Tony Vaccaro began his career in photography while serving in the US Army on the battlefields of Europe during World War II. Aged 97, he is now the subject of an HBO documentary and a new retrospective, Tony Vaccaro: La Dolce Vita, at the Monroe Gallery in Santa Fe, New Mexico. It’s telling that along with Pablo Picasso, Marilyn heads up the impressive list of celebrities he photographed, though she appears not to be featured in the exhibition.
The photo shown above right, taken in Canada during filming of River Of No Return, has been attributed to Vaccaro by the QNS website. (Canadian photographer John Vachon was also present at the shoot, as featured in his book, Marilyn, August 1953: The Lost Look Photos.)
One of Marilyn’s last photo shoots is also mentioned in connection with an ongoing Paris retrospective, Willy Rizzo: Pop! Once again, though, it’s unclear if Marilyn is featured in the exhibit, other than in a 1996 photo taken at the home of supermodel Stephanie Seymour, with Andy Warhol’s iconic portrait adorning the wall.
Muralist Jeffrey Zimmerman has recreated Andy Warhol’s portrait of Marilyn outside the Chicago Institute of Art on Michigan Avenue and Erie Street, as part of a retrospective, Andy Warhol – From A to Z and Back Again, on display until January 26, 2020. (It’s an interesting counterpoint to Seward Johnson’s giant sculpture of MM, which made its own debut on the ‘Magnificent Mile’ back in 2011, before finding its forever home in Palm Springs. )
Founded in 1969, Andy Warhol’s Interview was the magazine to be seen in for nearly forty years. Although it ceased publication last year, Interview still has an online presence and earlier this week, a snippet from the past was discovered.
“As a notable admirer of Marilyn Monroe’s, Andy Warhol was sure to get some of the juiciest gossip in his celebrity circle. While he was still Editor-in-Chief of Interview, alongside Paul Morissey and Fred Hughes, he buried a drama bomb of information in the ‘Small Talk’ section of the June 1973 issue involving Marlene Dietrich and M.M herself. However, not one of the contributing editors took credit for the gossip; they instead chose to keep the source anonymous … According to the ‘Small Talk’ column, Dietrich attended a screening of one of Monroe’s earlier films and talked through every one of her scenes, mumbling: ‘So this is what they want now. This is what they call sexy.'”
Eve Arnold, who photographed Marlene at work in a recording studio for Esquire magazine in 1952, recalled that when she later met Marilyn, the subject of Dietrich came up: “Marilyn asked – with that mixture of naïveté and self-promotion that was uniquely hers – ‘If you could do that well with Marlene, can you imagine what you could do with me?'”
Another photographer who worked with Dietrich was Milton Greene, who later became Marilyn’s business partner. In 1955, he invited Marlene to a New York press conference to announce the formation of their new company, Marilyn Monroe Productions.
Like all stars (Marilyn included), Dietrich was naturally competitive. But although she may have briefly ‘thrown shade’ in Marilyn’s direction – to use a term that didn’t exist back then – there’s no sign of any rancour between them in these photographs.
In 1957, Marilyn was offered the lead role in a remake of The Blue Angel, which had made Marlene a global star many years before. That never came to pass, but a year later, Marilyn would recreate the character in her ‘Fabled Enchantresses’ photo session with Richard Avedon, although out of respect for Dietrich, she later asked the photographer to withdraw the images and they were not made public until long after Marilyn died.
Marilyn would take a leaf out of Marlene’s playbook again in 1962, asking costumer Jean Louis to recreate the beaded ‘nude’ dress he had made for Dietrich to wear during nightclub performances. Monroe’s version became immortalised that May, when she sang ‘Happy Birthday Mr President’ to John F. Kennedy at Madison Square Garden.
Whatever Marlene’s initial thoughts on Marilyn may have been, she would remember her admiringly, writing in her 1987 memoir: “Marilyn Monroe was an authentic sex symbol, because not only was she ‘sexy’ by nature but she also liked being one – and she showed it.”
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.”
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, asFar Out Magazine reports. The 80-second film also features a rockabilly soundtrack by Billy Lilly and Friends.