The Gang Display - David

Helloooo :)

Following my last post on 'The Gang' display I saw at The Walker I found a common influence to Robert Mapplethorpe's photography work and various other artists that I will discuss below.
Although I can't find the image that I will be referring to, the piece of work I will be discussing will be Catherine Opie's "David".

Not long ago I did an essay on how Robert Mapplethorpe was influenced by Renaissance artists, and with this it made me think about contrasts and oppositions of other artists and exhibitions I have seen recently and in this case 'The Gang' display.

These are my findings:

Robert Mapplethorpe

In the article “Galleria dell'Accademia Presents Robert Mapplethorpe Perfection in Form” Robert Mapplethorpe’s art dictates the direction of Michelangelo’s David, the aim is to show that the photographer still best-known as the chronicler of New York’s S&M scene in the 1970s was actually the heir to the classical tradition.

Primary source Mapplethorpe’s muse and companion Patti Smith boasts about his admiration towards renaissance sculptor Michelangelo.  Mapplethorpe’s approach to photography and his subjects is one that has a focus on tonality – hence his choice to shoot in black-and-white – and the celebration of the human body, making clear references to classical antiquity. 

Although the connection to Opie's "David" is different due to the color editing of Sepia tones compared to Mapplethorpe's approach in black and white not only shows to me that he was influenced heavily by classicism whereas Opie could be a clear example of post-modernism in terms of using technology to edit and distinguish the form of her life model into a purpose that sets its sights on political and social aspects of the queer theory.

In contrast, Mapplethorpe’s images of Thomas, a nude model pressing his hands and feet against the edges of a circle, possess a taut, deliberate poise that is mannered rather than moving. But other sitters, such as Andy Warhol and David Hockney, are also associated to elements in an assemblage of shape, light and line by the rigorous angles and shadows of the backgrounds. 

Opie's work can easily be compared to Mapplethorpe's in terms of not only the background color contrasting in black and white but they share similar interests in eroticism, actions: postures and motions. This similarity is shown in "Lisa Lyon" (1984)