that documented the physical development of his two adolescent daughters, Gwynne and Emma. Rivers, often cited as a "Godfather" of Pop Art, filmed the girls at six-month intervals over five years, focusing on their maturing bodies and specifically their breasts. Artistic and Personal Context Methodology:
The painting Growing (oil and mixed media on canvas, approximately 72 x 84 inches) is a quintessential example of Rivers’ "multi-panel" approach. The canvas is not a single, unified perspective but a collage of fragmented moments—a visual diary stapled to a single surface.
However, the experience had a significant impact on the subjects involved: growing 1981 larry rivers
After 1981, the materials were not immediately released to the public. Reports suggest that concerns within the family contributed to the project being set aside for several decades. It remained largely out of public view until after the artist's death.
By 1981, the active filming phase of the series concluded, leaving behind a significant archive of footage. This material later became the subject of intense legal and ethical scrutiny involving the Larry Rivers Foundation and academic institutions. that documented the physical development of his two
According to retrospective accounts, the project focused heavily on the physical changes associated with puberty and included the artist’s direct inquiries to his daughters about their experiences with their changing appearances and social interactions. The Artistic Intent vs. The Personal Impact
The legacy of Larry Rivers is a fractured, troubling one. On one hand, he remains a pivotal figure in 20th-century American art, a bridge between Abstract Expressionism and Pop Art whose influence is undeniable. On the other hand, his name is forever linked to the profound ethical questions raised by Growing . The film stands as a stark reminder that artistic freedom, especially in the context of documentary filmmaking, must be weighed against the basic rights and welfare of its subjects—including, and perhaps especially, when those subjects are one's own children. Growing is, ultimately, not a story about an artist, but a film about a father and his daughters. And by that measure, for all its artistic intentions, it remains a tragic failure. The canvas is not a single, unified perspective
Why this subject in 1981? By the late 70s, Rivers had experienced the death of his mother, the end of several turbulent relationships, and the looming shadow of middle age. Growing is a meditation on the cruel joke of biology: that to live is to age.
. This was not just another piece of art; it was the culmination of a decade-long experiment that blurred the lines between fatherhood, filmmaking, and a disturbing obsession with the passage of time. The Story of the Artwork
(1981) is a controversial video-series and subsequent large-scale painting created by American artist Larry Rivers
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 .