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March 31, 2014


Filed under: robert mapplethorpe — Tags: — jherzlinger @ 10:07 am

Good Morning! Before I get into the blog, I want to thank everyone that has been a part of the launch of JAMIE! We are live! So, if you are not familiar with JAMIE, please do take a moment and go to the selections on the left of the blog and go to JAMIE! JAMIE is a revolutionary way to be able to access luxury interior design with not only working together with me and my design company, but by being able to shop within our boutiques! You will be able to work with my firm anywhere you are in the country without ever having to have me step into your home. you can go at your own pace and your own budget! No hourly fees, no contracts, I am with you every step of the way!
JAMIE has been many years in the making and we have had several incredibly successful trials with it. One of which is posted in the “how it works”
I do hope you let me know your thoughts, I am always available by email and do please know that I welcome your input.
Thank you again for all the support and love, JAMIE has taken a team to come to life!
Love, Jamie
Ps my email, Jamie@jamieherzlinger.com

In thinking about photography icons, I want to bring you ROBERT MAPPLETHORPE,an amazing voyeur.  His art was a result of his interest in sociology.  I have always been interested in his work.  Yes, art can be disturbing, thought provoking and in some instances be extremely  provocative.

I know you will feel the same.  You may in fact be familiar with his work.  Enjoy this post!



Robert Mapplethorpe was born in 1946 in Floral Park, Queens. Of his childhood he said, “I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave.”

In 1963, Mapplethorpe enrolled at Pratt Institute in nearby Brooklyn, where he studied drawing, painting, and sculpture. Influenced by artists such as Joseph Cornell and Marcel Duchamp, he also experimented with various materials in mixed-media collages,

including images cut from books and magazines. He acquired a Polaroid camera in 1970 and began producing his own photographs to incorporate into the collages, saying he felt “it was more honest.” That same year he and Patti Smith, whom he had met three years earlier,

moved into the Chelsea Hotel.

Mapplethorpe quickly found satisfaction taking Polaroid photographs in their own right and indeed few Polaroids actually appear in his mixed-media works. In 1973, the Light Gallery in New York City mounted his first solo gallery exhibition, “Polaroids.” Two years later

he acquired a Hasselblad medium-format camera and began shooting his circle of friends and acquaintances—artists, musicians, socialites, pornographic film stars, and members of the S & M underground. He also worked on commercial projects, creating album cover art

for Patti Smith and Television and a series of portraits and party pictures for Interview Magazine.

In the late 70s, Mapplethorpe grew increasingly interested in documenting the New York S & M scene. The resulting photographs are shocking for their content and remarkable for their technical and formal mastery. Mapplethorpe told ARTnews in late 1988,

“I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before … I was in a position to take those pictures. I felt an obligation to do them.” Meanwhile his career continued to flourish. In 1977, he participated in

Documenta 6 in Kassel, West Germany and in 1978, the Robert Miller Gallery in New York City became his exclusive dealer.

Mapplethorpe met Lisa Lyon, the first World Women’s Bodybuilding Champion, in 1980. Over the next several years they collaborated on a series of portraits and figure studies, a film, and the book, Lady, Lisa Lyon. Throughout the 80s, Mapplethorpe produced a bevy

of images that simultaneously challenge and adhere to classical aesthetic standards: stylized compositions of male and female nudes, delicate flower still lifes, and studio portraits of artists and celebrities, to name a few of his preferred genres. He introduced and refined different

techniques and formats, including color 20″ x 24″ Polaroids, photogravures, platinum prints on paper and linen, Cibachrome and dye transfer color prints. In 1986, he designed sets for Lucinda Childs’ dance performance, Portraits in Reflection, created a photogravure series for

Arthur Rimbaud’s A Season in Hell, and was commissioned by curator Richard Marshall to take portraits of New York artists for the series and book, 50 New York Artists.

That same year, in 1986, he was diagnosed with AIDS. Despite his illness, he accelerated his creative efforts, broadened the scope of his photographic inquiry, and accepted increasingly challenging commissions. The Whitney Museum of American Art mounted his

first major American museum retrospective in 1988, one year before his death in 1989.

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