"I've never lied. I think I've lived a moral life"
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It is almost daring, the way Mapplethorpe welds an absolute ("I've never lied") to a softer, self-audited coda ("I think I've lived a moral life"). The first clause reads less like autobiography than posture: a photographer insisting on the purity of the gaze. In a medium built on framing, staging, and selection, "never lied" can only mean something narrower than factual accuracy. It gestures toward an ethic of candor: showing what you want, what you are, what your culture would prefer remain unpictured.
The second sentence does the real work. "I think" introduces doubt, or at least awareness that morality is a tribunal, not a private diary entry. Mapplethorpe is not claiming sainthood; he's claiming coherence. His images, especially the BDSM portraits and the exquisitely lit nudes, were treated by late-20th-century America as evidence in a trial about obscenity, public funding, and the boundaries of art. Against that backdrop, "moral life" is a provocation. He's separating morality from respectability and asking why a beautiful photograph of taboo desire should be read as deceit or harm.
The subtext is defensive but not apologetic: if you call the work indecent, you're also calling the artist dishonest. Mapplethorpe flips it. He implies the real lie is the polite culture that pretends sex, power, and queer desire are aberrations rather than facts. His morality is accuracy with the lights on.
The second sentence does the real work. "I think" introduces doubt, or at least awareness that morality is a tribunal, not a private diary entry. Mapplethorpe is not claiming sainthood; he's claiming coherence. His images, especially the BDSM portraits and the exquisitely lit nudes, were treated by late-20th-century America as evidence in a trial about obscenity, public funding, and the boundaries of art. Against that backdrop, "moral life" is a provocation. He's separating morality from respectability and asking why a beautiful photograph of taboo desire should be read as deceit or harm.
The subtext is defensive but not apologetic: if you call the work indecent, you're also calling the artist dishonest. Mapplethorpe flips it. He implies the real lie is the polite culture that pretends sex, power, and queer desire are aberrations rather than facts. His morality is accuracy with the lights on.
Quote Details
| Topic | Honesty & Integrity |
|---|---|
| Source | Help us find the source |
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