The Irony of Candid Marilyn Monroe

I’ve developed a fascination with candid photos of Marilyn Monroe. Despite the vast media saturation of her image, it’s very much of her created image rather than the person.  (*although I do not intend to propose that the two are entirely separate.)  Despite being one of the biggest icons of this past century, it’s the proportion of her candid images to her created images is incredibly small.  It’s interesting seeing (or attempting to see) just how controlled her image was, especially with our current age of easily accessible privacy eliminating tools (ie cameraphones, blackberries, you tube, twitter..the freaking internet…..).  Yet Marilyn, one of the most photographed woman of the 20th century retained so much control….and still does.   She controlled how she talked, walked, and even the movement of her facial muscles.  When working with photographers, she would demand approval of every photo.  Scratch out photos of herself on the contact sheets and permanently damage them.  Her ‘candid’ responses were premeditated witicisms.  She could not deal with the public on a whim,  she famously required hours upon hours of preparation.

We in a way can relate to her image projection with how we represent ourselves digitally.  With facebook twitter, youtube, etc….we can control what images, sound bites, videos, and words of ours are projected out into the world.  It’s easy for personal use, but ridiculous for celebrity because after all …we have the same tools.

There are so many reasons I find candid photos of Marilyn so striking and powerful.  What I currently find the most interesting is the very degrees in candor in candid-like photos of Marilyn. Often the photos of Marilyn …not being ‘Marilyn Monroe’ (i.e. headscarf,sunglasses MM) are taken by someone familiar, like teenage follower and friend James Haspiel.  In order to find that Marilyn, you had to work at it and get to know her.  There’s other photos where she’s aware she’s got a bit of the public’s eye, but is choosing not to acknowledge it because she can’t handle it at the moment (i.e. leaving Payne Whitney) , Other photos she is ‘being Marilyn Monroe’ and we can see some of her guard let down.  There’s also those few few photos…where Marilyn is in fact….oblivious…….which for one of the biggest image control freaks of the 2oth century..evocative of privacy/celebrity/public relationships to come later in the century.   It’s easy to try to dismiss the Marilyn Monroe hype…especially because there is so much hype.  There are many reasons she’s an icon, and still is endlessly talked, written about, and her image slapped on just about anything.  The bottom line is, this woman who’s been dead nearly 50 years just keeps staying culturally relevant.

unaware but dressed to the nines.

Posing but private.

photo by James Haspiel

We are the voyeur.

New York, 1955

Better image of recent work.

New York, 1955. Pastel, ink, gouache, and marker on paper.

Revised “Just Judy” Drawing.

Before my show, I went back into an older Judy Garland piece I hadn’t initially felt happy with. Here is the before and after.

JustJudyVs1

Second "Just Judy"

Ink, marker, acrylic, and pastel on paper. 2008-2009. Look at me, all…..going back into works.

(phone) Photos of mini-show at the Hot Chocolate Sparrow

Work is coming down next sunday. Here’s some quick photos I snapped with my phone while…at work.

Better images to come when the show comes down.

First Art Show and Indirect Communicating

Right now some of my art is being exhibited at my work, the Hot Chocolate Sparrow in Orleans. This is the first time a body of my work has been exhibited outside of art school. I was nervous, I was intimidated, and initially I was flat out afraid.

This isn’t art school anymore. This is the real world. While it’s a cafe rather than a gallery setting, it’s still setting my work out to the public. Not just the public, but an audience I previously hadn’t exposed my work to. Cape Cod folks….which is a hard culture to describe in itself.

The amazing part is, the show has been well received. There’s something redeeming about working at my cafe-customer-service job and having the customers compliment me as an artists. It’s comforting having pretty much all my coworkers come up to me and exclaim how much they love my work. It’s reassuring to have conversations about the work, and having people get it. People that aren’t just my best friends who understand my brain, but rather people I never knew I had much in common with.

That is the greatest and most exciting thing of all. Realizing that yes, my work can connect with people. It’s such a surreal feeling.

To top it off, I found out an artist I admire likes my work. Last fall, while interning at the Provincetown Art Association and Museum, there was one artist’s work that I really connected with. Selina Trieff. Her paintings captivated me. It turns out, she came into the show and said that I “have some talent’. This is one of the things I love about art, the connection. We both independently saw each other’s work and we both connected with it, oblivious that the other person had connected with our own work. I’ve had a similar thing happen while doing Marilyn Monroe research. I was reading the book “Life Among the Cannibals” by David Marshall, and while reading the book he contacted me saying he found my work very powerful. I’ve also now been in contact with another author who’s work I love, Tara Hanks. Turns out, she likes me Marilyn work as well.

The idea of the anti-social tortured artist is bullshit. Art is communication, and I think sometimes I bury myself in theory and overthinking and my own mind. It’s really extraordinairily simple. In the age of facebook, twitter, blogs, texts, and almost every possible form of nearly instant communication……sometimes we forget that a painting, performance, or a books aren’t at all an outdated form of communication. In fact, they still manage to trump all that shit.

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