ipl-logo

The Statue Of Art In Billy Wilder's Forever Marilyn Monroe

530 Words3 Pages

When hearing the name “Marilyn Monroe” most people picture the beautiful blonde woman striking her famous subway grate pose. This Pose is from Billy Wilder’s landmark 1955 film, “The Seven Year Itch” (Anthony). As an artist, Seward Johnson saw this iconic pose as an opportunity to make an eye catching statue entitled Forever Marilyn. “The “Forever Marilyn” 26-foot-tall statue went on display in July 2011 at the Pioneer court in Chicago” (Anthony). “The artists told CBS 2 the statue is intended to celebrate everything Marilyn stood for. That’s what art is supposed to do, he said. The sculpture was built in a studio in New Jersey and brought to Chicago. It is aluminum from the waist up, but below the waist she’s a woman of steel. That’s because so …show more content…

“The artwork features spike- heeled Marilyn in her ivory-colored windblown dress, exposing her laced underwear and whipping up a storm among Chicago’s art community, art critics, and feminists. Yet it became an instant tourist attraction, with crowds of visitors posing for Chicago’s hottest photo op.” (Anthony). The “Forever Marilyn” statue is controversial because it is placed in the wrong setting, brings shame to famous star Marilyn Monroe, and its provocative nature is offending. “Sixty years ago, on September 15th, 1954, Marilyn Monroe stood on a subway grate in New York City wearing a little white dress and fought an upward breeze. The scene from the Seven Year Itch, went on to become one of the most iconic moments in movie history” (That). Since the statue designed by Seward Johnson was based off the film, why was the art work put on display in Chicago? Since Johnson wanted to celebrate Marilyn Monroe he decided to place the statue in Chicago as a tourist attraction. “Compared to these small-scale installations dispersed

Show More
Related
616 Words | 3 Pages

The Tlatilco female figurine (1200-900 B.C.E.) is a ceramic sculpture created in Central Mexico at the site of Tlatilco. The 9.5 cm tall sculpture depicts a woman with two faces exhibiting an intricate hairstyle, a slim waist, and large thighs. The sculptor of the Tlatilco female figurine is unknown, but one can conclude that the artist was from the people of the Tlatilco culture. The people of the Tlatilco culture lived in the Valley of Mexico, where they created many small clay figures, but sculpted them by hand rather than using a mold. The figurine is currently residing at the Princeton University Art Museum.

Read More
918 Words | 4 Pages

The kiss showcased in the image communicates joyfulness and releases emotion (Hariman and Lucaites, 2007, p.125). The young couple is the focal point of the image and therefore directly releases the notion of joy and the country’s victory. Today, this photograph is considered one of the most iconic pictures of all time (Hariman and Lucaites, 2007, p.123). The couple’s kiss remains frozen in time, as it is now a statue that remains Time Square. Many tourists from around the globe visit the statue, as it is now part of America’s

Read More
1150 Words | 5 Pages

”(Sculptor Marion Perkins) It is currently at the Art Institute of Chicago, and won first place in the “Chicago and Vicinity” serious along with the Pauline Palmer Purchase

Read More
730 Words | 3 Pages

Sculptures are a form of artwork that portray a certain message towards an audience at hand. The University of Texas at Austin holds the following two sculptures which remind us of the power of artistry: Martin Luther King, Jr (1999) and Blue Woman in Black Chair (1981). The former monument, by Ana Koh-Varilla and Jeffrey Varilla, stands in the East Mall and the latter, by George Segal, sits on the 2nd floor of the Blanton Museum. Both sculptures represent a distinct human figure yet, differ in their components in relation to their size/scale, subject matter and figure/drapery. Regarding size/ scale the Varillas create a larger than life sized bronze, figure placed on a sturdy pedestal, demonstrating the concept of authority and influence.

Read More
914 Words | 4 Pages

hunter ellis due: 1/30/18 uw 1020 prof. mantler e1: coming to terms in scott a. sandage's essay "a marble House divided: the lincoln memorial, the civil rights movement, and the politics of memory, 1939-1963" he argues politics dramatically influence the public's memory and use of monuments. sandage articulates the way the public views history is subject to the political views of the time. his goal is to demonstrate how politics combined with public monuments can have a significant impact because of the memory Associated with the monuments. throughout his essay, sandage uses a case study of the lincoln memorial to fulfill this goal and provides the reader with a new way of thinking about public monuments. the materials, specifically the images,

Read More
111 Words | 1 Pages

In regards to the never ending Sherrie Levine debate the act of re-photographing the famous images shifted the author, the viewer, and the subject. By inserting herself as the author Levine more than merely reproduces the already reproduced photograph, she complicates the original intent of the image and exposes the power structures inherent in image production. Levine attempt to rewrite history and the narrative behind it. Her approach forces the viewer to question how one creates meaning out of history. Levin’s appropriation of the image from a catalogue image speaks to how artwork is commodotized and extracted of authorship through reproductions and other methods or circulation echoing thoughts of Walter

Read More
711 Words | 3 Pages

Reynolds was a collector of movie memorabilia. She owned so much movie memorabilia that in 1993 she forms the Hollywood Motion Picture & Television Museum group, although the museum never opens its doors in her lifetime, her son plans on opening the museum in memory of her later this year. Over the years she had collected many pieces, including Charles Spencer "Charlie" Chaplin’s famous bowler hat and Marilyn Monroe’s iconic dress from the subway scene in The Seven Year Itch. But sadly, all good things must end, in the 1970’s Reynolds hit a rough patch in financing, forcing her to auction off some parts of her prized collection just to make ends meet for her and her family. 3

Read More
454 Words | 2 Pages

Arthur has to work hard to provide a safe new home for it and miraculously, the National Collection of Fine Arts in Washington was willing to keep it in storage until there was a space for it in the museum. Arthur couldn’t be

Read More
321 Words | 2 Pages

I was attracted by this piece among all the photographs in the museum. The obvious symmetric glass building in the front with a blurry reflection of other buildings that cought my eyes. The piece is named “Reflection, Old St.Louis County Courthouse,” and photographed by William Clift in 1976. It is a 30x40 cm black and white photography and the medium is Gelatin silver. The glass building is a rectangle shape with perpendicular to the side roads.

Read More
572 Words | 3 Pages

In the 1950s, beauty pageants, Barbie dolls, and icons like Marilyn Monroe played significant roles in shaping societal perceptions of beauty and sexuality. These cultural phenomena are all very well-known aspects of the period and set an expectation for femininity, beauty ideals, and gender roles, reflecting and perpetuating the dominant standards of the time. With minimal regard for the conservative climate of the time, they remained popular due to their ability to both conform to and challenge prevailing attitudes, appealing to all relevant audiences. The first modern beauty pageant took place in 1921. By the 1950s these showcases became part of everyday pop culture, influencing societal standards of femininity, beauty, and physical appearance.

Read More
736 Words | 3 Pages

The image of a young smiling carefree Marilyn Monroe elicits reverence, yet also sadness. Monroe is an iconic figure yet her tragic existence and early demise contribute greatly to status as an icon. Marilyn, appears to be an oil painting. It is a still life and the colors are vibrant and saturated. There are many items; the main being the image of a smiling Monroe inside of a open book; her image is on the right side and on the left is a page of unreadable text.

Read More
1117 Words | 5 Pages

Valued at over $3.5 million dollars, Richard Prince’s Spiritual America, a rephotograph of fashion photographer Gary Gross’s 1975 original image is as infamous as it is provocative. Originally displayed in 1988, the piece continues to stir up controversy. In 2009 it was banned from the Tate Modern on the grounds that the image was “clearly child pornography” (cite). These charges are not entirely false; the original picture was part of a photo spread published in the softcore porn magazine Sugar n’ Spice. But repurposing existing objects in the real world into art is Richard Prince’s shtick.

Read More
1250 Words | 5 Pages

The statue is a candid representation of the emotions surrounding the 1960’s civil rights movement, and it’s a symbol for how the fight for justice was an uneasy

Read More
1078 Words | 5 Pages

The years leading up to Judy Chicago’s first series The Rejection Quintet in 1974 saw a great amount of effort in finding her true identity as a female artist during a time which men made up the majority of the art scene. During the 1971 Rap Weekend in Fresno, Chicago, together with Miriam Schapiro, showcased works that used the central format of abstracted flowers or folds of the vagina. Chicago later reflected on the showcase stating that she could not express her own feelings as she met other women who were just as oppressed as she was through the struggles of being a female artist. The first piece of The Rejection Quintet, How Does It Feel to Be Rejected?, marks the acceptance of the struggles Chicago went through and her symbolic transition into what became her most iconic installation The Dinner Party. This paper will discuss the significance of Chicago’s, How Does It Feel to Be Rejected?, as it proved to be the first small step for her towards revealing the “central-core” for which she labels as her feminine imagery.

Read More
1400 Words | 6 Pages

Organization, vol. 17, no. 2, 2009, pp. 283–304., doi:10.1177/1350508409342358. Steele, Valerie. “Museum Quality: The Rise of the Fashion Exhibition.”

Read More

More about The Statue Of Art In Billy Wilder's Forever Marilyn Monroe

Related Topics

Open Document