Articles from Vanity Fair and The New York Times provide deep dives into the ethical debate surrounding the documentary.
: Rivers viewed himself as a "connector" in art history, aiming to break sexual taboos and maintain a clinical, documentary-style record of maturation. The Conflict
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Unlike his contemporaries who moved strictly into abstract expressionism or rigid pop art, Rivers bridged the gap. He took classical composition techniques and smashed them together with commercial imagery, multimedia experimentation, and deeply personal—sometimes painfully candid—domestic history. The 1981 Documentary: Growing
Just like his art, the film feels layered, messy, and vibrantly alive. Why a "New" Download Matters Articles from Vanity Fair and The New York
: Rivers edited the tapes into a 45-minute film intended for public exhibition. However, his ex-wife Clarice stopped the premiere, and the project was shelved. The Archival Battle and Legal Status
Unearthing a Counterculture Classic: The Legacy of Larry Rivers’s 1981 Documentary 'Growing' Unlike his contemporaries who moved strictly into abstract
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In the 1970s and 1980s, Rivers' art continued to evolve, incorporating elements of narrative, history, and politics. His paintings and sculptures from this period often featured autobiographical and cultural references, showcasing his unique ability to blend the personal and the public.
The film bridges the gap between traditional documentary filmmaking and fine art, offering insight into Rivers' multi-disciplinary approach.