The Divine Marilyn exhibition (first reported here) has now opened at Galerie Joseph at 116 rue Turenne in Paris, through to September 22. You can read a report (in French) on the launch over here. (Photos by Joshua Greene, and Ma Zaz at Marilyn Remembered.)
This iconic image of Marilyn, seen through glass, is part of a new exhibition by artist David Datuna at his new Datuna Art Space, a converted taxi cab garage newly opened in Long Island City, New York, as Vinesh Vora reports for The Knockturnal. Here are some of his other portraits of Marilyn (with nods to Frank Powolny, Sam Shaw, Nickolas Muray and Andy Warhol…)
Graffiti artist Keith Haring, who died in 1990, was a protegee of Andy Warhol and friend of Madonna. His work is awash with pop culture references (along with more sombre social themes), so it’s no surprise to find triplicate portraits of Marilyn on display at the Arlington Museum of Art, as part of a retrospective, Keith Haring: Against All Odds.
Marilyn Monroe: 17 Years A Star, an exhibition and sale curated by Andrew Weiss, will be on display at the Edwards-Lowell Gallery in Beverly Hills until June 30, as Spectrum News reports. Featuring images by William ‘Bill’ Carroll, Milton Greene, George Barris and others, the most expensive item is this $75,000 unretouched print from Marilyn’s 1962 Vogue shoot with Bert Stern.
“Born Norma Jeane Baker on June 1, 1926, Marilyn Monroe would be turning 93 years old this year. This iconic actress is celebrated through the beautiful, rare and historic ‘Golden Dreams’ collection represented by Linda Goldenstein and Goldenstein Gallery.
Who could have imagined that a chance encounter would result in what has been called ‘the most famous picture since the Mona Lisa,’ transforming a 22-year-old aspiring Marilyn Monroe into one of Hollywood’s greatest film icons and helping a young man named Hugh Hefner launch his Playboy empire along the way?
Photographer Tom Kelley met Monroe on Sunset Boulevard in October 1948, after a minor auto accident. Marilyn told him she had an audition. He gave her $5 cab fare and his business card. In May 1949, Marilyn was behind on rent and her car in repossession. She found Kelley’s card and appeared unannounced at his studio. A model called in sick for a Pabst beer poster photoshoot and Marilyn got the job.
Two weeks later, Kelley called Marilyn saying that John Baumgarth, a major calendar publisher, had seen the Pabst poster and wanted Marilyn to pose for an upcoming calendar.
Not long after, Kelley’s color transparencies of unknown nude models arrived at Baumgarth’s Chicago offices. Among them was ‘Golden Dreams’ featuring the then-unknown Marilyn. Although it wasn’t Baumgarth’s first choice, based on the calendar selection committee he agreed to run Marilyn’s image in the 1951 calendar line. Baumgarth’s preferred image ‘The Charmer’ featuring Maxine Strong outsold Marilyn’s Golden Dreams by 2 to 1, until it was later revealed that the model in Golden Dreams was in fact Marilyn Monroe.
Narrowly escaping destruction, the color separations represented by Goldenstein are the unique, original separations first created by hand in 1950 and used by Baumgarth to produce the Golden Dreams calendars featuring Marilyn Monroe.
Baumgarth sold 9 million calendars throughout the 1950s, making Marilyn the best-selling calendar girl and earning John Baumgarth the moniker ‘The Man Who Made Monroe.’
Reproducing Marilyn’s refined features, supple texture and luxurious tones was no small feat – print artisans painstakingly created and corrected the many layers of film for the full color printing process – a masterpiece of printer’s art.
In December 1953, an astute man named Hugh Hefner bought the rights to reproduce the Golden Dreams image for $500 from John Baumgarth Company, to be used as the ‘Sweetheart of the Month’ in Playboy magazine. That first issue sold over 54,000 copies and the profits provided Hefner the funding to continue publishing and ultimately launch his Playboy Empire.
In 2010, Al Babbitt purchased the original and unique film positives and negatives used by Baumgarth Co. to produce the 1950s Marilyn Monroe Golden Dreams pin up calendars. Babbitt will speak at Sedona PhotoFest on June 15 at 1p.m., in the Mary D. Fisher Theatre, about the history of Marilyn Monroe, the iconic Golden Dreams collection and the color separation process.
Original Monroe large format color separations will be exhibited. These pieces are part of the ‘Messenger Art Collection’ represented by Goldenstein Gallery, 6,000 works of art created over 100 years by diverse calendar and promotional companies.”
“After Warhol published his famous Factory Additions of Marilyn artwork, he began collaborating with two anonymous friends from Belgium on a second series of prints. The original idea behind this partnership, for Warhol, was to play on the concept of mass production. He was essentially mocking the idea that Factory Addition prints were somehow more important than the second series. Warhol provided the photo negatives and colour codes needed to create silkscreens exactly like the ones he had used for the Factory Additions. In 1970, Warhol’s original silkscreens were reproduced to create the second series of screenprints. These were named Sunday B. Morning prints.”
Warhol Women, a new exhibition showcasing 42 portraits of Andy Warhol’s female subjects, is on display at the Lévy Gorvy Gallery on New York’s Upper East Side, through to June 15, as Lane Florsheim reports for the Wall Street Journal. (Marilyn is featured next to Warhol’s take on the Mona Lisa, and opposite Jackie Kennedy.)
“Gorvy and Lévy have arranged the show so that the first works viewers see are portraits of Jackie Onassis and Marilyn Monroe, facing one another. [Dominique] Lévy, who came up with the show’s concept, says that no other man has been able to look at women the way Warhol did. ‘Without sexualizing the subject, he was able to do these portraits where the woman is allowed to be who she is,’ she says. ‘He captures the openness, the self-consciousness, the self-assurance, the insecurity. Aren’t we all self-conscious? I think nobody [else] does that, and that’s where he becomes conceptual.’ In Warhol’s depiction of Monroe, Lévy says, he ‘sees the enormous sadness’ that she felt.”
Marilyn is featured in Andy Warhol and Eduardo Paolozzi: I Want To Be A Machine, an exhibition showcasing two masters of Pop Art, at the Scottish National Gallery of Modern Art in Edinburgh until June 2nd.
Thanks to Fraser Penney
Hollywood Menteur (or Hollywood Liar) is a new comic book inspired by The Misfits, from the French cartoonist Luz. As you may recall, a despairing Marilyn calls her cowboy friends ‘liars’ during her furious speech in the desert. It’s also the subject of an exhibition in Paris, as Jacques LeRoux tells Marilyn Remembered.
“Today in Paris, I stumbled by accident on the new show at Huberty Breyne Gallery (specialist in Comics Art). It’s the first show ever of caricaturist Luz, who just released his latest comic book … The exhibition presents the original comic strips for show and sale.
You might not have heard about Luz but here in France he is very well know because of his provocative Charlie Hebdo covers and because he is one of the few survivors of the January 7, 2015 terrorist attack and killings at Charlie Hebdo. Shortly after the attack, he decided to quit his work as a newspaper caricaturist and receded into anonymity, guarded 24/7 by government security agents.
Today, I started chatting with the gallery’s owner who told me Luz was at the opening of the show last Thursday (he came heavily guarded, what a life…) and when asked : ‘Why Marilyn?’, he said he became obsessed by Marilyn and The Misfits shortly after the Charlie Hebdo attacks. Watching the movie again and later reading all he could about its stars and the filming, he felt he could relate to the anguish and pain Marilyn was going through at the time (and that himself still goes through, for a whole different reason). And that he felt in love with her all over again.
Hollywood Menteur shows a very violent and disturbing image of Marilyn (and Monty, and Clark, and John…). Marilyn is a woman fighting for her own survival among a team of colleagues, some of them also on their way to extinction. Luz did not want to draw Marilyn in a realistic way but as a metaphor for fright and anger. Just what Luz still feels, 4 years after the Charlie Hebdo attack.
Isn’t it intriguing and moving that Luz found in a screaming Marilyn Monroe his own way of expressing his frustration over the ordeal he went through on that dreadful day at Charlie Hebdo?
One room in the show is all devoted to 8 expressionist portraits of Marilyn. Blood red.
Very intense and powerful stuff indeed…”