She crafted her own persona on and off the screen using camera angles, lighting, makeup and editing.NEW YORK, Oct 10 (Reuters Breakingviews) - PepsiCo (PEP.O) is fattening up its bottom line as customers start slimming down. “We’re so interested in the fact that she was an image maker in a technical sense. But what’s so interesting is that she was so obsessed by the medium of photography,” Kane said. People tend to think of her as someone who was shaped by outside forces such as movie directors, music conductors, set photographers and music arrangers. “I hope that people will really understand the level of control and power that she had within her own image. True to her elusive nature, there isn’t a lot of research material about Dietrich that is easily accessible, including in her archives in Berlin, Kane said, though studio-commissioned publicity photos are unmistakable due to Dietrich’s autograph often in her distinctive green ink. “Play the Part” features many images that are being shown Stateside for the first time and is drawn from the 2,000-piece collection of Pierre Passebon. Horst, Lee Miller, Irving Penn, and Edward Steichen, as well as Hollywood lensmen George Hurrell, Eugene Robert Richee and William Walling Jr.

The ICP exhibition is stacked with photos of the performer by Eve Arnold, Richard Avedon, Cecil Beaton, Alfred Eisenstadt, Horst P. “It’s so interesting to think Dietrich doing this sort of practice 80 years ago,” Kane said. People don’t necessarily think of that happening so early in the history of our country,” Kane said.ĭietrich’s gender-bending style hasn’t just influenced style icons like Madonna, but the entire world of image making, which remains relevant in the age of social media. “Incredibly progressive in showcasing her gender and sexual expression on such a big platform. As a queer woman, she had also relationships with men and women. In the 1930 film, she wore a top hat, tails and white bow tie and kissed a woman on screen. ICP patrons will also learn how photography was used within the entertainment industry during her lifetime and the medium of photography’s evolution over much of the 20 th century.ĭietrich was among the first women to wear menswear in public in the ’30s, and sparked a fashion fad in Berlin, New York and Paris. Collection Pierre Passebon/Courtesy ICPįast-forward to the image-obsessed times that we are living in, the exhibition is expected to introduce a new audience to “The Blue Angel” film star, who died in 1992. “She made costumes herself and put on her own makeup.”įilm still from “Shanghai Express” directed by Josef von Sternberg in 1932. She was someone who understood photographic lighting and how to pose herself,” Kane said, adding that she brought mirrors so that she could position herself exactly as she wanted to.

“People are only now beginning to think of her as an image maker in and of herself. The show’s curator Haley Kane underlined Dietrich’s collaborative work, including that with the visionary Hollywood director Josef von Sternberg in the film industry, and later with composer Burt Bacharach in her cabaret career. “Play the Part: Marlene Dietrich” will feature snapshots, publicity stills, film stills and other images from most of the past century, and will run through Jan. The 250 photographs from 1905 to 1978 will shed some light on how the Berlin-born artist controlled her public persona. The International Center of Photography in New York will spotlight how exquisitely the enigmatic Hollywood actress and singer did just that with an exhibition that bows on Saturday. In terms of image makers, Marlene Dietrich could certainly hold her own.

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