Australia’s unofficial ‘year of Marilyn’ has been a resounding success, as the Bendigo Advertiser reports.
“Bendigo Art Gallery’s Marilyn Monroe exhibition brought more than $13 million into the region, Victorian government modelling has shown.
Bendigo East MP Jacinta Allan announced on Wednesday $13.2 million in economic impact for Bendigo was derived from the four-month exhibition, exceeding the $11.2 million benefit forecast before the show opened.
‘We knew Marilyn Monroe would be a showstopper and it was,’ she said. ‘It demonstrates [the gallery] is a facility that brings many jobs, a significant amount of funds flowing into the Bendigo community.’
More than 140,000 visitors attended the ticketed exhibition in Bendigo between March and July this year. Almost half of those people were from Melbourne, travelling to central Victoria specifically to see the Hollywood-themed show.
The total cost of showing the Marilyn Monroe exhibition is unclear.
Ms Allan also said the strength of Bendigo’s gallery could inspire young people to choose an artistic career path, citing ‘strong’ art and design programs at La Trobe University as yet more evidence of the region’s creative strength.
But it was not only the Bendigo economy that benefitted from the blockbuster exhibition; the gallery’s curatorial manager Tansy Curtin said Marilyn challenged her institution artistically.
‘We went from working with fine art to working with contemporary culture.’
These new strings in her institution’s bow meant it was ‘re-defining’ what it meant to be a regional art gallery, no longer catering solely to a local audience but to national and international art-lovers as well.
Conservation work carried out during the exhibition also meant the gallery was ensure the longevity of Marilyn Monroe artifacts.
Because many of the items exhibited in the gallery were not normally showcased in a curated setting – many were kept inside the houses of their collectors before coming to Bendigo – Ms Curtin said many were returned to their owners in a better condition than when they arrived, having undergone conservation while housed in central Victoria.”
A statue of Marilyn has been stolen in New Zealand, as Meghan Lawrence reports for Auckland Now. (Marilyn-related art thefts are not uncommon: an English statue was stolen in 2011, while a Canadian mural vanished in 2014, and was found in a dumpster two weeks later. Sadly, it was stolen again in 2015.)
“Farm Cove’s iconic mascot has gone walkabout.
A six-foot tall (1.82m) statue of Marilyn Monroe was taken from a Fisher Parade residence in East Auckland on the night of October 13.
Maria Ross says the statue is part of a collection of rock n’ roll and pop-culture memorabilia that decorates her home. Ross purchased the statue of Marilyn Monroe a year ago, after she had been looking to add the American actress to her collection for a number of years.
She has stood in the front garden ever since, for passersby to bask in her glory.
‘She was loved and admired by all. Some more than others,’ she says. ‘People who drive past will stop and take photos with her. It’s so cool because you get to know the neighbourhood. She is just famous in Farm Cove.’
Ross says she’s ‘really gutted’ that the statue was stolen, but there would be no questions asked if she was returned.
‘I do believe someone is going to see her. There is not a lot of them in New Zealand. I think there is only one other, so it will stand out like a sore thumb.’
‘It would just be so awesome if she was returned.'”
Two academic studies make significant references to Marilyn this autumn. From Reverence to Rape, Molly Haskell’s feminist critique of Hollywood, is now in its third edition. Haskell writes well about how typecasting hindered Marilyn’s career. In Modern Acting: The Lost Chapter of American Film and Theatre, Cynthia Baron considers the influence of the Method on her performances. Adrienne L. McLean also mentions Marilyn at the peak of her glamour in Costume, Makeup and Hair, the latest in Rutgers’ Behind the Silver Screen series.
On a lighter note, Marilyn is among the bevy of bombshells featured in Richard Koper’s Fifties Blondes, and the stories behind some of herfavourite Hollywood haunts are revealed in L.A.’s Legendary Restaurants, a coffee-table tome by George Gerry.
“Having been a fan of the legend that is Marilyn Monroe since an early age, it seemed whoever I interviewed had either met / worked and known something about her during my journalistic career. As the years went on I noticed this even more, to the point I was lucky enough to meet and interview some very famous people whom have not had their ‘Marilyn’ stories told before. I started with a trusty cassette player, which along the way had me meeting the likes of Sir Lawrence Oliver, Charlton Heston and even Sir Norman Wisdom. What is fascinating when reviewing the tapes – along with never broadcast interviews with Tony Curtis, Mickey Rooney and Debbie Reynolds to name just a few – is how revealing the whole conversations are. I urge everyone to take a look at the book if you’re a true Marilyn fan, as it will give you a rare insight into her final months: and as Ricci Martin (Son of Dean) who met Marilyn many times told me, ‘it’s the biggest story in the world of showbiz ever and yes I was party to it in many ways which is frightening.'”
Inge Morath: On Style is a new book focusing on the late photographer’s work in fashion and film. Her images of Marilyn on the set of The Misfits are elegant and tender, and the knowledge that Morath would become Arthur Miller’s third wife adds a note of poignancy. Author Justine Picardie writes about Inge’s work with director John Huston, and her later encounter with Arthur which led to a long and happy marriage, in a blog post for the Magnum website.
“This was also the period when Morath first started working with the director John Huston; one of her earliest assignments was to photograph the stills for his film Moulin Rouge in London in 1952, which was to be the start of a lifelong friendship … Huston would later describe Morath as ‘a high priestess of photography,’ a woman with ‘the rare ability to penetrate beyond surfaces and reveal what makes her subject tick.’
Morath’s friendship with Huston was to play an important part in her personal life, as well as her career. In 1959, she travelled to Mexico to photograph the making of his film The Unforgiven … The following year, Morath visited the set of another of Huston’s films, The Misfits, accompanied by her Magnum colleague, Henri Cartier-Bresson.
When Morath was subsequently asked by the New York Times about the experience of photo- graphing Monroe, she described the actress as ‘kind of shimmery. But there was also this sadness underneath. A poetry of unhappiness. That was what was so mesmerizing, the twofold thing you got, the unhappiness always underneath the joy and the glamour…that was the poetry.’ In the same interview, Morath added one more intriguing fragment to the story. ‘I once dreamt we both danced together, Marilyn and I. It was beautiful.'”
In August, it was rumoured that Seward Johnson’s giant sculpture, ‘Forever Marilyn’, would be making a permanent return to Palm Springs. This was recently confirmed by the Desert Sun: however, plans for a temporary home at the Spa Casino as soon as November have been scrapped, and the statue will now take up residence at a new downtown park, close to the city’s art museum and due for completion sometime next year.
Douglas Kirkland’s touring exhibit, Icons and Idols, features four images from his 1961 photo shoot with Marilyn among 22 shots spanning his long career. It is on display until November 13 at There Is, a gallery in the Northbridge district of Perth, Australia. In an interview with Perth Now, Kirkland reflected on his life as a celebrity photographer.
“He says the entertainment industry has changed ‘like night and day’ from the beginning of his career.
‘This is a different, a vastly different star system today,’ Kirkland says. ‘Social media and the internet have produced more celebrities than at the beginning of my career and I’ve been doing this since the beginning of the ’60s.’
‘People like Elizabeth Taylor and Monroe were the giants then. Today you can only think of Angelina Jolie and another 20 or 30 with staying power but they are not as big as, say, Elizabeth was or Marilyn.’
‘Now, business is money driven, but the access to celebrities is much more limited and controlled. The people who work with stars want to say where they will be and when the photo will be used.'”
Speaking with Australian Vogue, Kirkland reflected on how his images of Marilyn have become iconic since they were taken 55 years ago.
“What was it like to photograph Marilyn?
It was thrilling, frightening and exhilarating. I was very young and frankly I wondered if I was in over my head. The session was charged with sexual energy and the results all went into the camera, as the images can tell.
Were you expecting the reaction to the photograph that it received?
Actually the reaction to the Marilyn Monroe photographs came much later. I had no idea at the time that these would become some of my most iconic and sought after images.
Elizabeth Taylor, however, was the one who was instrumental in establishing my career as a celebrity photographer. I looked into her violet eyes and said to her ‘I am new with this magazine, could you imagine what it would mean to me if you gave me an opportunity to photograph you?’ She thought for a moment and nodded as said ‘Come tomorrow night at 7’oclock’.
She had not been seen for a while and the images from the cover session for Look magazine in 1961 went worldwide and catapulted my career.”
The exhibition Marilyn: I Wanna Be Loved by You opens on October 22 at the Hôtel de Caumont – Centre d’Art in Aix-en-Provence, France. Featuring works by Sam Shaw, Andre de Dienes, Milton Greene, Philippe Halsman, Eve Arnold, Cecil Beaton, Richard Avedon, Ed Feingersh, George Barris, Bert Stern, and others.
George Barris, one of the last photographers to work with Marilyn, has died aged 94, Mike Barnes writes for the Hollywood Reporter. His photos of Marilyn revisiting her childhood haunt of Santa Monica Beach, wearing a Mexican-style sweater over her bathing costume, are among the most natural and poignant images from her final days.
“George Barris, the photojournalist … died Friday at his home in Thousand Oaks, Calif., his daughter Caroline told The Hollywood Reporter. He was 94.
Barris and Monroe became friends after they met on the set of The Seven Year Itch (1955).
‘When I first saw her, I thought she was the most beautiful, fantastic person I’d ever met,’ Barris told the Los Angeles Daily News in 2012. ‘She completely knocked me off my feet.’
Barris photographed the actress on a windswept beach in Santa Monica on July 13, 1962, about three weeks before she was found dead of a drug overdose at age 36. He moved to France after her death and remained there for two decades.
A native of New York City, Barris enlisted in the U.S. Army and served in the office of public relations during World War II. He was Gen. Dwight D. Eisenhower’s personal photographer for the welcoming Victory Parade in New York on June 19, 1945.
While on assignment for Cosmopolitan, Barris photographed Elizabeth Taylor while she filmed Cleopatra (1963) in Rome, and during his career he also shot such stars as Steve McQueen, Marlon Brando, Charlie Chaplin, Frank Sinatra, Clark Gable, Sophia Loren and Walt Disney. His daughter also said that he photographed Chubby Checker for the singer’s ‘The Twist’ record cover.”
A more detailed biography, including a full account of his work with Marilyn, is available on the Cursum Perficio website.
He first met and photographed Marilyn in 1954 in New York where she was on location for the film The Seven Year Itch , where they became friends.
He was one of the last photographers to take Marilyn in pictures, between June 29 and July 1, 1962:
- Friday 29 and Saturday 30, June, at Walter ‘Tim’ Leimert’s house, located 1506 Blue Jay Way, North Hollywood Hills
- Sunday 1st, July, last day of the session, last pictures. It took place at the Santa Monica beach, near the Lawfords’ house.
- Those pictures were to be published in Cosmopolitan magazine.
- Some of those pictures were published in 1973 in Norman Mailer’s biography, and most of them in the book he wrote with Gloria Steinem in 1986 (Marilyn: Norma Jeane).
- In 1995, he published Marilyn : Her Life in Her Own Words, whose text is composed of notes jotted after the picture sessions. Those notes should have produced an autobiography they had planned to write together.
After returning to California with his family, Mr Barris became a respected member of the Monroe fan community, as Leslie Kasperowicz reports for Immortal Marilyn.
“George Barris attended many Marilyn memorials and events and was one of the most accessible of Marilyn’s photographers to fans from around the world. He spoke frequently at the Memorial service held at Westwood and signed books and photos for fans at public and private events. Immortal Marilyn was honoured to have him present at several of our own events.
George leaves behind his daughter Caroline, who was also a frequent presence at Marilyn events, another daughter Stephanie, his wife Carla, and legions of Marilyn Monroe fans who have spent nearly 55 years appreciating his work and his willingness to lend us his ear and tell us his stories of that summer of 1962.”
A new book, Slim Aarons: Women, captures the Life photographer’s elegant portraits of some of the twentieth century’s iconic beauties – including Jackie Kennedy, Audrey Hepburn and Marilyn, as Sean O’Hagan reports for The Observer.
“Marilyn Monroe, Beverly Hills, 1952, reading fan mail. ‘She was very nervous about posing,’ Slim said. ‘I reassured her, said all you had to do was think about the nicest possible thing that could happen to you – but think about it with your eyes, and let the rest of your face do what it wanted. Years later, I was on the set of The Seven Year Itch. She happened to walk by me, and I, not wanting to bother her, said nothing. But she stopped before me, looked up, and said, You don’t remember me, do you? I never forgot what you told me … think of the nicest thing possible.'”