Mapplethorpe in Paris
In 2014, the great American photographer Robert Mapplethorpe is being exhibited in Paris in two venues in two distinct, yet interrelated, forms. The first at the Grand Palais is a large retrospective, covering his entire career, emphasizing Mapplethorpe's talents as an artist, regardless of the medium. The second at the Musee Rodin explicitly draws parallels between Mapplethorpe's photographs and Rodin's sculptures. Despite the medium's differences, the two are immediately brought into dialogue.
The retrospective exhibition will present over 250 works making it one of the largest shows for this artist ever held in a museum. It will cover Mapplethorpe’s entire career as a photographer, from the Polaroids of the early 1970s to the portraits from the late 1980s, touching on his sculptural nudes and still lifes, and sadomasochism.
The focus on his two muses Patti Smith and Lisa Lyon explores the theme of women and femininity and reveals a less known aspect of the photographer’s work. The challenge of this exhibition is to
show that Mapplethorpe is a great classical artist, who addressed issues in art using photography as he might have used sculpture. It also puts Mapplethorpe’s art into the context of the New York art scene in the 1970-1980s.
In his interview with Janet Kardon in 1987, Mapplethorpe explained that photography in the 1970s was the perfect medium for a fast-paced time. He did not really choose photography; in a way it was photography that chose him. Later in the same interview, he said “If I had been born one hundred or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make a sculpture. Lisa Lyon reminded me of Michelangelo’s subjects, because he did muscular
Mapplethorpe positioned himself from the outset as an Artist, with a capital A. Unlike Helmut Newton, who as a teenager already wanted to be a fashion photographer, and imposed his vision of the world
and photography, making it an art in its own right, Robert Mapplethorpe is a sculptor at heart, a plastic artist driven by the question of the body and its sexuality and obsessed by the search for perfect form.
Like Man Ray, Mapplethorpe wanted to be “a creator of images” rather than a photographer, “a poet” rather than a documentarist. In the catalogue for the Milan exhibition which compared the two artists, Bruno Cora recalls the parallels in their lives and works: “Before becoming masterly photographers, Man Ray and Mapplethorpe had both been painters and sculptors, creators of objects; they both lived in Brooklyn in New York; they both made portraits of the intellectuals of their time; and they were both incisive explorers of the nude form, its sculptural qualities and the energy emanating from it.”
In a single exhibition, the Musee Rodin brings together two forms of expression – Sculpture and Photography – through the works of two major artists: Robert Mapplethorpe and Auguste Rodin. Thanks to exceptional loans from the Robert Mapplethorpe Foundation, this exhibition presents 50 sculptures by Rodin and a collection of 120 photographs, in a bold dialogue revealing the enduring nature of these great artists’ favorite themes and subjects.
There would appear to be little similarity between these two renowned figures, even though Mapplethorpe continually sought to sculpt the body through photography and Rodin used photography throughout his career.
Robert Mapplethorpe sought the perfect form, while Rodin attempted to capture a sense of movement in inanimate materials. There is no spontaneity in Mapplethorpe’s work, everything is constructed, whereas Rodin retains the traces of his touch and takes advantage of the accidental. One was attracted to men, the other to women, obsessively in both cases. But this did not stop Mapplethorpe from photographing female nudes, or Rodin from sculpting many male bodies.
Here, however, the differences between these two artists are instantly transformed into an unexpected dialogue. The curators have chosen seven themes, common to the work of both, revealing connections in form, theme and aesthetic. Movement and Tension, Black and White/Light and Shadow, Eroticism and Damnation are just some of the major issues running through the works of the two artists.
This exhibition invites visitors to challenge the dialogue established by the curators, and to make their own comparisons. This “sculpture and photography” approach is unprecedented, the first time such a confrontation has been presented, and looks at both photography and sculpture from a new angle.