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This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. Crimes of the Art? | Vanity Fair
"Growing" was not a spontaneous event but a systematic, five-year documentary project. Starting in , when each of his daughters — Gwynne Rivers and Emma Tamburlini — was about 11 years old, Rivers filmed them at six-month intervals. He continued this process until 1981, when his younger daughter Emma reached 16 years old.
Rivers often sought to challenge social boundaries and use his personal life as primary material for his art. While some supporters and art historians view the work as a raw, documentary-style exploration of maturation and a significant artifact of the contemporary art scene, it has faced severe criticism regarding the ethics of parental boundaries and consent.
This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. Crimes of the Art? | Vanity Fair
"Growing" was not a spontaneous event but a systematic, five-year documentary project. Starting in , when each of his daughters — Gwynne Rivers and Emma Tamburlini — was about 11 years old, Rivers filmed them at six-month intervals. He continued this process until 1981, when his younger daughter Emma reached 16 years old.
Rivers often sought to challenge social boundaries and use his personal life as primary material for his art. While some supporters and art historians view the work as a raw, documentary-style exploration of maturation and a significant artifact of the contemporary art scene, it has faced severe criticism regarding the ethics of parental boundaries and consent.
