News sites have been abuzz today with a few fantastic photographs that show a giant sculpture of Marilyn Monroe face-down in the dirt at a Chinese dump. The sculpture was apparently thrown out for unknown reasons after being displayed outside a business center in Guigang, China, for only six months. The juxtaposition of the glamorous, oversized movie star — her white dress, red lips, sexy pose (taken from that famous scene in the film The Seven Year Itch) — in such squalid surroundings is certainly striking.
But what may be more striking is the statue’s uncanny similarity to another giant likeness of Monroe, this one called “Forever Marilyn” and created by artist Seward Johnson. Both sculptures feature the movie star in the same outfit and pose, both measure roughly eight meters (26 feet) tall, and both are made out of stainless steel (the Johnson also uses aluminum; it’s unclear if the Chinese version does). Yet the Marilyn in the Guigang dump was “was made by several Chinese artists over two years,” according to NBC; “Forever Marilyn,” meanwhile, was made by Johnson, unveiled in 2011 in Palm Springs, California, and is currently on view at the New Jersey sculpture park Grounds for Sculpture as part of Johnson’s retrospective (we called to confirm; it is indeed there).
Did the unnamed Chinese artists (or their commissioner) copy Johnson — and then mysteriously throw their eight-meter knockoff in the trash? (Upon close inspection of this Reuters photo, Chinese Marilyn’s heels look shorter and thicker than the ones Johnson sculpted.) Does Johnson know about shanzhai Marilyn? Is Marilyn Monroe the new rubber duckie? So many questions. So much intrigue. So little time.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.