Title: Listening so hard, it was like I'd gone deaf.
Medium: wo colour combination lithograph and gravure print
Paper size: 13" x 19.5"
Image size: 9.5" x 16.5"
Edition size: 10
Notes on source material Peculiar Modern Behaviour, or, don't go away, it gets better
Titles are paraphrased extracts from Blonde, a fictional biography of Marilyn Monroe by Joyce Carol Oates (2000, Fourth Estate) and document content from an FBI dossier on Marilyn Monroe.
Photolitho elements are extracts from FBI dossier on Marilyn Monroe as well as an extract from her autopsy report, 1962.
Police photographs, publicity stills of Marilyn Monro etc credited to documentary The Final Days (dir. Patty Ivins, 2001)
Additional elements all produced as video grabs shot on mini DVD off screen and printed out either as stacastic or laser prints on film.
Sources listed below under specific print titles.
Hand bottom left: Janet Leigh as Marion Crane in Psycho (dir. Alfred Hitchcock, 1960)
Marilyn Monroe on phone. Still photograph from The Final Days (dir. Patty Ivins, 2001)
Hand wiping floor: Anthony Perkins as Norman Bates in Psycho.
Feet with a cross on the floor: Moira Shearer as Vivian in Michael Powell's Peeping Tom (1959).
Bottom right: Marilyn Monroe outtake/dumped footage from Something's Got to Give (dir. George Cukor, 1962, unfinished)
Kathryn Smith / Listening so hard, it was like I'd gone deaf.
Kathryn Smith is a conceptual artist who works in a variety of media. Smith can be described as a performance artist, photographer, cultural agitator and manipulator of computer and video media to create her multi-layered artworks. Her interest in forensic pathology and psychology led to the creation of these prints which offer strong social commentary to those who wish to delve beyond the surface veneer of celebrities such as Marilyn Monroe.