Our good friend Stanley Donwood, who showed with FIFTY24SF Gallery in 2010, has just released a few prints, two we are highlighting here in LA Exit and Apocalypse 101, in conjunction with his Lost Angeles show at Subliminal Projects. We like his write up on Apocalypse:
A choice selection of Los Angeles landmarks; the Crossroads of the World, one of the huge elephant statues that stand at Hollywood and Highland, the Roosevelt Hotel (stalked by the ghost of Marilyn Monroe), the famous Pantages theatre, the First National Bank building, and the iconic Capitol Records building, with Griffith Observatory up in the hills… all of them in dire trouble. The 101 freeway is already beneath the waves.
This is a three colour screenprint, including an almost (but not quite) imperceptible white and a metallic grey.
Except for the part of Bardot being a raging racist in her later years, she looked pretty good back in the 1950s, 60s, and early 70s. And Andy Warhol was commissioned to do portraits of the French actress/icon, and now the works, some never seen before, are on display at the Gagosian space on Davies Street in London. Bardot has never been shown before in the original series it was created.
Here is a little press blurb:
Warhol first met Bardot at the Cannes Film Festival in 1967 when she actively supported his attempt to show The Chelsea Girls there after the original planned screening had been cancelled. In 1973, at the height of her fame, she announced her retirement from making films. That same year Warhol received the commission to make her portrait. At this time that he was shifting his focus from filmmaking back to painting and perhaps viewed her coincidental screen exit as the perfect opportunity to commemorate and idolize her in art.
At the time of the commission, Bardot was as beautiful and famous as ever, her smouldering gaze, flowing blonde hair, and inimitable pout epitomizing the free-spirited energy and sexual allure that defined a new era. In these portraits of her, based on an arresting photograph taken by Richard Avedon in 1959, Warhol applied similar formal techniques to those he used in his portraits of Marilyn Monroe and Elizabeth Taylor — a cropped frontal viewpoint and contrasting palette (blue/red, pink/purple, green/black) with vivid primary accents on eyes and lips. In each of the paintings, Bardot’s carnal beauty fills the square canvas in the manner of a record cover, her voluptuous, leonine features framed by abundant, tousled hair.
We swear we saw it. This giant mermaid sculpture was sitting the central Alster River of Hamburg, Germany, although we get this feeling it isn’t there anymore. Because mermaids come and go. The four-meter-high sculpture was made by Oliver Voss. It sort of looks like Princess Di mixed with a bad Marilyn Monroe look.
Are we the only people that thought that Marilyn Monroe and Joe Dimaggio always looked a little awkward together? A new book, “Marilyn: August 1953,” is going to published featuring over 100 unpublished photos of the ultimate American icon, Marilyn Monroe. We assume this photo is going to be in there, because why else would it be the header of the sourced story?