"I'm not photographing anything naked these days. I haven't been concentrating on bodies recently"
About this Quote
Mapplethorpe’s disavowal lands like a dare precisely because it’s coming from Mapplethorpe: the photographer so synonymous with skin, fetish, and the immaculate geometry of desire that “not photographing anything naked” sounds less like a preference and more like a provocation. The line isn’t prudish; it’s strategic. He’s reminding you that the scandal was never the whole point. Bodies were a medium, not a mission statement.
The phrasing does a lot of quiet work. “These days” frames nudity as a phase or a season, undercutting the idea that an artist should be eternally trapped inside his own greatest hits. “I haven’t been concentrating” is even slipperier: it’s not a moral retreat, it’s an editorial decision. Mapplethorpe positions himself as someone with control over subject matter, not someone controlled by public appetite, censorship battles, or the cultural shorthand that turned his work into a proxy war over obscenity and public funding.
Context matters: the 1980s art world and American politics were busy making him a symbol, especially as debates around sexuality, AIDS, and “decency” hardened into spectacle. Read against that, this quote reads like a refusal to be reduced. He’s also defending his formalism. Mapplethorpe’s real obsession was never nakedness per se, but composition: the sculptural curve, the tonal precision, the way a body can become an object as austere as a calla lily.
The subtext: you can’t police him into silence, but you also can’t force him to perform “Mapplethorpe” on demand.
The phrasing does a lot of quiet work. “These days” frames nudity as a phase or a season, undercutting the idea that an artist should be eternally trapped inside his own greatest hits. “I haven’t been concentrating” is even slipperier: it’s not a moral retreat, it’s an editorial decision. Mapplethorpe positions himself as someone with control over subject matter, not someone controlled by public appetite, censorship battles, or the cultural shorthand that turned his work into a proxy war over obscenity and public funding.
Context matters: the 1980s art world and American politics were busy making him a symbol, especially as debates around sexuality, AIDS, and “decency” hardened into spectacle. Read against that, this quote reads like a refusal to be reduced. He’s also defending his formalism. Mapplethorpe’s real obsession was never nakedness per se, but composition: the sculptural curve, the tonal precision, the way a body can become an object as austere as a calla lily.
The subtext: you can’t police him into silence, but you also can’t force him to perform “Mapplethorpe” on demand.
Quote Details
| Topic | Art |
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