Day 7: Joe Bobowicz

Untitled, 1975. Robert Mapplethorpe in Polaroids: Mapplethorpe, 2008 For a lot of Mapplethorpe enthusiasts, the Polaroids are their favourite oeuvre from the artist. Whilst the works are his most technically flawed, their authentic artlessness foreshadows the imagery that would later make him famous. Mapplethorpe’s artist-to-subject relationships were like nothing seen before - the effect was a raw intimacy. Mapplethorpe’s Catholic upbringing plays a key role in his art. The religious iconography aided in his symbolic suggestion - in this image, the serpent alluding to a forbidden sin: homosexuality. In a similar vein, the prevalence of hyper-specific framing throughout his works mirrors the tight arrangement of a church altar.

Untitled (self-portrait), 1970/73, in Polaroids: Mapplethorpe, 2008 Through self-portraiture, Mapplethorpe could assert his identity, test his curiosities and validate his experiences. The luxury of self-portraiture is that you can pick and choose which aspects of yourself you present; arguably, it is a performance, not merely an irreverent depiction of self. In fact, Mapplethorpe stated that he would never want to show himself when depressed.

Self-portrait, 1980 in Polaroids: Mapplethorpe, 2008 In his exploration of gay culture, Mapplethorpe pictured himself in a variety of guises, highlighting the experimental aspect of self-portraiture. From biker to drag queen, the images present a curated identity.

Self-portrait, 1970/73 in Polaroids: Mapplethorpe, 2008 The bravery to present himself in such vulnerable positions is part of what fascinates me about Mapplethorpe. A lighting rod for conservatives of the time, the artist tested himself and the world around him.

Untitled, 1970, mixed media in Polaroids: Mapplethorpe, 2008 The choice to censor his nipples and penis is primordially a nod to the cellophane wrapped gay porn magazines Mapplethorpe would collage in his early works. At 16 Mapplethorpe was caught shoplifting gay porno magazines from a store – he then promised himself to conform to the heterosexual life when he enrolled at college. Eventually this plan fell through when ‘the forbidden’ became too enticing. At the time this work was made the artist had started his exploration of gay culture. The calendar at the bottom perhaps references his religious upbringing and the delayed access to prohibited treats. The treats, a sexual counterpart to a child’s advent chocolate.

Untitled (Sam Wagstaff), 1972/73 in Polaroids: Mapplethorpe, 2008 Sam Wagstaff was a lover of Mapplethorpe’s who prior to meeting the artist had been relatively private about his homosexuality. Wagstaff, a successful art curator in his fifties met the green-eyed, leather-clad Mapplethorpe and fell in love. At the time, Mapplethorpe was in his mid-twenties and brazenly gay; Wagstaff thrived on the artist’s youth which he would reciprocate with access to the bourgeois art world. Sam Wagstaff died of AIDS related complications on 14 January 1987; Mapplethorpe died two years later on 9 March 1989 – again, AIDS related complications.

Orchid, 1982, Robert Mapplethorpe, © Robert Mapplethorpe Foundation Juxtaposing the overt and objective sexuality present in his bondage and leather works, Mapplethorpe’s photographs of flowers present a tender stillness that is instantly recognisable as his. The framing - again, reminiscent of church altars - and the subtle eroticism prevalent in the plants made the works transgressive and exquisite. The breadth of his talent is demonstrated most clearly in the contrast between this image and Self Portrait with Whip (1978). I will let you google that… Jack Fritscher, a lover of Mapplethorpe’s recounts his personal experience of the artist for the Guardian: ‘He laboured throughout his career to inject that sex rush, that religious feeling, that existential frisson, into his holy pictures of leather sex, black men, celebrity women and flowers brilliant as night-blooming sex organs.’

Image from Hero magazine, Dangerous Youth, Summer/Fall 17 Shirt and bib by Raf Simons S/S 17 (Mapplethorpe Foundation collaboration) It’s always heartwarming to see work of a queer legend carried through history by another queer legend. Simons could not have deserved the opportunity for this collaboration more, and his execution was impeccable. The signature block graphics prioritise the image, preserving the exquisite works through a new medium.

AIDS (wallpaper installation) & Great AIDS (Phthalo Turquoise Green), General Idea at Maureen Paley, London When I viewed this show it was both sobering and beautiful. General Idea’s appropriation of Robert Indiana’s ubiquitous LOVE work is poetically genius: viral transmission to raise awareness of a virally transmitted disease. Coinciding with fiftieth year that AA Bronson, Felix Partz and Jorge Zontal first met in Canada, the show served as a reminder of progress made, but also lives lost.

Negative Thoughts, 2001, AA Bronson in a queer anthology of rage, compiled and edited by Richard Porter AA Bronson of General Idea recounts the hideous ordeal of losing fellow collective member Jorge Zontal to AIDS related complications.

Negative Thoughts, 2001, AA Bronson in a queer anthology of rage, compiled and edited by Richard Porter I keep re-reading the final line. Both chilling and poignant, it is a reminder of the scars left by the ‘gay cancer’.