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Deborah Harry | Herself | |
Fran Lebowitz | Herself | |
Brooke Shields | Herself | |
Paul Martineau | Himself | |
Robert Mapplethorpe | Himself (archive footage) | |
Nancy Rooney | Herself | |
Harry Mapplethorpe | Himself | |
George Stack | Himself | |
Robert Mapplethorpe | Himself | |
Philip Gefter | Himself | |
Fern Logan | Herself | |
Michelle Brunnick | Herself | |
Harry McCue | Himself | |
Lloyd Ziff | Himself | |
Frances Terpak | Herself | |
Sandy Daley | Herself | |
Edward Mapplethorpe | Himself | |
David Croland | Himself | |
Bob Colacello | Himself | |
Helen Marden | Herself | |
Brice Marden | Himself | |
Mary Boone | Herself | |
Joelle Shefts | Herself | |
Sam Wagstaff | Himself | |
Peter Berlin | Himself | |
Jack Fritscher | Himself | |
Carolina Herrera | Herself | |
Robert Sherman | Himself |
Director/Choreographer |
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Producer |
Fenton Bailey
Randy Barbato |
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Cinematography |
Mario Panagiotopoulos
Huy Truong |
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Music |
David Benjamin Steinberg
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Nude men in rubber suits, close-ups of erections, objects shoved in the most intimate of places—these are photographs taken by Robert Mapplethorpe, known by many as the most controversial photographer of the twentieth century. Openly gay, Mapplethorpe took images of male sex, nudity, and fetish to extremes that resulted in his work still being labelled by some as pornography masquerading as art. But less talked about are the more serene, yet striking portraits of flowers, sculptures, and perfectly framed human forms that are equally pioneering and powerful. |
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