The documentary , released in 1981, is a direct, fly-on-the-wall exploration of Larry Rivers. Instead of a traditional, heavily narrated biography, the film focuses on the act of creation.
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This article provides a comprehensive examination of —its creation, its content, the controversy it generated, and the ongoing ethical and legal debates surrounding it. We will also explore where this elusive documentary can be found today and why its availability remains so limited.
He is best known for works like Washington Crossing the Delaware (1953), which reimagined Emanuel Leutze’s iconic painting with a gritty, contemporary looseness. Rivers anticipated Pop Art by incorporating commercial imagery and text into his canvases years before Warhol or Lichtenstein. His late career (1970s–1990s) saw him experiment with video, performance, and documentary filmmaking. --- Documentary Growing 1981 Larry Rivers LINK Download
"Growing" was not a traditional documentary in the sense of a biography or a social expose. It was a visual journal of adolescence, or as critics would later describe it, a violation.
Simultaneously, as the Vanity Fair piece hit the newsstands, the Larry Rivers Foundation was in the process of selling the artist’s entire archive to New York University (NYU). The archive included the master tapes of "Growing".
Look for the film via the Larry Rivers Foundation or specialized art film distributors like Arthouse 18 . The documentary , released in 1981, is a
This article dives deep into the documentary’s origins, content, and significance within Rivers’ career. Moreover, it provides a responsible roadmap for those seeking to view the film legally, respecting the rights of the artist’s estate, distributors, and archives.
The documentary functions as a shifting, collaborative self-portrait. Rather than focusing solely on his gallery exhibitions, Growing turns the camera inward on Rivers' chaotic personal life, his aging body, his children, and his romantic relationships.
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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:
Rivers' defenders argue that has serious artistic value—that it is a legitimate exploration of adolescent development, body image, and the father-daughter relationship. Emma and her supporters counter that the context cannot sanitize the content: filming one's own pre-adolescent daughters nude, asking them sexually charged questions, and using that footage as "art" does not negate the harm inflicted.
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.