"I just hope I can live long enough to see the fame"
About this Quote
There is something almost indecently honest about wanting to live long enough to witness your own legend. Mapplethorpe’s line doesn’t plead for immortality in the abstract; it wants the vulgar, measurable thing: fame. Coming from a photographer who built his career on making beauty out of taboo, it reads less like vanity than like a dare to the culture that kept trying to quarantine his work.
The intent is double-edged. On one level, it’s a straightforward wish from an artist with a gambler’s sense of timing: notoriety tends to arrive late, and the price of pushing boundaries is often paid upfront. On another, it’s a sly recognition that “fame” is not just applause but a verdict. Mapplethorpe understood that images don’t simply circulate; they get tried in courtrooms and museums, weaponized by politicians, defended by curators, bought by collectors. To “see the fame” is to see whether the public will eventually call transgression “art” once the heat cools.
Context sharpens the bite. In the late 1980s, as the AIDS crisis ripped through queer communities and American culture wars hardened around sexuality, his work sat at the fault line: classical compositions made from subject matter many people wanted erased. The line carries the grim arithmetic of the era. Time was not an abstract resource; it was running out. Fame, here, becomes both consolation prize and final referendum: will the culture that panicked at his photographs eventually hang them reverently, and will he still be alive to watch the reversal?
The intent is double-edged. On one level, it’s a straightforward wish from an artist with a gambler’s sense of timing: notoriety tends to arrive late, and the price of pushing boundaries is often paid upfront. On another, it’s a sly recognition that “fame” is not just applause but a verdict. Mapplethorpe understood that images don’t simply circulate; they get tried in courtrooms and museums, weaponized by politicians, defended by curators, bought by collectors. To “see the fame” is to see whether the public will eventually call transgression “art” once the heat cools.
Context sharpens the bite. In the late 1980s, as the AIDS crisis ripped through queer communities and American culture wars hardened around sexuality, his work sat at the fault line: classical compositions made from subject matter many people wanted erased. The line carries the grim arithmetic of the era. Time was not an abstract resource; it was running out. Fame, here, becomes both consolation prize and final referendum: will the culture that panicked at his photographs eventually hang them reverently, and will he still be alive to watch the reversal?
Quote Details
| Topic | Success |
|---|---|
| Source | Help us find the source |
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