Patti Light - Patti Dark, Robert Mapplethorpe, 1978
Robert MapplethorpeEstados Unidos, 1946–1989

Patti Light - Patti Dark

1978 · Photograph

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Museo Whitney de Arte Estadounidense

Nueva York, Estados Unidos

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Fuente
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Número de inventario
92.16a-d

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Fuentes

Mientras tanto, en la vida de Robert Mapplethorpe

La vida entera
  1. late summer 1976

    Holly Solomon starts representing him

    Unimpressed by his erotic photographs but admiring his portraits, Holly Solomon “auditions” Mapplethorpe as she had other artists who made her portrait: he photographs her reclining on her bed and later presents her with a framed triptych. She agrees to represent him, valuing his understanding of contemporary painting, sculpture and photography and swayed by Wagstaff’s endorsement; in November a photograph of a Dalmatian by him is included in the group show “Animals” at her gallery.

  2. 1977

    Takes part in Documenta 6 in Kassel

    Holly Solomon successfully advocates for Mapplethorpe’s work to be included in Documenta 6 in Kassel, Germany.

  3. 1977

    Leaves Solomon for Robert Miller

    Feeling that Solomon is not promoting him enough and that an uptown gallery would balance his provocative image, Mapplethorpe moves to Robert Miller, who has opened a gallery at 724 Fifth Avenue: Patti Smith accepts Miller’s offer to show her drawings on condition that Mapplethorpe is included in a joint exhibition, and Miller, at first reluctant to represent a photographer with sadomasochistic work, agrees.

  4. 1977

    Solo show of portraits, and the erotic work at The Kitchen

    The Holly Solomon Gallery presents a solo exhibition of Mapplethorpe’s portraits, while his erotic photographs are shown separately at The Kitchen in SoHo.

  5. 24 de junio de 1977 – 2 de octubre de 1977

    Exhibition: Documenta 6

  6. 1978

    An exhibition at the Lowinsky Gallery in San Francisco

    Mapplethorpe tells Warhol he is going to San Francisco for his upcoming show and a month-long “sex vacation”; the Simon Lowinsky Gallery exhibition features mainly photographs of men in heavy leather, S&M scenes and nude bodies, alongside neutral images such as a nude portrait of Smith and close-ups of flowers; the gallery had edited out the more explicit photographs, which were shown the following month at 80 Langton Street.

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