Alfred Eisenstaedt’s portrait of Marilyn ‘daydreaming … in California’ appears in Looking at LIFE, among other contributors who brought photojournalism to America’s leading news magazine, on display at the Staley-Wise Gallery in New York until February 7.
“There was a time when a third of the American public eagerly awaited the weekly delivery of LIFE Magazine. Founded by Henry Luce in 1936 as a general interest magazine, LIFE placed an emphasis on photojournalism, with more space devoted to photos than the printed word. The great photographers of the day were recruited to record the world’s most significant events and extraordinary accomplishments in politics, science, religion, theater, art, and fashion. However, the magazine was not solely devoted to news. Their feature, ‘LIFE goes to a …’, reflected ordinary readers’ everyday lives – covering everything from high school graduations to debutante parties. Before internet and mobile phone service allowed immediate access to news and images, the world – both big and small – was reflected in LIFE Magazine.
This exhibition features photographs selected from the magazine’s and the photographers’ archives, including works by Margaret Bourke-White, Alfred Eisenstaedt, Harry Benson, Nina Leen, Andreas Feininger, Loomis Dean, Abe Frajndlich, Carl Mydans, and John Dominis, among many others.
LIFE ceased weekly publication in 1972, but remained a monthly publication until 2000 and continued to release special editions. In 2024, the publication rights were acquired with plans to resume regular print issues. LIFE will forever be known as the breakthrough for photography in the culture and a window into 20th century American life.”
Back in 1938, Eisenstaedt had photographed Bette Davis (Marilyn’s future co-star in All About Eve), for LIFE‘s cover. His most famous photo – of a sailor kissing a woman in Times Square on VJ Day in 1945 – is featured on the exhibition poster.
Although Eisenstaedt’s photo shoot with Marilyn at her Doheny Drive apartment in January 1953 was little-used at the time, in more recent years those shots of her wearing a simple black polo-neck sweater and white capri pants have modernised her image.
Eisenstaedt’s photo is placed at the centre of one installation, among other contributors’ shots of contemporary figures including Kim Novak, Grace Kelly, Natalie Wood and Warren Beatty, Frank Sinatra and Jackie Gleason.
While Marilyn doesn’t appear elsewhere, images by familiar names who photographed her at public events for LIFE (such as Loomis Dean, George Silk, Peter Stackpole, and Yale Joel), and Allan Grant – whose 1962 photo shoot at Marilyn’s home accompanied her final interview – allow us a broader view of their work.
And finally, J.R. Eyerman photographed Marilyn on several occasions – including an unpublished 1948 feature (she made her LIFE debut a year later.) But his best-known photograph, which also appears in this exhibition, showed filmgoers wearing 3-D glasses at the Hollywood premiere of Bwana Devil in 1952.
The Marilyn Report 