Marilyn is among several Hollywood icons portrayed in ‘Faded Glory’, a new exhibition from artist Nicholas Reddyhoff at 54 The Gallery in London’s Shepherd Market from April 16-22. MM fans will recognise that his portrait is based on a photo from her 1962 session with Bert Stern. Nicholas spoke about his work with Sarah Juggins for Lynn News.
“I have tried to capture these incredibly well-known people in less than obvious poses. For example, the image of Marilyn Monroe really shows the haunted look she had in her eyes later in her life. We always think of her as voluptuous and cheeky, but here she looks thin and almost haunted. I think beauty fades more rapidly the more beautiful you are, but all of these characters had a presence and a quality that was undefinable but always seductive.”
An exhibition of Warhol prints (including a 1967 Marilyn) is currently on display at the Palm Springs Art Museum until May 28. In an article for the Desert Sun, Bruce Fessier talks to several of the artist’s friends and associates, including Jamie Kabler, an entrepreneur and philanthropist.
“Jamie and Elizabeth Kabler moved to New York after their 1979 marriage and remained friends with Warhol until his death in 1987 … They hosted parties with New York socialites, visited Warhol’s Factory and attended several lunches with Warhol. Kabler also invested in theatrical shows. Marilyn: An American Fable had 16 shows in 1983 after 35 previews. Warhol attended the opening, which meant a lot to Kabler.
‘Andy would go to the opening of a toothpaste factory,” he said. “He went out every night … He always showed up and people appreciated him. You could count on him.'”
Two of Andy Warhol’s Marilyn prints will be auctioned in London later this month. The print shown above will be at Sotheby’s on March 27, while this rare unpublished proof from 1978 will be at Christie’s on Match 28.
Marilyn is featured among a host of other pop culture icons – from Lauren Bacall and Audrey Hepburn to Elizabeth Taylor and Madonna – in Bolipop, a new exhibition by Valencian artist Antonio de Felipe at La Fiambrera Art Gallery in Madrid, Spain until March 11 (Sunday), Blouin Artinfo reports.
A Jewish daily prayer-book acquired by Marilyn at the time of her 1956 marriage to Arthur Miller will be auctioned at William Doyle Galleries of New York as part of their Rare Books, Autographs & Maps sale on Tuesday, November 7. The book, which numbers some 648 pages, is described as ‘quite worn’ and includes a few notations in pencil, apparently by Marilyn herself. It was originally sold at Christie’s in 1999. The estimated price this time around is $4,000-$6,000. For more information on Marilyn’s conversion, read this excellent article by Simone Esther.
“Designer Tommy Hilfiger has a slew of celebrity fans and frequently references pop culture in his designs, so it shouldn’t surprise you to find out that he’s got an enormous collection of memorabilia worn by some of the most iconic celebrities of all time … A pair of Foremost JCP Co. blue jeans worn by Monroe in the 1954 film River of No Return are available and can be yours if you’ve got a ton of disposable income just lying around (they’re estimated to sell up to $40,000). Hilfiger previously owned two other pairs of the jeans worn by Monroe, but gifted them to Britney Spears and Naomi Campbell (#nobigdeal).”
The latest Versace collection, which hit the catwalk in Milan this week, is nostalgic in more ways than one, as Vogue reports. Marking the 20th anniversary of Gianni Versace’s death, this ‘homage collection’ from his sister and successor, Donatella Versace, also reinvents one of his most iconic designs. The ‘Marilyn dress’ that supermodel Naomi Campbell first wore on the catwalk in 1991, as part of the ’92 collection (shown above left) makes a notable comeback (see right.) Based on the infamous Pop Art screen-prints by Andy Warhol, and also featuring James Dean, the much-imitated Marilyn dress epitomises the Versace brand’s postmodern fusion of glamour and excess, and the original now resides in New York’s Met Museum.
Niagara, the technicolor film noir which gave Marilyn one of her best dramatic roles, gets a rare outdoor screening on July 14, as part of the Summer Sizzle Under the Stars program at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut (only 35 miles from Marilyn’s former home in Roxbury.) The movie complements a Pop Art exhibition at the museum, and there will be live music and dinner available – more info here.
This year marks the 50th anniversary of The Beatles’ Sergeant Pepper’s Lonely Hearts Club Band, one of the most influential pop albums ever made. The cover – a collage by artist Peter Blake – features the Fab Four lining up alongside more than sixty of the last century’s most iconic figures. Marilyn is there, as photographed by Ben Ross in 1953. BBC Music have compiled a mini-documentary for each one: Marilyn’s includes newsreel footage from her arrival in England to shoot The Prince and the Showgirl in 1956. You can watch the clip here.
Following news that the American pop artist James Rosenquist has died aged 83, here’s a closer look at one of his most celebrated works, from The Art Story.
“Marilyn Monroe, I (1962)
James Rosenquist painted this inverted and fragmented portrait of Marilyn Monroe just following her unexpected death in 1962. Like fellow Pop artist Andy Warhol, Rosenquist transformed Marilyn’s iconic image. But whereas Warhol used well-known photographs of the celebrity sex symbol repetitiously, Rosenquist chose to present her in a manner that denied immediate recognition, while preserving her coquettishness. He achieved this by breaking apart her eyes, lips, and hand, reassembling the pieces into a seemingly random configuration, and boldly overlaying letters that are themselves fragments of her name.
Below the lettering appears a fragment of the word ‘Coca-Cola’ in the soda’s trademark script. Through this association with branding, mass-production, and popular culture, the artist draws attention not so much to Monroe as a person as to how she was packaged in the mass media and marketed based on her sex appeal, here synecdochically referred to through images of her smiling mouth and attractive blue eyes artistically repackaged. Rosenquist’s painting of Marilyn Monroe is one of countless others painted by his contemporaries, including Andy Warhol and Willem de Kooning, that attest to the increasing power of mass media and its impact on art production during the 1960s.
Oil and spray enamel on canvas – Museum of Modern Art, New York”