Photographs of Marilyn taken by Bert Stern in 1962 are included in a new exhibition, ‘Jewels’, running from June 16 – July 9 at the Izzy Gallery, Toronto. Stern’s portraits of Elizabeth Taylor, Sophia Loren, Audrey Hepburn, Madonna and Kate Moss are also featured.
John Reznikoff, of University Archives, has spoken publicly for the first time about the Cusack Papers, a series forged documents relating to Marilyn and John F. Kennedy, which surfaced during the 1990s. The papers initially duped many people, including certain biographers, until they were exposed as fakes by ABC News. For more details, and to listen to the interview, visit MM Collection Blog.
Meanwhile, over at The MMM Blog, Melinda reviews the current exhibition, ‘Marilyn in Canada’, at the McMichael, Toronto.
Peter Goddard has reviewed ‘Life as a Legend’ and ‘Marilyn in Canada’, both now showing at Toronto’s The McMichael.
‘Norma Jeane Baker was naked, not yet “a nude,” in posing for Kelley. Her pale arms are outstretched behind her head, thrusting out her breasts. Elsewhere her arms are reaching up and above her head to elongate her languid body shape. Her face suggests a post-coital glow. Her ruby red lips are parted ever so slightly, as are her brilliantly white teeth, to suggest the pleasure she feels, not the pleasure she was determined to elicit in the viewer’s gaze.
This was Norma Jeane on the cusp of developing the Monroe look, the chilly hauteur killer stare the actress brought to each studio-sanctioned headshot, her eyes looking zoned out, her hair off her forehead except for a well-placed curl. (Only Mel Ramos, king of the pin-up drawings, ever imagined Monroe as happy.)
My uncertainty about the enormity of raw anger in this look, found everywhere in the show, led me to contact Natalka Husar, the talented Toronto painter and art teacher whose own work has led to her portraying rebellious and often fierce young women.
“MM as a mask of anger makes me think of de Kooning’s women, ferocious yet bombshells,” Husar replied in an email. Monroe’s red lips, “usually open and supposedly a come-on, really seem to be saying f-off. There’s attitude masking a pain.” ‘