Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 8257 HIGHLIGHT: MAPPLETHORPE PHOTOGRAPHER ROBERT MAPPLETHORPE WAS AN influential figure in the 1970s and 1980s, just as photog- raphy was gaining legitimacy as a contemporary art form. Both celebrated and vilified for his graphically sexual content and his beautifully composed and printed nudes and still lifes, Mapplethorpe has had a lasting effect on American photography. Mapplethorpe photographed himself through- out his career, using portraiture as a means of self- exploration. These two early images, taken in 1973 and 1974 with a Polaroid camera, are among his most iconic self-portraits. During the early 1970s, Mapplethorpe was both deepening his study of photography and exploring his identity as a gay man involved with sadomasochistic bondage. Both of these portraits, in which the artist is silhouetted against a white brick wall, are particularly body-focused: Movement blurs the face of the figure in the top image, drawing attention to the well-muscled torso and clamp on the artist’s right nipple, both of which are framed by a black leather vest. In the bottom image, Mapplethorpe turns his head, holding the shutter cable aloft in his right hand to draw the viewer’s eye to his armpit. These two pictures were combined into a unique work in 1975, which includes areas of hand-applied silver in the darkest sections of the prints. This combination of images reinforces Mapplethorpe’s early focus on his body and sexuality as vital parts of his identity as an artist. ABOVE: Robert Mapplethorpe. American, 1946–89 Untitled Self Portrait, 1973–75 Vintage gelatin silver prints from Polaroid negatives with applied silver Gift of Wayne Baden in loving memory of Drayton Grant, class of 1970