Edward Mapplethorpe, book release of One: Sons and Daughters
NYFA is proud to be the fiscal sponsor of artist Edward Mapplethorpe’s project One: Sons and Daughters, a collection of sixty commissioned photographs of one-year-olds.
Published by powerHouse Books, One is available for purchase at Strand Bookstore and online. Edward’s art career spans decades, from studying photography at SUNY Stony Brook to working in his brother Robert Mapplethorpe’s studio to numerous gallery exhibitions. NYFA Current is delighted to discuss One: Sons and Daughters with Edward.
NYFA: One: Sons and Daughters The background and the nudity in each image give the portraits a timeless quality. Did you conceive of a longer project when you began these commissions? How did the idea of One evolve over time?
EM:I had photographed children on numerous occasions early in my career. It wasn’t a subject I was particularly attracted to, but I found it could be a lucrative source of income to help fund the other artwork I was doing at that time. So when I found a small child’s chair at a flea market I picked it up thinking that it might come in handy one day. In 1995, I got a call to photograph a little girl on her first birthday so I decided to have her sit in the chair against a neutral white background. Something extraordinary happened that day that sparked an interest to developing a series of portraits of 12-month old children photographed in the same situation each time. The idea to compile these photographs into a book developed over many years.
NYFA: When photographing the babies featured in One you glimpse into the intimate relationship between a parent and child. Each photograph is captured at the same point in different families’ timelines. Based on these experiences, how do the one-year-olds of 1995 compare with those of today?
EM: Generally I do not know the parents of these children since most are commissioned. So with that said I really do not have insight into the relationship between the parent and child. That is not particularly my concern. From my perspective, my primary job is to treat that child as a unique individual and capture those few moments when they truly reveal themselves. I purposefully instruct my clients to refrain from adorning their child with any accessories to avoid the pictures becoming dated. What distinguishes my portraits from others is that they capture a very specific moment in time yet they are timeless.
NYFA: Have your perceptions of these subjects changed now that you are the father of your own one-year-old, Harrison?
EM: My perception of children hasn’t changed so much as my admiration for parenting. It is a tremendous responsibility to care for and nurture a child and it requires a substantial amount of time and energy. If parenting wasn’t as rewarding as it is then I don’t think anyone would volunteer for the job.
NYFA: The oldest babies featured in One are now in their early 20’s. With the upcoming publication of the book, have you spoken with any of them or kept in touch with their families?
EM: I rarely have had any subsequent contact with the children I have photographed over the course of the past twenty years. And quite honestly I like that these children will forever remain one-year-old to me. There is something quite beautiful about that concept. The girl on the cover of the book is an exception. She turned twenty-one recently and I plan to photograph her again soon in conjunction with the release of One since she was the first commission from this project.
NYFA: How old were you when you first recognized yourself as an artist? How did you gain confidence in your creative practice?
EM: I developed my visual creative side in my later teen years. Although I would sit and draw when I was a child my creativity at that time was primarily channeled into music. I pursued drumming for many years but eventually came to the realization that my talent fell short. It wasn’t until a friend of mine put a 35mm camera in my hands when I was sixteen that the idea of seriously taking pictures entered my mind. But it was when I took my first darkroom class at eighteen when all the pieces fell into place. That environment allowed me to join my analytical and creative sides. My destiny was set in motion from that moment on.
NYFA: Why did you decide that a book was the right medium for sharing this project?
EM: There is still something very special about holding a beautifully bound book in your hands. I wanted to create an object that could become a family heirloom to be passed down through generations. Although the book is dedicated to my son it was really created for all of my past and future clients.
NYFA: Why did you initially seek NYFA fiscal sponsorship? What role has sponsorship played in the completion of One?
EM: I have two projects that are fiscally sponsored with NYFA. A monograph publication project was accepted in 2011 followed by the approval of the ONE book project in May 2013. I received an Opportunity Grant for ONE in 2013 that provided me with seed money to begin the process of making a book. NYFA has been wonderful since it served as a catalyst to propel the project forward and allowed financial contributors to make tax-deductible donations to sponsor the realization of the book. I am grateful for the organization’s support and excited about our continued work together.
Learn more about Edward’s life and career in this New York Times article and check out the artist’s website here. NYFA Fiscal Sponsorship can help you raise funds for your next project, visit our site to find out more and learn how to apply!
Images, from top: Wednesday, May 14, 2008; 4:56 pm; One book cover; Monday, December 17; 2007; 7:31 am; Tuesday, May 1, 2001; 11:48pm; All photos Edward Mapplethorpe © 2016 Robert Ascroft, ONE: Sons & Daughters, Published by powerHouse Books, 2016.
