Rivers seemed genuinely convinced that he was making "art." In his autobiography and in voice-overs for the film, he acknowledged the confusion and discomfort of his family but justified his actions by stating that art required breaking taboos.
By 1981, video technology had become more accessible, allowing artists to document their lives, studios, and social circles with unprecedented intimacy. Film and video projects associated with Larry Rivers during this era typically blended autobiography, artistic philosophy, and candid observations of his contemporary peers.
However, his wife Clarice disagreed. Disgusted and horrified by the result, Clarice refused to allow the film to be shown publicly. The film was locked away in archival storage for decades.
Media outlets like Vanity Fair and publications on Glasstire have overwhelmingly reviewed the project not as a cinematic piece, but as a gross violation of parental boundaries and an exploitation of minors under the guise of high art. --- Documentary Growing 1981 Larry Rivers LINK Download
: The footage remains under the control of the Larry Rivers Foundation. There have been ongoing legal discussions regarding whether the tapes should be preserved as part of an artistic legacy or destroyed to protect the privacy of the individuals involved.
The trending nature of this content proves that audiences are hungry for authenticity, even when it is flawed. Larry Rivers was a man who lived out loud, and the documentary captures that noise perfectly. It is a fascinating, entertaining look at a man who tried to capture "growing" on film, only to become a relic of a bygone era himself.
Emma’s demands were not just about privacy; they were accusations of a profound ethical violation. She has publicly stated that she regards the film "as nothing less than child pornography". In a stark public statement, she has said, "I kind of think that a lot of people would be very uptight, or at least a little bit concerned, wondering whether they have in their archives child pornography". The trauma for the Rivers daughters was long-lasting; both have been open about suffering from eating disorders and spending many years in therapy, citing their father's behavior as a significant contributing factor. Rivers seemed genuinely convinced that he was making "art
The documentary is a highly controversial and largely unreleased film created by the American Pop artist Larry Rivers . Historical Context
In 1976, Rivers began filming his daughters Emma and Gwynne. Gwynne was 11 at the time; Emma was slightly younger. Over the next six years, Rivers conducted filming sessions twice a year, during which he would ask his daughters to remove their shirts, expose their breasts, and discuss their feelings about their changing bodies. The footage included scenes of the girls fully naked, in the shower, and even slipping between the black satin sheets of Rivers' bed.
: Originally intended to be part of a public art exhibition in 1981, the project was halted after the girls' mother, Clarice Price , intervened and stopped its release. The New York Times Controversy and Current Status Child Pornography Allegations However, his wife Clarice disagreed
Larry Rivers was a talented jazz musician, and the documentary often highlights how his musicality influenced the rhythm and pace of his artwork. The Lasting Legacy of Larry Rivers
If you are interested in researching this film further, I can help you find: from the documentary.
Before diving into the documentary itself, it is essential to understand the man behind the camera. Born Yitzroch Loiza Grossberg in the Bronx, Larry Rivers (1923–2002) was a true polymath: a jazz saxonomist, a sculptor, an actor, and a painter.
Upon its limited release in 1981–1982, Growing screened at the Museum of Modern Art (MoMA) as part of a Larry Rivers retrospective and at a few art house cinemas in Manhattan. Critics were divided: