of 1989, Mapplethorpe's traveling solo exhibit brought national attention to the issues of public funding for the arts, as well as questions of censorship and the obscene. The Corcoran Gallery of Art in Washington, D.C., had agreed to be one of the host museums for the tour. Mapplethorpe decided to show his latest series that he explored shortly before his death. Titled Robert Mapplethorpe: The Perfect Moment, the show included photographs from his X Portfolio, which featured images of urophagia, BDSM and a self-portrait with a bullwhip inserted in his anus. The show was curated by Janet Kardon of the Institute of Contemporary Art (ICA). The ICA was awarded a grant from the National Endowment for the Arts to support Mapplethorpe's exhibit at the Corcoran Gallery of Art. The cancellation of the show, which terminated the Corcoran's contract with the ICA, was due to the fact that the museum did not want to get involved in the politics. Instead, the Corcoran was pulled into the controversy, which "intensified the debate waged both in the media and in Congress surrounding the NEA's funding of projects perceived by some individuals ... to be inappropriate ..." The hierarchy of the Corcoran and several members of the U.S. Congress were upset when the works were revealed to them, due to the homoerotic and sadomasochistic themes of some of the work. Though much of his work throughout his career had been regularly displayed in publicly funded exhibitions, conservative and religious organizations, such as the American Family Association, seized on this exhibition to vocally oppose government support for what they called "nothing more than the sensational presentation of potentially obscene material."

In June 1989, pop artist Lowell Blair Nesbitt became involved in the censorship issue. Nesbitt, a long-time friend of Mapplethorpe, revealed that he had a $1.5-million bequest to the museum in his will, but publicly promised that if the museum refused to host the exhibition, he would revoke the bequest. The Corcoran refused and Nesbitt bequeathed the money to the Phillips Collectioninstead. After the Corcoran refused the Mapplethorpe exhibition, the underwriters of the exhibition went to the nonprofit Washington Project for the Arts, which showed all the images in its space from July 21 to August 13, 1989, to large crowds. In 1990, the Contemporary Arts Center in Cincinnati, and Dennis Barrie, were charged with obscenity. They were found not guilty by a jury.

According to the ICA, "The Corcoran's decision sparked a controversial national debate: Should tax dollars support the arts? Who decides what is "obscene" or "offensive" in public exhibitions? And if art can be considered a form of free speech, is it a violation of the First Amendment to revoke federal funding on grounds of obscenity? To this day, these questions remain very much at issue." Mapplethorpe became something of a cause célèbre for both sides of the American culture war. However, prices for many of the Mapplethorpe photographs doubled and even tripled as a consequence of all the attention. The artist's notoriety supposedly also helped the posthumous sale at Christie's auction house of Mapplethorpe's own collection of furniture, pottery, silver and works by other artists, which brought about $8 million.

University of Central England incident[edit]

In 1998, the University of Central England was involved in a controversy when a book by Mapplethorpe was confiscated. A final-year undergraduate student was writing a paper on the work of Robert Mapplethorpe and intended to illustrate the paper with a few photographs from Mapplethorpe, a book of the photographer's work. She took the photographs to the local chemist to be developed and the chemist informed West Midlands Police because of the unusual nature of the images. The police confiscated the library book from the student and informed the university that the book would have to be destroyed. If the university agreed to the destruction, no further action would be taken.

The university Vice-Chancellor, Dr. Peter Knight, supported by the Senate, took the view that the book was a legitimate book for the university library to hold and that the action of the police was a serious infringement of academic freedom. The Vice-Chancellor was interviewed by the police, under caution, with a view to prosecution under the terms of the Obscene Publications Acts.

After the interview with the Vice-Chancellor, a file was sent to the Crown Prosecution Service for a determination by the Director of Public Prosecutions whether to proceed with a trial. After a delay of about six months, the affair came to an end when Dr. Knight was informed by the DPP that no action would be taken.

The Black Book[edit]

The 1986 solo exhibition "Black Males" and the subsequent book The Black Book sparked controversy for their depiction of black men. The images, erotic depictions of black men, were widely criticized for being exploitative. The work was largely phallocentric and sculptural, focusing on segments of the subject's bodies. His purported intention with these photographs and the use of black men as models was the pursuit of the Platonic ideal. Mapplethorpe's initial interest in the black male form was inspired by films like Mandingo and the interrogation scene in Cruising, in which an unknown black character enters the interrogation room and slaps the protagonist across the face.

Criticism was the subject of a work by American conceptual artist Glenn Ligon, Notes on the Margins of the Black Book (1991–1993). Ligon juxtaposes Mapplethorpe's 91 images of black men in the 1988 publication Black Book with critical texts and personal reactions about the work to complicate the racial undertones of the imagery.

American poet and activist Essex Hemphill also expressed criticism in his anthology Brother to Brother (1991). Although he believed that Mapplethorpe's work reflected exceptional talent, Hemphill also believed that it displayed a lack of concern for black individuals in the gay community, "except as sexual subjects".

Posthumously[edit]

In 1992, author Paul Russell dedicated his novel Boys of Life to Mapplethorpe, as well as to Karl Keller and Pier Paolo Pasolini.

When Mapplethorpe: A Biography by Patricia Morrisroe was published by Random House in 1995, the Washington Post Book World described it as "Mesmerizing ... Morrisroe has succeeded in re-creating the photographer's world of light and dark." Art critic Arthur C. Danto, writing in The Nation, praised it as "utterly admirable ... The clarity and honesty of Morrisroe's portrait are worthy of its subject."

In 1996, Patti Smith wrote a book The Coral Sea dedicated to Mapplethorpe.

Philips released a photo disc for their CD-i video game system in the late 1990s called The Flowers of Robert Mapplethorpe.

In September 1999, Arena Editions published Pictures, a monograph that reintroduced Mapplethorpe's sex pictures. In 2000, Pictures was seized by two South Australian plain-clothes detectives from an Adelaide bookshop in the belief that the book breached indecency and obscenity laws. Police sent the book to the Canberra-based Office of Film and Literature Classification after the state Attorney-General's Department deftly decided not to get involved in the mounting publicity storm. Eventually, the OFLC board agreed unanimously that the book, imported from the United States, should remain freely available and unrestricted.

In May 2007, American writer, director, and producer James Crump directed the documentary film Black White + Gray, which premiered at the 2007 Tribeca Film Festival. It explores the influence Mapplethorpe, curator Sam Wagstaff, and musician/poet Patti Smith had on the 1970s art scene in New York City.

In September 2007, Prestel published Mapplethorpe: Polaroids, a collection of 183 of approximately 1,500 existing Mapplethorpe polaroids. This book accompanies an exhibition by the Whitney Museum of American Art in May 2008.

In 2008, Robert Mapplethorpe was named by Equality Forum as one of their 31 Icons of the 2015 LGBT History Month.

Patti Smith's 2010 memoir Just Kids focuses on her relationship with Mapplethorpe. The book won the 2010 National Book Award for Nonfiction.

In June 2016, Belgian fashion designer Raf Simons debuted his mens Spring 2017 collection inspired by Mapplethorpe's work and featuring several of his photographs printed onto shirts, jackets, and smocks.

The American documentary film, Mapplethorpe: Look at the Pictures, was released in 2016. It was directed and executive produced by Randy Barbato and Fenton Bailey, and produced by Katharina Otto-Bernstein.

In January 2016, filmmaker Ondi Timoner announced that she was directing a feature about him, Mapplethorpe, with Matt Smith in the lead role. The film premiered on April 22, 2018 at the Tribeca Film Festival in New York City.

Art market[edit]

In 2017, a 1987 Mapplethorpe self-portrait platinum print was auctioned for £450,000, making it the most expensive Mapplethorpe photograph ever sold.

Selected publications[edit]

• Hollinghurst, Alan and Stuart Morgan. Robert Mapplethorpe: 1970-1983. London: Institute of Contemporary Arts, 1983. ISBN 0-905263-31-6
• Mapplethorpe, Robert, and Bruce Chatwin. Lady, Lisa Lyon. New York: Viking Press, 1983. ISBN 0-670-43012-9
• Mapplethorpe, Robert. Certain People: A Book of Portraits. Pasadena, CA: Twelvetrees Press, 1985. ISBN 0-942642-14-7
• Mapplethorpe, Robert, and Ntozake Shange. Black Book. New York: St. Martin's Press, 1986. ISBN 0-312-08302-5
• Marshall, Richard, and Robert Mapplethorpe. 50 New York Artists: A Critical Selection of Painters and Sculptors Working in New York. San Francisco: Chronicle Books, 1986. ISBN 0-87701-403-5
• Robert Mapplethorpe. Tokyo: Parco, 1987. ISBN 4-89194-149-9
• Mapplethorpe Portraits. London: National Portrait Gallery, 1988. ISBN 0-904017-91-5
• Mapplethorpe, Robert, and Joan Didion. Some Women. Boston: Bulfinch Press, 1989. ISBN 0-8212-1716-X
• Kardon, Janet, David Joselit, and Kay Larson. Robert Mapplethorpe: The Perfect Moment. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1988. ISBN 0-88454-046-4
• Mapplethorpe, Robert. Flowers. Boston: Bulfinch Press, 1990. ISBN 0-8212-1781-X
• Cheim, John. Early Works 1970-1974. New York: Robert Miller Gallery, 1991. ISBN 0-944680-36-4
• Celant, Germano. Mapplethorpe [European Retrospective]. Milan: Electa/Louisiana Museum of Modern Art, 1992. ISBN 88-435-3647-8
• Mapplethorpe, Robert, and Arthur Coleman Danto. Mapplethorpe. New York: Random House, 1992. ISBN 0-679-40804-5
• White, Edmund. Altars. New York: Random House, 1995. ISBN 0-679-42721-X
• Ashbery, John, Mark Holborn, and Dimitri Levas. Pistils. New York: Random House, 1996. ISBN 0-679-40805-3
• Rimbaud, Arthur, Paul Schmidt, and Robert Mapplethorpe. A Season in Hell. Boston: Little, Brown, 1997. ISBN 0-8212-2458-1
• Levas, Dimitri and Ingrid Sischy. Pictures. Arena Editions, 1999. ISBN 1-892041-16-2
• Celant, Germano, Arkadii Ippolitov, Karole P B Vail, and Jennifer Blessing. Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints. New York: Solomon R. Guggenheim Museum, 2004. ISBN 0-89207-312-8
• Celant, Germano. Robert Mapplethorpe: Tra Antico e Moderno. Un'antologia. Turin, Italy: Palazzina della Promotrice delle Belle Arti, 2005.ISBN 88-7624-610-X
• The Complete Flowers. Essay by Herbert Muschamp. Monograph. New York: teNeues, 2006. ISBN 3-8327-9168-X
• Wolf, Sylvia. Polaroids: Mapplethorpe. Munich and New York: Prestel, 2007. ISBN 978-3-7913-3835-4
• Robert Mapplethorpe X7. Interviews by Richard Flood. New York: teNeues Publishing, 2011. ISBN 978-3-8327-9473-6
• Neutres, Jerome, Patti Smith, Edmund White, Helene Pinet, and Judith Benhamou-Huet. Robert Mapplethorpe. Paris: Éditions de la Reunion des Musées Nationaux – Grand Palais, 2014.ISBN 9782711861408
• Mapplethorpe Flora: The Complete Flowers. Essay by Dimitri Levas, edited by Mark Holborn. Monograph. New York: Phaidon, 2016. ISBN 9780714871318
• Martineau, Paul and Britt Salvesen. Robert Mapplethorpe: The Photographs. Los Angeles: J. Paul Getty Museum, 2016.ISBN 978-1-60606-469-6

Contents

 [[null hide]]

• 1Biography
  • 1.1Early life
  • 1.2Career
• 2Influences

Biography[edit]

Women for Genuine Security is an international network, based in the U.S., whose goal is to promote peace and security and a world free of violence, militarism and sexual exploitation. It was founded in 1996 after women from Okinawa (Japan) asked women in the United States to speak out about the negative impacts of U.S. militarism around the world. In May 2015, members of Women for Genuine Security participated in WomenCrossDMZ, which brought 30 feminist women from around the world to cross the Demilitarized Zone (DMZ) between North Korea into South Korea. The marchers aimed to draw attention to Korea’s unfinished war and move toward reuniting families and a divided nation.