Marilyn is at the centre of an exhibition of some of the world’s most iconic photographs, on display in Manhattan until May 25, as Carl Glassman reports for Tribeca Trib.
“If only size mattered, then Marilyn Monroe would be the star of this eclectic display of photographs, simply titled ‘Photo Show,’ now at the Hal Bromm Gallery. Upon entering the Tribeca art space, she greets you nearly from floor to ceiling in 10 poses, wearing that come-hither look and little else. The set of framed color photographs, faded into reddish hues, is from Bert Stern’s famed 1962 series, ‘The Last Sitting’ … While Marilyn may be the show’s dominant presence, she is just the opener in an unusual mix of artists and eras that come together in a logic all its own.
Others include … Philippe Halsman, represented by his own famous—maybe the most famous—Marilyn portrait.”
Meanwhile at Christie’s NYC, ‘Crucifix IV’, a chromogenic print by Stern from 1995, is among the lots from the Yamakawa Collection, to be auctioned on April 6.
Marilyn is featured in ‘Leading Ladies Who Sing‘, a free event in the Scenes Through the Cinema Lens series at BMCC Tribeca Performing Arts Centre in Manhattan on Tuesday, March 20 at 7:30 p.m.
“Leading Ladies Who Sing will showcase choice moments in cinema history when stars who can both act and sing are presented at their most glamorous. The event will focus on distinguished jazz singers like Abbey Lincoln, Peggy Lee and Billie Holiday, all of whom successfully made the transition to cinema, as well as timeless performances by singer/actresses including Judy Garland, Diana Ross and Marilyn Monroe.
Scenes Through the Cinema Lens is curated and hosted by Krin Gabbard, Professor of Comparative Literature and English at the State University of New York at Stony Brook and author of Hotter Than That: The Trumpet, Jazz, and American Culture.
Each Scenes Through the Cinema Lens screening is followed by a Question and Answer session moderated by Professor Gabbard, and all events are free. No reservations are necessary.”
The first season at The Shed, a new multi-arts centre opening at the Hudson Yards next year, will include Norma Jeane Baker of Troy, an intriguing collaboration depicting Marilyn as the Spartan queen famed in Greek mythology, whose incomparable beauty was said to have sparked the Trojan War, as Andrew R. Chow reports for the New York Times.
“On Wednesday, the Shed’s artistic director, Alex Poots, revealed the first batch of commissions for the Hudson Yards venue’s inaugural season.
The ambitious, genre-melding performances will begin in the spring of 2019, and include a musical series conceived by Steve McQueen and Quincy Jones and a collaboration between the poet Anne Carson, the actor Ben Whishaw and the opera singer Renée Fleming.
A newly commissioned piece by Ms. Carson entitled Norma Jeane Baker of Troy, based on Euripides’ Helen, will be shown in the venue’s more intimate theater space. (The play draws a line between Helen and Marilyn Monroe, who was baptized as Norma Jeane Baker.)
‘I asked Ann, Would you ever consider writing a dramatic monologue for a performer?’ Mr. Poots recalled. ‘Within six to nine months, she sent me the first draft and said: ‘I’ve written this for Ben Whishaw. And he’ll do it.’ Mr. Whishaw will perform it with Ms. Fleming.”
Michael Colby is a songwriter and the grandson of Ben and Mary Bodne, who owned Manhattan’s famed Algonquin Hotel from 1946-1987. In an interview with the New York Post‘s Barbara Hoffman, Colby recounts a somewhat risque tale of Marilyn.
“‘Marilyn Monroe used to come in at lunchtime and get a Beefeater martini,’ says Michael Colby, striding past the bar in the Algonquin Hotel on West 44th Street. And it was just down the street, at Fifth Avenue, that his grandmother once spotted her wearing a white mink coat.
‘If you think that’s something,’ the actress told her, perhaps after a few too many martinis, ‘you should see what’s underneath!’
Yes, Colby tells the Post, leaning against a portrait of hotel regular Tallulah Bankhead: His granny got flashed by Monroe.”
As fans will know, Marilyn was proud of her body, often went out sans underwear and thought nothing of wandering round her apartment or dressing room nude. Sam Shaw and Yves Montand have also told of similar encounters; but tales of Marilyn have a way of growing so that practically anyone vaguely connected to her will claim to have experienced the same.
Monroe biographer Carl Rollyson considers it ‘possible’, but points out that the Algonquin was not known as one of Marilyn’s more regular haunts, and that particular brand of exhibitionism was more commonly associated with the outrageous Tallulah Bankhead.
Canadian-American musician Meghan Remy aka U.S. Girls is about to release her sixth studio album. In an interview for The Ringer, Meghan takes Lindsay Zoladz on a sightseeing tour of New York, including the subway grate on Lexington and 52nd Street where Marilyn shot an iconic movie scene, while her marriage fell apart.
“The night that iconic photo of Marilyn Monroe was taken—you know the one: stilettos on a subway grate, billowing white dress—Monroe and her husband Joe DiMaggio got into a screaming match. The fight was partially about the photo itself: While shooting The Seven Year Itch, the studio had savvily leaked Monroe’s whereabouts to the press, and by the time Billy Wilder was ready to roll camera on what would become the most notorious scene in the movie, several thousand onlookers had shown up to watch. (They were almost all men, but I hardly need to tell you that.) DiMaggio was there, and he wasn’t too keen on what he took to be his wife’s public exhibitionism. When she showed up to set the next morning, Monroe’s hairdresser applied foundation to hide fresh bruises. She filed for divorce from DiMaggio before The Seven Year Itch wrapped.
‘We’re constantly presented with this smiling Marilyn,’ says Meg Remy, the singer and eccentric creative mastermind behind the band U.S. Girls. ‘But for some reason, when you have all the information, it just feels so heavy.’
I should mention that Remy is speaking into a headset, as she drives a rented, 15-seat van deftly through the streets of Manhattan. In anticipation of the release of U.S. Girls’ new album In a Poem Unlimited—the most ambitious and, as it happens, best album of Remy’s decade-long career—her label suggested a listening party for fans and members of the press. Remy asked around enough to learn what a listening party was, and, ever the DIY-minded eccentric, then decided it just wasn’t her style. What she came up with instead was this: a van tour of ‘sites of injustices in New York City,’ written and narrated by Remy herself, while we listen to the new album in the background.”
Richard Avedon’s first collaboration with Marilyn was in September 1954, when she visited New York to film The Seven Year Itch with director Billy Wilder. It may also have been their first meeting, and their warm camaraderie is evident in the resulting photos, taken by Sam Shaw. Earl Steinbicker, who was Avedon’s studio assistant at the time, remembers the shoot in Avedon: Something Personal.
“I met a helluva lot of famous people with Dick … I was there for the first sitting Dick ever did with Marilyn Monroe. The Daily News had sent a photographer to photograph him photographing her. I worked the fan blowing her hair, and at the end of the sitting she came over and said, ‘Wouldn’t you like a picture of me?'”
Over at the Village Voice, Molly Fitzpatrick looks at New York’s many iconic movie locations with blogger Nick Carr (Scouting New York) and Sarah Louise Lilley, a guide for TCM’s On Location tours.
“At times, there was an almost virtual reality–like quality to the experience, when Lilley’s commentary and film clips, cued up to play on overhead monitors when we passed the real-life locations within them, transformed the present-day city seen from the bus windows into a long-lost version of itself … Had Lilley not pointed it out, the subway grate at 52nd Street and Lexington Avenue where Marilyn Monroe famously posed in The Seven Year Itch could have been any one of the city’s thousands and thousands more just like it, unglamorously trod on every day by locals and visitors alike.
Both Lilley and Silverman cited Sutton Place Park as their favorite movie landmark on the tour, a tiny, peaceful lookout onto the East River with a stunning view of the Queensboro Bridge … Sutton Place is the swanky, townhouse-lined neighborhood that lies just south of the bridge. ‘The history of New York and the history of film is beautifully interwoven there,’ Lilley says. In the early-twentieth century, the same stretch of East River waterfront was home to not only luxurious apartments with views to match, but poverty-stricken tenements and the gangs who inhabited them, as depicted onscreen in 1937’s Dead End. By 1953, Sutton Place had become the must-have address for the trio of enterprising husband-seekers — Marilyn Monroe, Betty Grable, and Lauren Bacall — in How to Marry a Millionaire.”
Garry Winogrand was a LIFE magazine photographer who captured modern America in many unforgettable images. In September 1954, he was also one of the fortunate few to capture Marilyn shooting The Seven Year Itch in New York – both the iconic ‘subway grate’ scene, and the brownstone on East 61st Street where she waved from the window. Winogrand once said of Marilyn that she drew ‘all the available light’ around her.
“Artist. Iconoclast. Man of his time. Garry Winogrand was the epic photographer of 20th century American life.
Garry Winogrand: All Things are Photographable is the first documentary film on the life and work of acclaimed photographer Garry Winogrand – the epic storyteller in pictures of America across three turbulent decades. His artistry encompassed the heartbreak, violence, hope, and turmoil of postwar America, from the frenzy of its urban core to the alienation of its emergent suburbs.
He was born a first generation Hungarian-Jewish American in the Bronx, New York, in 1928, but his story is vital to our time. If you take pictures of friends, strangers or celebrities, on the street or at a party, you are creating in Winogrand’s artistic legacy – even if you have never published an image in the pages of Life Magazine or hung a print on the wall of the Museum of Modern Art. His ‘snapshot aesthetic,’ once derided by the critics, is the universal language of contemporary global image making. When he died suddenly at age 56 in 1984, Winogrand left behind more than 10,000 rolls of film – more than a quarter of a million pictures! He produced so many unseen images that it has taken until now for the full measure of his artistic legacy to emerge.
Endorsed by his estate, Garry Winogrand: All Things are Photographable is the first cinematic survey of that legacy. The film tells the story of an artist whose rise and fall was – like America’s in the late decades of the 20th century – larger-than-life, full of contradictions and totally unresolved.”
Dr Mathilde Krim, a pioneering geneticist and campaigner for AIDS research, has died aged 91, the New York Times reports.
Born in Italy, she studied in Geneva and worked in Israel before moving to New York. In 1958 she married entertainment lawyer Arthur B. Krim, head of United Artists (the independent studio that produced Some Like It Hot and The Misfits.)
On May 19, 1962, the Krims hosted a party at their home on East 69th Street for performers and selected guests from President John F. Kennedy’s 45th birthday gala – including JFK and brother Bobby, Maria Callas, Jack Benny, Shirley MacLaine and Marilyn.
During the 1960s, the Krims supported the civil rights movement, enlisting celebrities to the cause. They also campaigned for independence in Rhodesia and South Africa, gay rights and other civil liberties. Arthur Krim died in 1994.
In 1985, Mathilde formed the American Foundation for AIDS Research (AmfAR), with actress Elizabeth Taylor as International Chairwoman. Among their many successful programs are the promotion of needle exchanges, and encouraging condom use and other safe sex practices.
Mathilde was awarded the Presidential Medal of Freedom by Bill Clinton in 2000, and in 2014, AmfAR hosted a Marilyn-themed Cinema Against AIDS gala at the Cannes Film Festival.
Norman Norell, who became one of Marilyn’s favourite designers after Amy Greene introduced them in 1955, is the subject of a major retrospective, opening at New York’s Museum at the Fashion Institute of Technology (FIT) on February 9, 2018. As yet, it’s unknown whether any of Marilyn’s dresses (or similar) will be featured, but it’s a must-see for vintage style enthusiasts.