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罗伯特_梅普尔索普的作品是淫秽物吗?
我清楚地记得1994年那次在日本国内出版的罗伯特-梅普尔索普的摄影作品集《MAPPLETHORPE》。1999年东京某出版社社长浅井隆携带该作品集前往美国，回国时在成田海关被认定为禁止进口物品，在东京高院二审中败诉的消息。我相信，当时在日本，所有看到这个消息的艺术界人士都感到吃惊，而且会认为是当代日本社会的耻辱，因为罗伯特-梅普尔索普的摄影是伟大的作品，虽然他暴露了男性性器官，但艺术界没有人认为他具有淫秽性质。事情已经过去14年了，终于有了浅井隆的胜诉，应该说是日本的当代社会和艺术界的一次博弈，也反映出即使是日本这样发达的国家，他的新闻检查机关却是那样的无知。
日最高法院裁定梅普尔索普影集不属淫秽物品
02.19 15:10【共同社2月19日电】日本最高法院第三小法庭（审判长：那须弘平）19日，对美国已故摄影家罗伯特-梅普尔索普摄有男性性器官等的作品集是否属禁止进口的淫秽物品之争作出终审判决，否定了作品的淫秽性质。
由此，裁定作品集属淫秽物品的东京高等法院二审判决被撤销，作品集将被允许进口。
此案原告为东京某出版社社长浅井隆（52岁）。
据二审判决，1994年浅井在日本国内出版了罗伯特-梅普尔索普的摄影作品集《MAPPLETHORPE》。1999年浅井携带该作品集前往美国，回国时在成田海关被认定为禁止进口物品。
浅井遂提起诉讼，要求政府作出220万日元（约合14.6万人民币）赔偿并撤销禁止进口处分。东京地方法院在一审中以已在国内流通的作品不应被作为禁止对象为由，撤销了禁止处分，并要求政府赔偿70万日元。一审判决认为即使作品集被认定带有淫秽性质，只要未对国内健全的社会风气造成影响，就没有必要进行限制。
东京高院二审则裁定作品集带有淫秽性质，败诉的浅井遂提出上诉。
该部黑白摄影集收录了梅普尔索普早期的大量作品，共384页，其中的十几页内容引起了淫秽争议。（完）
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罗伯特_梅普尔索普财团1995年就土屋因携带梅普尔索普画册过关被没收而引发的诉讼,向东京高等裁判所递交的声明
THE ROBERT MAPPLETHOPE FOUNDATION,INC.
April 10, 1995Re: Statement in Support of Mr. Tsuchiya
To Whom It May Concern:
I am writing as the President of the Robert Mapplethorpe Foundation, Inc丏and the Executor of the Estate of Robert Mapplethorpe to express the Mapplethorpe organization's strong support for Mr丏Tsuchiya's position丏
Robert Mapplethorpe is considered by many art scholars, curators and critics to be the most important American Photographer to have emarged in the last twenty years. His work has been the subject of over lOO solo exhibitions in galleries and museums throughout the world, as well as a far greater number of group exhibitions. More than 30 major museums in different countries around the world have acquired his work for their collections, including the Museum of Modern Art (New York), the Metropolitan Museum of Art (New York), the centre Georges Pompidou (Paris), the Stedelijk Museum (Amsterdam), the Victoria and Albert Museum乮London), and the Solomon R. Guggenheim Museum (New York), which is currently building its new photography program around a core collection of 194 Mapplethorpe photographs. These are museums are of the highest reputation, and they would not collect Mr. Mapplethorp's work if they did not consider it to be serious art of the highest quality.
The artistic value of Mr. Mapplethorpe's work is widely recognized in Japan as well. A large Mapplethore retrospective exhibition, sponsored by Asahi Shimbun, toured Japan in 1992 and 1993, and was shown at such prominent museums as the Tokyo Metropolitan Teien Art Museum, the Contemporary Art Gallery of Art Tower Mito, the Museum of Modern Art of Kamakura, the Nagoya Clty Art Museum, and the Modern Art Museum of Shiga. The exhibition received the support of Jqpan's Ministry of Foreign Affairs and its Agency for Cultural Affairs (as well as the support of the U.S. Embassy to Japan). The exhibition and Mr. Mapplethorpe's work received wide critical acclaim, as well as tremendous popular interest. Again, the recognition afforded by these eminent museums and their curators, as well as the work's critical reception, constitutes substantial and compelling evidence that these photographs must be considered fine art.
Robert Mapplethorpe's international reputation as a serious and important artist is well-established and continues to grow. Another extensive Mapplethorp retrospective exhibition, curated by Germano Celant, the Curator of Contemporary Art at the Solomon R. Guggenheim Museum (New York), is presently touring Europe and Australia/New Zealand. The exhibition has appeared thus far at such eminent institutions as the Louisiana Museum (Humlebaek, Denmark), the Museum fur Kunst und Gewerbe (Hamburg, Germany), the Museo Fortuny (Venice, Italy), the Palais des Beaux-Arts (Brussels, Belgium), the Centro Per l'Arte Contemporaneo Luigi Pecci (Prato, Italy), the Tel Aviv Museum of Art (Israel), the Fundacio Joan Miro (Barcelona, Spain), the KunstHaus-Wien (Vienna, Austria), and the Museum of Contemporary Art (Sydney, Australia). So far approximately 700,000 people have attended this exhibition. Most venues have reported record or near-record attendance and extremely favorable response by the public, the press, and art critics and experts. The tour will continue for at least another year.
Mapplethorpe's images have been published in a large number of trade books and exhibition catalogues published by major publishing houses in the English, Dutch, German, French, Italian, and Japanese languages. The major American publisher Random House is presently publishing a five-book series over the next few years covering every aspect of Mapplethorpe's work.
Numerous essays that acknowledge the artistic merit of Mr. Mapplethorpe's work have been written by such major writers and critics as, for example, Professor Arthur Danto (Columbia University), Joan Didion, Edmund White, Germano Celant, and Ingrid Sischy.
Robert Mapplethorp's work has received only one legal challenge, which took place in 1990 in Cincinnati, Ohio, an American city with a long and notorious history of attempted censorship. When the famous and very successful traveling Mapplethorpe retrospective exhibitlon entitledThe Perfect Moment appeared at a local museum, a local prosecutor brought an action on the grounds that certain works were obscene. Numerous experts testified in support of Mr. Mapplethorpe's work, and the jury found that the relevant Mapplethorpe works were valid and serious works of art, and therefore could not be considered obscene. Indeed, legal experts quoted in the press found the case so clear-cut that they considered it impossible, even if the jury had found the works obscene, that such a verdict could have been upheld by a higher court.
The book that the Japanese customs authorities have confiscated from Mr. Tsuchiya is the catalogue of an exhibition of Robert Mapplethorpe's works in 1980 at the Whitney Museum of American Art (New York), one of the most respected and important art museums in the United States. The exhibition received tremendous critical and popular acclaim and was the subject of numerous press articles. The cataloque contains scholarly essays on the artistic value of Mapplethorp's work by the noted scholars Richard Marshall, Ingrid Sischy, and Richard Howard. It has remained in print during the seven years since the exhibition, and has been sold worldwide in English-, French-, and German-language versions. The sale and lmport of the catalogue has not previously been restricted by any government.
We strongly support Mr. Tsuchiya's position that the decision by the Japanese customs authorities to confiscate the catalogue was entirely unjustified, since the Mapplethorp photographs in question have been recognized around the world by eminent museums, curators, scholars and even legal authorities as being important works of fine art.
Michael Ward Stout
President
MWS:sm
1370 AVENUE OF THE AMERICAS
NEW YORK, NY 10019
212-977-9750
FAX: 212-246-5291
1987.
Gelatin-silver print,
late 16th century, first state dated 1588.
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资料来自web
Robert Mapplethorpe (罗伯特 梅普尔索普)
2006-11-28 10:43:12 Tue |
（1946~1989）罗伯特-梅普尔索普被认为是严肃的探索裸体摄影这一领域并引起较大反响的美国摄影家。在他去世后的几个月，罗伯特-梅普尔索普 成为联邦艺术基金严厉争论的焦点，但是他的一个作品展览会被撤消。虽然这样但是大师的光辉始终是不可能被磨灭遮挡的！美国兰登书屋和罗伯特-梅普尔索普基 金会合作于1992年出版了黑白照片的限定收藏本，收入了罗伯特-梅普尔索普的全部作品，从早期的波拉照片到趋势之前拍摄的自画像。
男性艺术家们很少去真正关注男性中的弱势群体———如黑人、同志、变性人、易装者等。从这个角度说，梅普尔索普可谓开创了先河，他率先拍摄了黑人男人 体，采用极其柔和的光线，揉合模特细腻的皮肤和健硕的肌肉，表现出一种强烈的阳刚和阴柔混合之美。在梅普尔索普的中后期作品中，他把光线这一摄影语言运用 到极致，柔和的光线使照片笼罩在似有似无的光晕里，这种神圣而优美的味道，似乎能使观者感受到照片背后拍摄者温情的目光。
梅普尔索普拍摄花卉比较倾向拍摄完全闭合的花苞或是彻底绽放到完全的独立花朵。他的此类作品大多被奉为同类作品中的经典。他喜欢用绘画的方式完善摄影 作品，对于自己珍爱的彩色作品（主要是花卉作品），他总会为之镀上一层油彩，这令其作品带着一种其他摄影作品所无法带来的强烈视觉冲击感。
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