Relevant bibliographies by topics / Robert Mapplethorpe

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  2. Dissertations / Theses
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Academic literature on the topic 'Robert Mapplethorpe'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Robert Mapplethorpe"

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Aloff, Mindy, Richard Marshall, Richard Howard, Ingrid Sischy, Jennifer Dunning, Richard Buckle, Ann Hutchinson Guest, George Platt Lynes, Jack Woody, and George Balanchine. "Robert Mapplethorpe." Dance Research Journal 20, no. 2 (1988): 53. http://dx.doi.org/10.2307/1478387.

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Shaw, Hannah. "Robert Mapplethorpe." artUS 2011???2012: The Collector's Edition 31, no. 1 (August 1, 2013): 40. http://dx.doi.org/10.1386/artus.31.1.40_4.

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Tannenbaum, Judith. "Robert Mapplethorpe." Art Journal 50, no. 4 (December 1991): 71–76. http://dx.doi.org/10.1080/00043249.1991.10791482.

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Tannenbaum, Judith. "Robert Mapplethorpe: The Philadelphia Story." Art Journal 50, no. 4 (1991): 71. http://dx.doi.org/10.2307/777326.

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Fuentes Torres, Miguel Ángel. "A veces, siempre: Robert Mapplethorpe." Boletín de Arte, no. 30-31 (March 15, 2018): 621–25. http://dx.doi.org/10.24310/bolarte.2010.v0i30-31.4395.

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De dentro hacia fuera. Recordar la intimidad de la mirada. Atesorar la calidez de las horas arrebatadas al paso del tiempo mientras la curvatura del espectro anacrónico de los días que transcurren se divierte en su fortaleza de irrepetible belleza.
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WRENN, GREG. "SELF-PORTRAIT AS ROBERT MAPPLETHORPE." Yale Review 97, no. 4 (October 2009): 99–100. http://dx.doi.org/10.1111/j.1467-9736.2009.00560.x.

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Schneedorf, José Roberto. "Gravai o buril nos pátrios anais do vosso poder ou #vaipracincinnati." Revista Concinnitas 21, no. 37 (May 19, 2020): 215–36. http://dx.doi.org/10.12957/concinnitas.2020.47338.

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As três décadas mais recentes dos extremismos ideológicos e da celebrização instantânea são relacionadas, neste artigo, a partir da sucessão dos acontecimentos expositivos que as representam: de uma emblemática individual de Robert Mapplethorpe, The perfect moment, em 1990, diversos museus e galerias brasileiros herdam e sequenciam, nos dois últimos anos, os antagonismos das guerras culturais.
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Feagin, Susan L., and Arthur C. Danto. "Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe." Journal of Aesthetics and Art Criticism 55, no. 1 (1997): 74. http://dx.doi.org/10.2307/431615.

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Silva, Claudimar Pereira. "MANIFESTAÇÕES DO GROTESCO EM MARK MORRISROE, ROBERT MAPPLETHORPE E RUDOLF SCHWARZKOGLER." Revista da FUNDARTE 45, no. 45 (June 30, 2021): 1. http://dx.doi.org/10.19179/2319-0868.867.

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Asen, Robert. "Appreciation and desire: The male nude in the photography of Robert Mapplethorpe." Text and Performance Quarterly 18, no. 1 (January 1998): 50–62. http://dx.doi.org/10.1080/10462939809366209.

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Dissertations / Theses on the topic "Robert Mapplethorpe"

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Silveira, Juzelia de Moraes. "ROBERT MAPPLETHORPE: DIÁLOGOS E OLHARES SOBRE A SEXUALIDADE NA ARTE CONTEMPORÂNEA." Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/5181.

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The present investigation developed in the Art and Visuality line of research of the Post Graduation Program in Visual Arts of the Universidade Federal de Santa Maria, RS, had the main purpose of analyzing how the contemporary artists works approaching the motto of sexuality dialogue with Robert Mapplethorpe s work, since he was one of the most significant artists to use such theme as the basis of his creative process in art. The research had as main axis the analysis of the artist s life path in which is verified in a determinant way the presence of the sexual thematic, being possible to observe the indivisibility between his personal life and his artistic work. We have tried to establish relationships between Mapplethorpe s pieces and the contemporary artists works holding the same thematic in order to observe the way how the artist s art remains current and relevant to the artistic sphere. Parallels have been established between Mapplethorpe s pieces and the selected artists ones so that we might observe several aspects of the sexuality by different glances, discussing concepts and prejudices around the theme. The main authors used were BATAILLE (1987 and 1988) FOUCAULT (1977, 1985 and 1990), PAGLIA (1993 and 1994) and CHAUÍ (1991) that approach the theme of sexuality, its repressing, and the eroticism in a comprising way; DIDI-HUBERMAN that suggests the work s spectral capacity; BARTHES (1984), FABRIS (2004, 2006), BENJAMIN (1993), LYRA and GARCIA (2002) that discuss issues about the image, and MORRISROE (1996) that presents the sexuality as decisive matter in Mapplethorpe s biography. These authors, among others, were the ones that have contributed for the research, allowing the discussion regarding the concepts analyzed. Thus, it was possible to observe that Mapplethorpe s work remains current and in constant dialogue with contemporary pieces. In these visual productions we have noticed the established sexuality, mainly by the speech created on it as well as the antagonistic forces and powers that end up for composing it.
A presente investigação desenvolvida na linha de pesquisa em Arte e Visualidade do Programa de Pós-graduação em Artes Visuais da Universidade Federal de Santa Maria/RS teve por objetivo principal analisar de que modo obras de artistas contemporâneos que abordam o mote da sexualidade dialogam com a obra de Robert Mapplethorpe, posto que este foi um dos mais significativos artistas que utilizaram o tema em questão como base do seu processo de criação em arte. A pesquisa teve como eixo principal a análise da trajetória de vida do artista, em que verifica-se a presença do temática sexual de modo determinante, observando-se a indivisibilidade de sua vida pessoal e sua produção artística. Destarte buscou-se tecer relações entre as obras de Mapplethorpe e obras de artistas contemporâneos que se utilizam do mesmo tema a fim de observar de que modo a obra do artista em questão permanece atual e relevante para a esfera artística. Foram estabelecidos paralelos entre as obras de Mapplethorpe e dos artistas selecionados, de modo a observar inúmeros aspectos da sexualidade por meio de olhares distintos, discutindo conceitos e preconceitos que circundam o tema. Para tanto foram utilizados como principais autores BATAILLE (1987 e 1988) FOUCAULT (1977, 1985 e 1990), PAGLIA (1993 1994) e CHAUÍ (1991) que abordam o tema da sexualidade, de sua repressão e do erotismo de modo abrangente; DIDI-HUBERMAN (1998) que sugere a capacidade espectral da obra; BARTHES (1984), FABRIS (2004, 2006), BENJAMIN (1993), LYRA e GARCIA (2002) que discutem questões acerca da imagem e MORRISROE (1996) que apresenta a sexualidade como questão determinante na biografia de Mapplethorpe. Estes, entre outros autores que subsidiaram a pesquisa possibilitando a discussão acerca dos conceitos discutidos. Deste modo foi possível observar que a obra de Robert Mapplethorpe permanece atual e em constante diálogo com obras contemporâneas. Nestas produções visuais observamos a sexualidade estabelecida, sobretudo pelo discurso criado sobre ela e as forças e poderes antagônicos que acabam por constituí-la.
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Adams, Harrison. "Photography in the First Person| Robert Mapplethorpe, Peter Hujar, Nan Goldin and Sally Mann." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957225.

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Photography in the First Person offers an alternative account of postmodernism in American art during the 1970s and `80s by examining the work of five photographers. Robert Mapplethorpe. Peter Hujar, Nan Goldin and Sally Mann, who are united, not by circumstance, style or acquaintance, but rather by how each one of them used aspects of their personal lives as subject matter, whether it was their friends, lovers, families or children. Collectively their art explores many of the same themes as that of the Pictures Generation, but is structurally opposite to it. Where the Pictures artists appropriated images from popular culture in order to demonstrate how identities were not given or natural, but were discursively and institutionally constructed, the practitioners of what I call photography in the first person set their sights on the ostensibly neutral viewer predicated by these same discourses and institutions—a viewer who is invariably male, white and heterosexual. Through a series of four case studies, it is shown how each of the aforementioned artists used the medium of photography and the specific contours of their personal lives through strategies of excess and indeterminacy to establish a different ethical stance towards the work of art. from one of detachment to one that forces us to consider our own bodies, desires and identifications.

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Maho, Jonathan. "Regards sur l'oeuvre de Robert Mapplethorpe : réception au-delà des Culture Wars (1970-2010)." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC052.

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Notre étude a pour objet la réception de l'oeuvre de l'artiste américain Robert Mapplethorpe (1946-1989). Par l'examen des expositions et des publications, elle permet de retranscrire l'évolution du discours critique. Ce dernier est considéré pour ses lacunes dans le contexte polémique des Culture Wars — conflit latent marqué par des batailles idéologiques opposant conservateurs et libéraux aux États-Unis. Dans une première partie, nous proposons de dé-contextualiser la réception de l'oeuvre en montrant que la censure, souvent comprise comme une conséquence de la controverse à laquelle l'artiste est associé, doit être considérée comme étant au centre de ses préoccupations et ce, dès les années 1970. Nous montrons notamment que le contenu de ses travaux et de ses expositions a été soumis à de multiples contraintes pendant toute sa carrière. Nous offrons ensuite dans la partie suivante la possibilité d'étudier la part de l'oeuvre la moins connue afin de faire émerger des principes clefs, négligés dans les études portées par une approche formaliste. Après avoir critiqué cette approche conventionnelle (interprétée ici comme le coeur du problème dans la réception de l'oeuvre), nous proposons dans la troisième partie des arguments inédits permettant de mettre en valeur le contenu des travaux. Notre méthode pluridisciplinaire permet plus généralement de valoriser l'étude des archives personnelles de l'artiste, peu exploitées jusqu'ici
Our study takes as its object the reception of Robert Mapplethorpe's work. By examining exhibitions and publications, it retraces the evolution of the critical discourse. The latter is considered for its deficiencies with regards to the polemical context of the Culture Wars — a latent conflict characterized by a series of ideological, disputes between conservatives and liberals in the United States. In the first part, we work to decontextualize the reception of Mapplethorpe's work, showing that censorship, often seen as a consequence of the controversy with which the artist has been involved, must be understood, as of the 1970s, to have been a central theme of his work. We notably demonstrate that the content of his art and exhibitions has been shaped by multiple constraints during the entirety of his career. In the second part, we offer an opportunity to study the lesser-known of his works, revealing key principals that have been neglected in studies conducted with a formalist approach. After having criticized this conventional approach (understood here to be the main problem in the reception of his oeuvre), we propose, in a third part, novel arguments that make it possible to focus on the works' content. More generally, our transdisciplinary method makes it possible to value the artist's personal archives, which have been largely underexplored in existing research
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Mlynarič, Martin. "Pornografické prvky v zobrazení lidské nahoty v tvorbě Nobuyoshi Araki, Robert Mapplethorpe a Jeff Koons." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79122.

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This master thesis is focused on the analysis and reconstruction of authors visual languages, elected authors are Nobuyoski Araki, Robert Mapplethorpe a Jeff Koons. The thesis is focused on the pornographic elements using in their creation. The thesis has two levels of the researching. It compares authors´s phraseology and way of their work and at the same time it shows on the pornographic elements legitimacy in the art throught the photographic medium in the 70´s and 80´s of the 20th century.
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Holowczenko, Amy L. "Framing the culture wars : a content analysis of news media coverage of the Mapplethorpe and Brooklyn Museum art controversies /." Online version of thesis, 2007. http://hdl.handle.net/1850/4890.

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Chang, Chun-Yu, and 張竣昱. "Demons, Violence, and Specters: Marginal Subjects in Works of Robert Mapplethorpe." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/g4g7v9.

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碩士
國立中央大學
藝術學研究所
105
As a celebrity in the history of American photography, Robert Mapplethorpe (1946-1989) is famous for his nude and sex photographs. Bold and controversial contents in his oeuvre are rendered with a formal beauty and classical aura. His homosexual identity also makes him a significant figure in contemporary art field and gay community. However, in regard with his works preserved nowadays, many of them are not of homosexual content, and can hardly be categorized as formal or classical in terms of techniques and contents. Furthermore, although scholarly literature on his photographs is abundant, those on his early collages and drawings, which are not restricted to homosexual subjects, are rather few. His multifaceted concerns expressed in his works require a new understanding. The first chapter of this thesis, “Demons”, deals with his early works, in which he appropriates images of demons to illustrate outcasts, or marginal subjects, intolerable by the traditional order, such as unchaste women, people engaging in homosexual act, and the deformed (e.g. of freak show). In addition, he deconstructs Catholic icons and develops his own lighting system, in which saints are replaced by those marginal subjects; by virtue of this, he challenges the power relations in religion and makes those marginal subjects and their conditions be seen by viewers. The second chapter “Violence” continues this concern of the marginal subjects and focuses on his SM photographs. Leather clothing and sexual act of SM, as the byproduct of masculinity rebuilding in the postwar era, are the focus of these photographs. Mapplethorpe was not only an observer, but one of the participants who recorded their needs of masculinity and filthy sex. This becomes what I call “queer masculinity” aesthetics and reveals the artificiality in masculine Camp. These photographs are based on surrealist photographic practices, and are also infused with elements in SM visual material, and thus of ambiguous nature between art and pornography. The last chapter “Specters” focuses on his exhibition situation in the 1980s and his position in some works on photographic history. With introduction of some gallerists, Mapplethorpe’s works met the need of aesthetic discourses of photography and entered into art museums and large scale exhibitions. Mapplethorpe has been since then regarded as an art photographer to date. Descriptions on his styles derived from these exhibitions recurred in later writings on photographic history, and became the main sources of our understanding of his oeuvre. The first two chapters re-examine some of his works in attempt to demonstrate his concerns about the marginal subjects. The last chapter elaborates how these subjects “have disappeared” to highlight the insufficiency of aesthetic discourses, and thus a new understanding is required.
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Neto, Felicio Monteiro. "Robert Mapplethorpe: portfolio X e o observador como ferramenta da produção artística." Master's thesis, 2020. http://hdl.handle.net/10400.26/32389.

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O diante das evoluções tecnológicas e novas formas de interação socioculturais, percebi dentre os fatos políticos nos anos de 2018 e 2019, uma ascensão do conservadorismo nas américas e em alguns países da europa, esse conservadorismo estabelece-se também para o campo das artes e com isso há, em suma, uma conscientização sobre essa nova ascensão do conservadora, onde o corpo pode ser uma ferramenta para criar e desconstruir limites impostos socialmente. Reflito então sobre qual o papel das artes visuais sobre a projeção de novos comportamentos para os próximos anos de acordo com manifestações de décadas passadas e as formas com que as artes se manifestaram para compor um tecido social de consciência e libertação de ideias já impostas pela política e outras estruturas sociais. Artistas se envolvem em temas polémicos e buscam que o observador seja peça fundamental do seu processo criativo, esse observador interage mesmo que passivamente com a obra para descobrir e disseminar os conceitos sobre o corpo e sua própria sexualidade trazendo a tona uma desconstrução social e um movimento de integração com outros modos de vida. O trabalho de Robert Mapplethorpe; Portfólio X, integra papel fundamental de revelar e instigar o observador a discutir sobre o papel da fotografia como registo da manifestação sexual, os limites do corpo e propõe um paralelo com os conceitos sociais e a opressão sobre o indivíduo. O uso da técnica artística para redescobrir o comportamento humano nas artes visuais pode subjetivamente propor uma busca no passado para a projeção do futuro e modelar novas formas de discutir o sexo na cultura. A sexualidade nas artes e a discussão de temas neste âmbito, propõe reações divergentes do observador, pode-se perceber também que este que observa a arte, é de alguma forma uma ferramenta de disseminação de contágio de ideias e desconstruções de conceitos sociais, transformando-o em protagonista da função da arte.
The West goes through a transitional phase of sociocultural thoughts and behavioral changes in 2018 and 2019, with this taking place a reflection on what is the role of the visual arts on a projection of new applications for the coming years. There is, in short, an awareness of a new rise in conservatism, where the body is a tool for creating and deconstructing social tax boundaries. Artists engage in political and video camera themes so that an observer is a fundamental part of his creative process, this observer interacts, even passively with a work to discover and disseminate the concepts about the body and his own sexuality brings a social deconstruction. and a movement of integration with other ways of life. The work of Robert Mapplethorpe and Portfolio X integrates key roles of revealing and instigating or observing the debate about the role of photography and the record of sexual manifestation, the limits of the body, and to reproduce among other things a parallel with social concepts and work on the individual. The use of artistic technique to rediscover human behavior in the visual arts may subjectively propose past research for a future project and model new ways of discussing sex in culture. Sexuality in the arts and discussion of themes in this area, including the divergent ones of the observer, can also be seen from another angle, which notes this art in some way, a tool for the dissemination and contagion of ideas and deconstruction of social concepts, to transform - in protagonist of the contemporary art function.
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Aslanian, Lisa M. "The art and politics of pleasure : Robert Mapplethorpe's The Perfect Moment and the culture wars /." 2006. http://www.lib.umi.com/dissertations/gateway.

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Thesis (Ph. D.)--New School University, 2006.
Typescript. Includes bibliographical references (leaves 230-238). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.
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Books on the topic "Robert Mapplethorpe"

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Mapplethorpe, Robert. Robert Mapplethorpe. Milano: Idea Books Edizioni, 1986.

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1929-, Howard Richard, Sischy Ingrid, and Whitney Museum of American Art., eds. Robert Mapplethorpe. New York: Whitney Museum of American Art in association with New York Graphic Society Books, 1988.

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1929-, Howard Richard, Sischy Ingrid, and Whitney Museum of American Art, eds. Robert Mapplethorpe. New York: Whitney Museum of American Art, 1990.

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Mapplethorpe, Robert. Robert Mapplethorpe. London: Secker & Warburg, 1991.

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Mapplethorpe, Robert. Robert Mapplethorpe. London: Secker & Warburg, 1988.

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Baldwin, Gordon. Robert Mapplethorpe: Portraits. Palm Springs, Calif: Palm Springs Art Museum, 2009.

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Robert, Mapplethorpe, Cornell Daniell, Palm Springs Art Museum, University of Arizona. Center for Creative Photography., and San Jose Museum of Art., eds. Robert Mapplethorpe: Portraits. Palm Springs, Calif: Palm Springs Art Museum, 2009.

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Baldwin, Gordon. Robert Mapplethorpe: Portraits. Palm Springs, Calif: Palm Springs Art Museum, 2009.

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Mapplethorpe, Robert. Robert Mapplethorpe black book. New York: St. Martin's Press, 1986.

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Mapplethorpe, Robert. Mapplethorpe portraits: Photographs by Robert Mapplethorpe 1975-87. London: National Portrait Gallery Publications, 1988.

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Book chapters on the topic "Robert Mapplethorpe"

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"Robert Mapplethorpe." In Photography after Photography, 156–70. Duke University Press, 2017. http://dx.doi.org/10.2307/j.ctv11cw0v3.15.

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"10 Robert Mapplethorpe whitewashed and polished (2014)." In Photography after Photography, 156–70. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373629-013.

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Wilhelmi, Alexander. "8 Ein selbstbewusster Seraph – Robert Mapplethorpe: Holly Solomon, 1976." In Den Handel im Blick, 247–84. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2020. http://dx.doi.org/10.5771/9783828875555-247.

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"African Sexual Extraversion and Getting into Bed with Robert Mapplethorpe." In The Erotics of History: An Atlantic African Example, 50–58. University of California Press, 2018. http://dx.doi.org/10.1525/luminos.45.f.

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"5. African Sexual Extraversion and Getting into Bed with Robert Mapplethorpe." In The Erotics of History, 50–58. University of California Press, 2019. http://dx.doi.org/10.1525/9780520968875-008.

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