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…)
Dan’s Papers, a free weekly for residents of the Hamptons, is approaching its sixtieth birthday. A new coffee table book, 60 Summers: Celebrating Six Iconic Decades On the East End, has just been published. You can read the story behind its first glossy cover here.
“Andy Warhol had a home on the ocean in Montauk, east of town, out towards the lighthouse, for many years, about 20 altogether … This painting was one of the many he did in Montauk, it is believed, although his main studio was at Union Square in New York City. He passed away in 1987, and two years later there was a retrospective of his paintings at the Guild Hall in East Hampton, and they managed to arrange for us to have this painting of Marilyn Monroe, which he did back in 1967, featured for this week’s cover.”
“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.”
Andy Warhol’s first screenprints of Marilyn, created after her death in 1962, are featured in Andy, a 568-page graphic novel by Typex, looking back at the Pop Art maestro’s life and career.
Warholesque pop art meets the Western in animator Erik Winkowski’s 2017 short Scary Prairie, in which Elvis Presley tries to rescue Marilyn from a string of Japanese monsters – before she transforms into a vampire bat and flies away, as Far Out Magazine reports. The 80-second film also features a rockabilly soundtrack by Billy Lilly and Friends.
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.”
Valerie Solanos – the female artist notorious for shooting Andy Warhol – and Marilyn – his most famous subject – may seem to have little in common. But composer Pauline Oliveros thought otherwise, and her 1970 work, To Valerie Solanos and Marilyn Monroe In Recognition Of Their Desperation, has now been restaged in Toronto by the experimental music collective Public Recordings, as Lise Hosein reports for CBC Arts.
“The work referenced Monroe, whose talent may have been somewhat eclipsed by her objectification, and Solanas, an impassioned figure who shot Andy Warhol. Oliveros saw both figures as ‘desperate and caught in the traps of inequality.’
The appeal of this composition to Toronto experimental music collective Public Recordings may have been in the moment in which it was written. Public Recordings producer Christopher Willes notes: ‘We wanted to bring this piece to people now because the moment that it was created — 1970 — was a moment of conservative backlash to many things. In many ways, we’re living through what feel like similar time politically, socially, and doing this piece because it’s about people finding, in real time, new ways of being together and new ways of organizing themselves.'”
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
Andy Warhol’s portraits of Marilyn are mentioned in a feature about artists and their muses from this week’s issue of UK magazine Country Life (dated February 27.)
Thanks to Fraser Penney