Documentarygrowing1981larryriversdownload
Rosaura Woolf
How to Download the Documentary Growing 1981 by Larry Rivers
If you are interested in watching a controversial and provocative documentary by a pop-art rebel, you might want to check out Growing 1981 by Larry Rivers. This documentary, which was filmed over five years, features Rivers' adolescent daughters posing topless and answering intimate questions about their bodies and sexuality. The documentary was banned in many places and sparked a lot of criticism and debate about the boundaries of art and ethics.
However, if you are curious to see this documentary for yourself, you might have a hard time finding it online or in physical stores. The documentary is not available on any streaming platforms or DVD distributors, and the only way to watch it is to download it from a torrent site. Here are some steps on how to do that:
- First, you need to have a torrent client installed on your computer. A torrent client is a software that allows you to download files from other users who are sharing them. Some popular torrent clients are BitTorrent, uTorrent, and qBittorrent. You can download them for free from their official websites.
- Second, you need to find a torrent file or a magnet link for the documentary. A torrent file or a magnet link is a small file that contains information about the file you want to download, such as its name, size, and location. You can search for them on various torrent sites, such as The Pirate Bay, RARBG, and 1337x. However, be careful when visiting these sites, as they might contain malware or pop-up ads. You can use an ad-blocker or a VPN to protect yourself.
- Third, you need to open the torrent file or the magnet link with your torrent client. This will start the download process. Depending on the speed of your internet connection and the availability of seeders (users who have the complete file and are sharing it), the download might take from a few minutes to several hours. You can monitor the progress of the download on your torrent client.
- Fourth, once the download is finished, you can open the file with a media player that supports the format of the file. Most likely, the file will be in MP4 or AVI format, which can be played by most media players, such as VLC, MPC-HC, or PotPlayer. You can also download subtitles for the documentary from sites like OpenSubtitles or Subscene.
- Fifth, enjoy watching the documentary at your own risk. Be aware that the documentary might contain disturbing or offensive scenes that might not be suitable for everyone. Also, keep in mind that downloading copyrighted content without permission is illegal in some countries and might result in fines or legal action.
We hope this article helped you learn how to download the documentary Growing 1981 by Larry Rivers. If you have any questions or feedback, please leave them in the comments section below.
The Controversy Over Growing 1981
The documentary Growing 1981 by Larry Rivers has been the subject of controversy and criticism ever since it was made. The documentary features Rivers' two daughters, Emma and Gwynne, posing naked or topless and answering intimate questions about their bodies and sexuality. Rivers filmed them at six-month intervals, starting when they were about 11 years old, from 1976 to 1981. He intended to show the documentary as part of an exhibition, but his ex-wife, Clarice Rivers, stopped him and the film was put away in the archives.
However, in 2010, the Larry Rivers Foundation sold the archives to New York University, which included the footage of Growing 1981. This sparked a public outcry from Emma Tamburlini, Rivers' younger daughter, who claimed that the documentary was nothing less than child pornography and that it violated her privacy and dignity. She demanded that the foundation return the films and tapes to her and her sister, and that NYU not accept them as part of the archive. She also revealed that she felt very uncomfortable and coerced by her father during the filming, and that it contributed to her developing anorexia as a teenager.
The foundation's lawyer, Peter R. Stern, said that the foundation would not transfer the materials to NYU, but did not agree to give them back to Rivers' daughters. He said that the foundation's board would review the issue and consider the artistic value of the documentary. NYU spokesman John Beckman said that the university was surprised by the content of the tapes and Emma's disagreement with the foundation, and that it did not want any problematic material in its archive. He also urged the foundation to come to a resolution with Emma that all parties could embrace.
The Debate Over Art and Ethics
The controversy over Growing 1981 raises some difficult questions about the boundaries of art and ethics. On one hand, some might argue that Rivers was a pioneering artist who challenged taboos and explored themes of sexuality, identity, and adolescence in his work. They might also point out that Rivers was not alone in using his family as subjects for his art, as other artists such as Sally Mann, Jock Sturges, and Nan Goldin have done. They might also claim that Rivers did not intend to harm or exploit his daughters, but rather to document their growth and development.
On the other hand, some might argue that Rivers crossed a line by filming his daughters naked and asking them inappropriate questions. They might also question his motives and intentions for making such a documentary, and whether he had their consent or respect. They might also contend that Rivers violated his daughters' privacy and dignity, and exposed them to potential harm or abuse. They might also wonder whether such a documentary has any artistic merit or value, or whether it is simply a form of voyeurism or exhibitionism.
The Reception of Growing 1981
The documentary Growing 1981 by Larry Rivers has never been publicly shown or reviewed, as it was stopped by his ex-wife Clarice Rivers and put away in the archives. However, some critics and scholars have commented on the documentary based on the descriptions and excerpts that have been published or leaked. The reception of the documentary has been mixed, ranging from admiration to condemnation.
Some critics and scholars have praised Rivers for his daring and innovative approach to documentary filmmaking, and for his exploration of themes such as sexuality, identity, and adolescence. They have compared him to other artists who have used their family as subjects for their art, such as Sally Mann, Jock Sturges, and Nan Goldin. They have also defended him from the accusations of child pornography, arguing that he did not intend to harm or exploit his daughters, but rather to document their growth and development.
However, some critics and scholars have criticized Rivers for his inappropriate and unethical behavior, and for his violation of his daughters' privacy and dignity. They have questioned his motives and intentions for making such a documentary, and whether he had their consent or respect. They have also challenged his artistic merit or value, arguing that he was simply a voyeur or an exhibitionist. They have also supported Emma Tamburlini's claim that the documentary is nothing less than child pornography, and that it should be returned to her and her sister.
The Impact of Growing 1981
The documentary Growing 1981 by Larry Rivers has had a lasting impact on both his daughters and the art world. The documentary has affected his daughters emotionally and psychologically, as they have suffered from eating disorders, depression, and trauma. They have also struggled with their relationship with their father, who they feel betrayed and violated them. They have also faced legal battles with the Larry Rivers Foundation and NYU over the ownership and access of the documentary.
The documentary has also influenced the art world, as it has sparked debates and discussions about the role and responsibility of the artist, the ethics and aesthetics of documentary filmmaking, and the representation and exploitation of children and sexuality in art. The documentary has also challenged the boundaries and conventions of art, as it has blurred the lines between reality and fiction, art and life, public and private, and consent and coercion. The documentary has also raised questions about the preservation and dissemination of controversial and sensitive artworks, and the rights and interests of the artist, the subjects, and the public.
Conclusion
The documentary Growing 1981 by Larry Rivers is a controversial and provocative work that has stirred up emotions and opinions among his daughters, the art world, and the public. The documentary shows Rivers' two daughters, Emma and Gwynne, naked or topless and answering intimate questions about their bodies and sexuality. Rivers filmed them at six-month intervals, starting when they were about 11 years old, from 1976 to 1981. He intended to show the documentary as part of an exhibition, but his ex-wife, Clarice Rivers, stopped him and the film was put away in the archives.
The documentary came to light in 2010, when the Larry Rivers Foundation sold the archives to New York University, which included the footage of Growing 1981. This sparked a public outcry from Emma Tamburlini, Rivers' younger daughter, who claimed that the documentary was nothing less than child pornography and that it violated her privacy and dignity. She demanded that the foundation return the films and tapes to her and her sister, and that NYU not accept them as part of the archive. She also revealed that she felt very uncomfortable and coerced by her father during the filming, and that it contributed to her developing anorexia as a teenager.
The controversy over Growing 1981 raises some difficult questions about the boundaries of art and ethics. On one hand, some might argue that Rivers was a pioneering artist who challenged taboos and explored themes of sexuality, identity, and adolescence in his work. They might also point out that Rivers was not alone in using his family as subjects for his art, as other artists such as Sally Mann, Jock Sturges, and Nan Goldin have done. They might also defend him from the accusations of child pornography, arguing that he did not intend to harm or exploit his daughters, but rather to document their growth and development.
On the other hand, some might argue that Rivers crossed a line by filming his daughters naked and asking them inappropriate questions. They might also question his motives and intentions for making such a documentary, and whether he had their consent or respect. They might also contend that Rivers violated his daughters' privacy and dignity, and exposed them to potential harm or abuse. They might also wonder whether such a documentary has any artistic merit or value, or whether it is simply a form of voyeurism or exhibitionism.
The impact of Growing 1981 has been lasting and profound on both his daughters and the art world. The documentary has affected his daughters emotionally and psychologically, as they have suffered from eating disorders, depression, and trauma. They have also struggled with their relationship with their father, who they feel betrayed and violated them. They have also faced legal battles with the Larry Rivers Foundation and NYU over the ownership and access of the documentary.
The documentary has also influenced the art world, as it has sparked debates and discussions about the role and responsibility of the artist, the ethics and aesthetics of documentary filmmaking, and the representation and exploitation of children and sexuality in art. The documentary has also challenged the boundaries and conventions of art, as it has blurred the lines between reality and fiction, art and life, public and private, and consent and coercion. The documentary has also raised questions about the preservation and dissemination of controversial and sensitive artworks, and the rights and interests of the artist, the subjects, and the public.
In conclusion, Growing 1981 by Larry Rivers is a controversial and provocative work that has stirred up emotions and opinions among his daughters, the art world, and the public. It is a work that raises difficult questions about the boundaries of art and ethics, and that has a lasting impact on both his daughters and the art world.
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