Celebrity Culture:TheAllure and Peril of the ‘It Girl’
Duncan of Jordanstone University of Dundee
Acknowledgements
This dissertation is dedicated to all the ‘It Girls’ who suffered from the negative consequences of fame.
I would like to thank Helen Gorrill for her continued advice and support.
List of Figures
Figure 2.1 Badger, C. (1927). “IT” [Film & poster]. Paramount Pictures. Available at: https://www.imdb.com/title/tt0018033/
Figure 2.2 Young, R (2020). Heroes + Heroines. Available at: https://russellyoung.com/collection/heroes-heroines/
Figure 2.3 Elmgreen, M & Dragset, I (2011) Roaring Fake Paparazzi. Available at: https://www.bizbash.com/production-strategy/mediagallery/13478370/roaring-fake-paparazzi-greet-performa-benefit-guests
Figure 2.4
i. Unwerth, E (1992) Bathing Beauties. Available at: https://www.artsy.net/artwork/ellen-von-unwerth-bathing-beauties-paris
ii. Unwerth, E (1990) In & Out. Available at: https://www.artsy.net/artwork/ellen-von-unwerth-in-and-out-christyturlington-and-linda-evangelista-for-vogue-italy-cannes-july
iii. Unwerth, E (1991) Big Spender. Available at: https://www.artnet.com/artists/ellen-von-unwerth/big-spender-naomicampbell-and-stephanie-seymour-iQV0H8rZxaecPSYLJKXDig2
iv. Unwerth, E (1996) Bathtub. Available at: https://www.artsy.net/artwork/ellen-von-unwerth-bathtub-naomi-campbelland-kate-moss-for-vogue-us
Figure 2.5
i. McCabe, D (1965). On the Norelco monitor at the scene nightclub. Available at: https://proudgalleries.com/products/andy-warhol-edie-sedgwick-on-thenorelco-monitor-at-the-scene-nightclub
ii. McCabe, D (1965). On the roof of David McCabe’s studio, 37th st. Available at: https://proudgalleries.com/products/andy-warhol-edie-sedgwick-on-theroof-of-david-mccabe-s-studio-37th-st
iii. McCabe, D (1965). Portrait at the factory, 47th st. Available at: https://proudgalleries.com/products/edie-sedgwick-portrait-at-the-factory47th-st
Figure 2.6 Kusama, Y (2017) Let’s Survive Forever. Available at: https://ago.ca/exhibitions/yayoi-kusamas-infinity-mirrored-room-lets-surviveforever
Figure 2.7 Maguire, H (2024) Archival Media Wall.
Figure 2.8 Gordon, D (2023). Portrait of a Self Portrait of a Self, as Marilyn FULL SET. Available at:
https://lito.io/products/douglas-gordon-portrait-of-a-self-portrait-of-a-self-asmarilyn-fullset?pr_prod_strat=e5_desc&pr_rec_id=f0be31cb6&pr_rec_pid=82913132874 32&pr_ref_pid=8237501284616&pr_seq=uniform
Figure 2.9
i. Kruger, B (1981). Untitled (Your gaze hits the side of my face) Available at: https://www.artnet.com/artists/barbara-kruger/untitled-your-gaze-hits-the-sideof-my-face-gY2Vd5Vp5JOS6Z7PAjwGkw2
ii. Kruger, B (1981) Untitled (I will not become what I mean to you). Available at: https://www.artnet.com/artists/barbara-kruger/untitled-i-will-not-becomewhat-i-mean-to-you-mUUuz8W203zyJiCGGtuDfg2
Figure 2.10
i. Dumas, M (2011) Amy – Blue. Available at: https://www.npg.org.uk/collections/search/portrait/mw214153/AmyWinehouse-Amy-Blue
ii. Dumas, M (2011) Amy – Pink. Available at: https://www.fondationbeyeler.ch/en/beyelercollection/work?tx_wmdbbasefbey_pi5%5Bartwork%5D=144&cHash=26096 82a4acc1db750188abb8577722c
Abstract
The core argument of The Allure and Peril of the ‘It Girl’ is that the same public and media forces that elevate certain women to the status of ‘It Girl’ also contribute significantly to their personal struggles and, in many cases, their eventual collapse.
Introduction
The exhibition thesis of my proposed exhibition, titled The Allure and Peril of the ‘It Girl,’ will analyse the consequences of fame on the ‘It Girl’ by exploring female icons over the decades. It will question if the same public and media forces that elevate certain women to the status of ‘It Girl’ also contribute significantly to their personal struggles and, in many cases, their eventual collapse The exhibition will explore these themes through the lens of contemporary art.
The author of Celebrity Culture suggests that celebrities play a part in our lives, "Celebrities are part of our arts, entertainment, lifestyles, customs, and many social, political and even religious institutions. They affect our attitudes and behaviour, influence our appreciation of others, and define our collective character" (Cashmore, 2014).
Often described as “famous for being famous,” the ‘It Girl’ carries a mystique that captivates audiences, shapes fashion trends, beauty standards, and social behaviours. Yet, behind the glamour lurks a dangerous cycle of incessant scrutiny, invasive gossip, and the risk of personal destruction (Orgeron, 2003).
The exhibition will showcase how the ‘It Girl’ concept first exploded into public consciousness. It was in Elinor Glyn’s 1927 silent film It, starring Clara Bow. The film popularised the idea that ‘It’ meant having a unique charm or sex appeal that could propel an ordinary woman to stardom. This period saw a cultural shift when newspapers and magazines in the 1920s began prioritising entertainment and celebrity coverage As Bow gained popularity, the public interest in her private life grew. The relentless attention may have led to her declining mental health.
To further explore the consequences of fame on female celebrities, the thesis will analyse the lives of prominent ‘It Girls’ over the decades (1920s-2000s). Marilyn Monroe became the ‘It Girl’ of the 50s. Praised as one of the most photographed women of her era, Monroe was steadily hounded by tabloids. However, Monroe battled mental health challenges which played a role in her probable suicide at the age of 36. Cashmore (2014) claims that media
scrutiny “has a hand in death,” and Monroe’s story reflects how the spotlight itself can intensify underlying trauma, particularly in individuals who had an abusive childhood.
By the 1960s, Edie Sedgwick, the muse of Andy Warhol, became the ‘It Girl’ of the Swinging Sixties. Sedgwick’s socialite background and magnetic personality captured headlines, yet her struggles, magnified by drug use (Pinsky & Young, 2009) and obsessive partying, drove her into a downward spiral (Chabbot, 2016). Rojek (2012) describes how celebrities occupy a ‘frontier space’ where ordinary boundaries fade, leaving them vulnerable to extreme behaviours. This notion underscores how high-stress celebrity environments often leads to addiction, dangerous relationships, and tragic outcomes (Pinsky & Young, 2009).
Another shift in demand for celebrity news caused celebrity coverage to double between the 1980s and the early 2000s, illustrating the public’s growing appetite for scandal and gossip (McCafferty, 2005). By 2007, as Perez-Pena (2007) found, Time magazine’s circulation had fallen by 17%, while the celebrity-focused OK! Magazine rose by 55%. This shift paved the way for 1990s and 2000s ‘It Girls’ such as Kate Moss, a controversial supermodel, and Amy Winehouse, a singer-songwriter whose talent was overshadowed by shocking headlines. Each story reflects how the public’s demand for constant celebrity gossip can accelerate, and even glorify, their downfalls.
Today’s ‘It Girls,’ including reality TV celebrities like Kim Kardashian (b. 1980) and supermodels such as Bella Hadid (b. 1996), exist in an even more intense media ecosystem. Around-the-clock coverage on Instagram and TikTok can broadcast an embarrassing or personal moment to millions within seconds, creating a constant state of hypervigilance. Ironically, these modern celebrities now also monetise and curate their brands. Yet, the cost of this visibility is high as one slip can trigger viral hate and shaming which can cause harmful effects on their mental health.
This curatorial exhibition will showcase contemporary art, archival film clips and media clippings. It will take place in the Saatchi Gallery, in London. The primary audience will be women aged 18-35. However, it will appeal to a broader demographic from tourists to art enthusiasts, and anyone interested in celebrity culture. The exhibition invites the audience to reflect on the role the media and public have in fuelling the ascent and collapse of ‘It Girls ’ It questions how fans, media outlets, and global audiences collectively idolise these women
yet devour their crises for public entertainment. The exhibition highlights the consequences of fame and challenges visitors to see beyond the parties, luxury brands and red-carpet appearances. Ultimately, the exhibition encourages viewers to have a more empathetic understanding of the burdens of those who become celebrity icons
A range of films, documentaries and exhibitions have influenced the exhibitions’ themes and curation; however, biography film Factory Girl (2006) and documentary Amy (2015) have been especially influential The Exhibitions, Women in Revolt! (2024) and Beyond Fashion (2024), have inspired the curation of the exhibition.
Chapter One: Curatorial Thesis
The 1920’s newspapers and magazines played a role in redefining ideas of fame, success and heroism. By 1922, over half of the New York Post’s articles were entertainment stories, reflecting readers’ growing fascination with celebrity news (Henderson, 1992) .This heightened interest laid the foundation for the rise of what we now call the ‘It Girl.’
The proposed exhibition will explore the origin of the ‘It Girl.’ It opens by tracing the term to one of the earliest silent films: Elinor Glyn’s “IT” (1927). Starring Clara Bow, the film set the stage for the original ‘It Girl’. Glyn used ‘It’ as a euphemism for sex appeal: “Women who had ‘It’ could use ‘It’ to get what they wanted (Orgeron, 2003). However, despite Clara’s fame and glamorous lifestyle, she faced significant personal struggles exacerbated by media demands and public scrutiny. The intensive spotlight eventually led to an attempted suicide, after which she spent the rest of her life in a mental institution until her death in 1965 (Tatna, 2021). The exhibition aims to inform the audience about the negative consequences female celebrities have faced over the years and still face today. Despite the illusion of glamorous lifestyles, celebrities often deal with numerous problems, including:
“Alcoholism, drug abuse, addiction, mental illness, myriad of relationship problems, death, suicide or other life-changing disasters” (Commons, et al., 2014)
The exhibition will explore the allure, and the consequences of fame, specifically, on ‘It Girls.’ Marilyn Monroe (1926-1962), the ‘It Girl’ and icon of the 1950s rose to fame due to her roles as the comedic “blonde bombshell” characters in many films, such as How to Marry a Millionaire However, the media’s curiosity extended well beyond her acting roles. Every low moment, including her illnesses, divorces, and her miscarriage, was captured and written about in the media for the world to see.
This attention exasperated her mental health struggles and culminated in her suicide at just 36 years old (Yorston, 2011). At the time, many contended that media harassment, along with Monroe’s traumatic childhood, significantly contributed to her death (Cashmore, 2014).
Her story became global news, prompting a long-lasting cultural fixation on her life and demise. (Gibson, 2015) observes that over 26 books have been published exploring the circumstances of Monroe’s breakdown and death.
Following Monroe, the 1960s produced another tragic ‘It Girl, ’ Edie Sedgwick (1943-1971). She was a socialite and party girl and was most well-known for being Andy Warhol's muse. Many women aspired to be Edie because of the way she dressed, looked, and acted. However, being closely associated with Warhol limited her ability to shine as an artist in her own right. Sedgwick’s involvement in the celebrity world, which glamourised drugs, led to her increasing substance misuse. Sedgwick found herself continually in the headlines, overshadowed by shocking and damaging stories Like Marilyn, Edie’s childhood was extremely difficult which could also be a factor in her demise (Babiolakis, 2020).
In the Warhol scene, drug use and late-night partying was the norm, and Sedgwick fell deeper into substance misuse. She died at the age of 28, another star whose demise may link to the pressures of relentless media and a fame-obsessed subculture. Rojek (2012) found that celebrities often inhabit a dangerous frontier, pushing social and personal boundaries; (Pinsky & Young, 2009) argue that this environment fosters high-stress lifestyles and reckless indulgences in drugs and alcohol. Sedgwick’s experience, like Monroe’s, reinforces the exhibition’s message: the glamorous ‘It Girl’ often hides their inner turmoil.
As experienced by Marilyn Monroe and Edie Sedgewick, A study by Commons et al. (2014) found that many affected celebrities share similar negative 'early' experiences. This often includes over-indulgent or absent wealthy parents, abandonment, or trauma. This often leads to bankruptcy, alcohol & drug abuse, and behaviour that damages marriages and careers. This could be one of the reasons many celebrities live on the edge, push the boundaries, and break the law. Rojek (2012) refers to this as 'Frontierism', where “the frontier is the place where the rules of everyday life have thin existence.”
The supermodel Kate Moss, widely regarded as the 1990s ‘It Girl,’ offers another example. Moss was the face of H&M and Chanel and was idolised by the public. However, her “heroin
chic” look sparked controversy, and critics accused her of popularising a look that encouraged young women to adopt harmful dieting behaviours.
In 1993, Kate modelled for a photoshoot, which provoked horrifying reactions in the media. The People magazine ran a story called 'How thin is too thin?' Suggesting Moss was severely underweight. The media and public blamed Kate for the increase of teenagers with eating disorders. Some accused her of "undermining 30 years of feminism". The editor of Cosmopolitan stated "I believe they (the photos) can only appeal to the paedophile market. If I had a daughter that looked like that, I would take her to see a doctor" (Callahan, 2015). Not only was Kate relentlessly criticised about her body and the influence it has on younger generations, she was also involved with the 'Cocaine Kate' drug scandal. This led to multiple big brands dropping her in 2005, including Chanel, H&M and Burberry. This led to threats of her child getting taken away from her, where in an interview, Kate revealed she “felt sick and was quite angry […] because everybody I knew took drugs. So, for them to focus on me, and to try to take my daughter away, I thought was hypocritical” (Thorpe, 2022).
Moving on to the early 2000s, Amy Winehouse is yet another ‘It Girl’ whose life ended in tragedy. Winehouse rose to stardom with her raw, soulful voice that resonated with audiences around the world. She was an incredibly talented singer-songwriter and produced many successful albums. As her fame soared, so did the interest in her private life and troubles. Paparazzi often captured photos of her disoriented or in distress, reinforcing a narrative of self-destruction that overshadowed her musical talent. One journalist reported, “It was always hunting season and Amy Winehouse was always the game” (Agbai, 2020) In addition to her alcohol addiction, Amy's father publicly stated many family problems. He said this may have also contributed to her depression, which led Amy to self-medicate with drugs (ABC News, 2011)
The exhibition goes onto explore if para-social relationships have a significant or detrimental impact on the mental health of these celebrities. In 1956, psychologists Horton and Wohl, proposed a new term for these unconventional relationships which they labelled 'Para-social interactions’. They described this as a one-sided relationship between a fan and celebrity where the fan feels like they know the celebrity personally. They state that "one of the striking characteristics of the new mass media – radio, television and the movies – is that they give the illusion of a face-to-face relationship with the performer." Morgan (2011) suggests
that fan's attraction to celebrities is having the ability to form imaginary relationships with them.
People obsess over celebrities to the extent of visiting their homes and collecting paraphernalia (Hellmueller & Blumell, 2019). Many scholars agree that the passing of beloved celebrities can cause similar feelings of grief to the loss of a friend or family member.
Cashmore (2014) suggests "We all think about celebrities […] visualise their behaviour, conceptualise, fantasise, even dream about them." In the 21st century, most of our knowledge of the world, such as world events, people, and places, is discovered through mass media (Stever, 2009).
Gordon (2015) suggests that today’s ‘It Girls’ often step into fame via reality TV or are born into it. Our fascination with ‘It Girls’ persists because they embody what millions of women crave, but, struggle to access, such as beauty, fame, wealth and designer clothes. The 21st century ‘It Girls’ launch brands, publish books and surround themselves with people who ensure their social media gains traction. Today, the ‘It Girl’ equates to our modern-day influencers, and even the New Yorker suggests that the digital age has ended the ‘It Girl’. Price (2020) states that Instagram killed the traditional ‘It Girl,’ and suggests that these women crave likes and visibility. “Women are now rearranging their faces according to whatever increases engagement and likes.” What made ‘It Girls’ so special in the past was their effortless indifference to fame, not desperation for it. “Now everyone can look like an It girl, but no one is one” .
Linking these historical and contemporary female celebrities, reveals a repetitive cycle of the allure of fame and the peril that accompanies it. By highlighting the media and public obsession’s role in contributing to these celebrities suffering, the exhibition proposes a deeper moral question: To what extent do we, as spectators, determine these tragic outcomes? By showcasing a diverse range of artworks from vintage film to immersive installations, the exhibition will invite viewers to think critically about their own roles.
Chapter Two: Curatorial Choices
The Exhibition will display the work of ten artists at the Saatchi Gallery in London (Saatchi, 2024). The exhibition will take place on the ground floor (see appendix 1). Artworks 2.1-2.15 will be showcased in the ‘Allure’ room and the remaining artworks in the ‘Peril’ room.
Floorplan: Exhibition layout
Artists
1 Clarence G. Badger
2 Russell Young,
3. Michael Elmgreen & Ingar Dragset
4 Ellen Von Unwerth
5. David McCabe
6 Yayoi Kusamas
7. Hannah Maguire
8. Douglas Gordon
9 Barbara Kruger
10. Marlene Dumas
Photographs of artworks in model exhibition (see appendix 2).
Artists and theirArtworks
Fig. 2.1
i. Clarence G. Badger, (1927) “IT” [Film]. Hollywood: Paramount Pictures
ii. Original promotional posters, (1927) ‘IT’ [Poster] Hollywood: Paramount Pictures (see appendix 3).
One of the first ever silent films, “IT” directed by Clarence G. Badger, will be screened at the start of the exhibition. “IT” was released in 1927 and depicts a shopgirl, Betty Lou, played by actress Clara Bow Screening this film in the exhibition will educate viewers about how the ‘It Girl’ phenomenon began which will offer historical context to the viewers. The film embodies the irresistible, glamorous, and charismatic qualities of the ‘It Girl’. “IT” was one of the first films to empower women and inspire them to change their look and, the star, Clara Bow, became a role model for these women to be liberated and be themselves. Original promotional posters will be covering the walls of the screening room, creating a time capsule of the 1920s. The vibrantly coloured posters show Bow’s beauty as a Hollywood icon which captures the glamour of fame.
i. Russell Young, (2017) Brigitte Bardot [Hand pulled acrylic, enamel screen print and diamond dust on linen, 70 x 54 1/2 inches].
ii. Russell Young, (2019). Audrey Hepburn [Enamel and diamond dust screen print on linen, 62 x 48 inches].
iii. Russell Young, (2014). Marilyn Crying [Acrylic paint, enamel, and diamond dust screen print on linen, 62 x 48 inches].
iv. Russell Young, (2015). Kate Moss #1 [Enamel and diamond dust screen print on linen, 62 x 48 inches].
Russell Young (b. 1959) is a British-American artist widely known for his silkscreen prints. He is fascinated with celebrity figures and their iconic images, which he transforms into large-scale prints. Young takes inspiration from Andy Warhol’s pop artworks and his criticisms of celebrities. He uses Diamond dust in his work to reflect and emphasise the “glitz and glam” of celebrity. However, Young also explores the struggles of fame, which contrasts with the glamorous side. Therefore, the inclusion of these artworks will encourage viewers to reflect and converse about these celebrities’ glamourous careers as well as the toll fame has had on them. In this series, ‘Heroes and Heroines,’ Young doesn’t focus on the dark side of celebrity. He displays instantly recognisable celebrities as immortalised icons. Although fame can be highly damaging, including these screen-prints in the exhibition will give people hope and inspiration. This collection of female stars expertly captures beauty and achievement, and the relentless pursuit of the American Dream.
Fig. 2.2
2.3
Michael Elmgreen & Ingar Dragset, (2011) Roaring Fake Paparazzi [Installation] Skylight Soho, New York.
This installation of fake paparazzi on a red carpet took place in Skylight Soho in 2011. It involved 45 performers with flashing cameras replicating shouting paparazzi. The effects of this led to people feeling more unsettled than glamourous. The inclusion of this installation will immerse the audience into the performative spectacle of celebrity culture. The red carpet symbolises fame where celebrities are celebrated and praised. However, the fake paparazzi reflects the relentless media intrusion and constant scrutiny that celebrities face. The interactivity allows visitors to experience the effects of fame first hand. It emphasises how the spotlight can result in feeling vulnerable and exposed. However, it allows viewers to understand the adoration as well as the exploitation of celebrities, which aligns with the exhibitions goal to challenge ideas of fame and its hidden consequences.
Fig
i. Ellen Von Unwerth, (1992) Bathing Beauties [Chromogenic Print, 149.9 × 228.6 cm].
ii. Ellen Von Unwerth, (1990) In & Out [Archival pigment print, 50 × 40 × 0.2 cm].
iii. Ellen Von Unwerth, (1991) Big Spender [Unique colour Polaroid Type 100 print, 8.9 x 11.4 cm].
iv. Ellen Von Unwerth, (1996) Bathtub [FujiArchival Crystal Print, 120 × 180 cm]
Ellen Von Unwerth (b. 1954) is a German photographer who was originally a fashion model. She found fame when her passion for photography and capturing moments of her model colleagues turned into shooting for magazines like vogue, vanity fair and I-D. Unwerth’s photography is ideal for the ‘Allure’ room of the exhibition as it expresses the playful and bright side of fame. Her work conveys themes of power, performance and vulnerability while celebrating the glamour and the attraction of women. Her cinematic photography captures narratives which align with the exhibitions theme of how fame can both elevate and destruct. Von Unwerth’s photography emphasises contemporary perceptions of celebrity. They express a striking visual commentary on the role’s that the media and public play in shaping and dismantling female celebrities. Displaying Von Unwerth’s prints in the exhibition juxtaposes with the artworks in the ‘Peril room’, inviting the audience to reflect about how, on one hand, celebrities fame is a source of self-expression and power, however, on the other hand, they are frequently reduced to objects of judgement and public consumption.
Fig 2.4
i. David McCabe, (1965) Andy Warhol, Edie Sedgwick, on the Norelco monitor at the scene nightclub [Silver-gelatin archival print].
ii. David McCabe, (1965) Andy Warhol, Edie Sedgwick, on the roof of David McCabe’s studio, 37th st. [Silver-gelatin archival print].
iii. David McCabe, (1965) Edie Sedgwick, Portrait at the factory, 47th st. [Silvergelatin archival print].
David McCabe’s (1940-2021) photography of the ‘It Girl’ Edie Sedgwick, featuring Andy Warhol, will be showcased as they encapsulate the spirit of the 1960s celebrity culture. David McCabe is a British photographer who landed the commission to follow and photograph Andy Warhol for a year, around New York. McCabe’s photographs of Edie display her role as both a cultural icon and Warhol’s muse. They capture her beauty and allure and symbolise the ‘It Girl’ paradox. McCabe’s intimate access to Warhol’s Factory provides authentic and candid moments of how Edie lived before her demise. This series if photographs capture moments of both the chaos and creativity of the 60s and show insights into how environments like Warhol’s factory could have contributed to Sedgewick’s rise and fall.
Fig. 2.5
2.6
Yayoi Kusamas, (2017) Lets survive forever [Installation]
Yayoi Kusamas (b. 1929) is a Japanese interdisciplinary artist whose work transcended the pop art and minimalism art movements. Her infinity mirror installation, Lets Survive Forever, will feature in the exhibition. The mirrored walls reflect off each other creating an illusion of continuous space, and the mirrored spheres create fragmented reflections. The viewers will become immersed in this installation and will experience viewing themselves through endless reflections from every angle. Some viewers may enjoy this experience, whilst others may feel exposed and vulnerable. This installation is displayed to symbolise the constant scrutiny celebrities face. While at first the experience may feel empowering, feelings of claustrophobia and isolation may come into play, feelings that many female celebrities deal with every day. Showcasing this installation in a contemporary gallery ensures a diverse audience can reflect and engage with this artwork
Fig
2.7
Hannah Maguire, (2024) media wall [archival media clippings]
The ‘Peril’ room of the exhibition will start with a collaged wall of printed media from the 1950s to the early 2000s. It features gossip magazines, newspaper headlines and paparazzi images which epitomise the relentless media frenzy ‘It Girls’ are forced to endure. The harsh language used in these headlines like ‘Coke Fiend’ and ‘Wasted Again!’ expose how celebrities become targets for negative narratives that overshadow their personal struggles. Exhibiting these alongside immersive installations and portraits, accentuates the difference between the glamourous concept of fame and the harsh reality of relentless scrutiny. Displaying this collage in a contemporary gallery space will resonate with viewers, especially women who grew up on celebrity gossip. It will compel the audience to question the media’s role in the downfall of many iconic female figures.
Fig
Fig. 2.8
Douglas Gordon, (2023) Portrait of a self portrait of a self, as Marilyn series [Burned LITO Hi-RND© print on paper, Dibond mirror. Dibond backplate, aluminium frame with plexiglass, 120 x 120 cm each].
Douglas Gordon (b. 1966) is a Scottish Turner Prize winner who explores themes of mental and physical states. In his prints Portrait of a self portrait of a self portrait, as Marilyn, he explores how personal identity can be consumed and damaged by fame. This artwork serves as a critique of celebrity. Marilyn’s face in these artworks is vandalised, burnt, and damaged, highlighting the painful relationship between public perception and the private self. Gordon's self-portraits emphasise the unstable and performative nature of identity. In this case, showing how Marilyn Monroe may have really felt, by being constantly consumed and scrutinised. The inclusion of these artworks will encourage viewers to reflect on the complexities of celebrity culture, and how their own consumption could have contributed to the celebrity’s self-destruction
i. Barbara Kruger, (1981) Untitled – Your gaze hits the side of my face [black and white photograph in artist's frame]
ii. Barbara Kruger, (1983) Untitled – I will not become what I mean to you [black and white photograph in artist's frame]
Barbara Kruger (b. 1945) is an American graphic designer who gained widespread recognition in the late 80s. Kruger’s signature style features large-scale black and white images layered with bold text. She uses pronouns like “you” and “I” which directly address the viewer and often explore political and social themes. The selected artworks explore the female experience and critique the ways women are categorised and consumed by the public. Kruger aims for the audience to question and analyse her bold statements; I will not become what I mean to you and Your gaze hits the side of my face. These artworks will force viewers to reflect on the societal pressures that all women face, especially those in the public eye. By showcasing these black and white prints alongside the more vibrant and glamourous artworks, the exhibition juxtaposes the allure of fame with the harsh realities behind it
Fig. 2.9
2.10
i. Marlene Dumas, (2011) ‘Amy – Blue’, [Oil on canvas, 40 x 30 cm].
ii. Marlene Dumas, (2011) ‘Amy – Pink’, [Oil on canvas, 40.5 x 30 cm].
Marlene Dumas (b. 1953) is one of the most influential painters today who is most known for her expressive and fluid portraiture In both artworks, Dumas offers a raw, intimate portrayal of Amy Winehouse. Dumas’s use of cool, dull colours and gestural brushstrokes capture Winehouse’s vulnerability and emotion. Although the paintings have little detail, Dumas has depicted Winehouse’s features flawlessly, making the icon easily recognisable. These portraits will be included in the exhibition as they resonate closely with the exhibition’s theme They reflect the relentless pressures that drove the singer to her eventual demise. They also emphasise that the public adoration fame brings, often has a deep emotional toll on the celebrity, and in some cases, can lead to their early death.
Fig.
Exhibition Model
Fig 2.11 Exhibition model from above
Fig 2.12 Exhibition model from the right
Fig 2.13 Exhibition model from the left
Chapter Three: CuratorialAims and influences
CuratorialAims
The main aim of this exhibition is to educate the audience about the paradoxical nature of fame on the ‘It Girl’. The exhibition will present a range of artworks that highlight both the media and the public's fascination with female celebrities’ personal lives, which often leads to distressing and detrimental effects on these women. This will challenge the audience to reflect on their role and the media’s role in the making and unmaking of these celebrities. Firstly, the exhibition aims to educate the audience by providing a historical and cultural timeline of the ‘It Girl’ phenomenon. Starting with the original ‘It Girl’, Clara Bow from the 1920s, through to the ‘It Girls’ of the 2000s such as Amy Winehouse. The exhibition also aims to emotionally engage the audience by displaying immersive artworks such as film, performance, and installations, which will demonstrate the downside of fame behind its glamourous façade. The exhibition will encourage the audience to question how media and obsession contributes to the breakdown of many ‘It Girls’ and broaden the audiences understanding of celebrity culture.
Venue: The Saatchi Gallery
The Victoria and Albert Museum in London was initially considered due to its location, extensive fashion collections and diverse audience. However, further research led to the choice of the Saatchi Gallery in Chelsea, London. The gallery's contemporary art focus and history of exhibitions that explore cultural and social themes makes this gallery an excellent venue for the proposed exhibition. The location, in Chelsea, also aligns with the ‘It Girl’ theme as it is historically a glamourous area of London.
The Saatchi Gallery has built a reputation for hosting challenging and thought-provoking exhibitions that align well with critiquing celebrity obsession. Past exhibitions such as Champagne Life (which celebrated female artists) and Beyond Fashion (which showcased innovative fashion photography) align with the proposed exhibition's themes of femininity,
celebrity culture and self-identity. The majority of Saatchi Gallery's visitors are aged between 18-34, which aligns with the target audience of primarily young female adults.
Saatchi Gallery's extensive digital presence is another reason Saatchi Gallery has been chosen. The gallery has over 6 million followers across their social media platforms, enabling global exposure. The gallery creates online exhibitions, allowing audiences who cannot experience the artworks in person to immerse themself in a virtual tour. This will enable the proposed exhibition to be viewed by people worldwide.
Saatchi Gallery has large, versatile open spaces with high ceilings, allowing them to be flexible when showcasing artworks and installations. The spaces can be easily adapted to suit the needs and requirements of my exhibition. In this case, the exhibition will add extra walls to create smaller rooms within the large spaces. This enables the video and installation artworks to be showcased separately, enabling the audience to easily follow the created narrative and immerse themselves in each artwork without distraction.
IntendedAudience
The proposed exhibition's primary audience is young women, between the ages of 18-35, who are interested in celebrity culture. However, the exhibition aims to appeal to a broader demographic, which includes casual visitors to art enthusiasts. By exhibiting the show in a popular, tourist-friendly part of London, it will appeal to a diverse audience from locals to audiences from around the world. The exhibition will be promoted on social media due to Saatchi Gallery’s high following and success rates in social media marketing. As the intended primary audience for the exhibition is young adults, many social media platforms will be used including Instagram, as Saatchi Gallery currently has 2.3m followers, and TikTok, as around 60% of its 1.4 billion users are between the age of 18-35 (Duarte, 2024).
Curatorial decisions: Exhibition Walk Through
As visitors enter the exhibition, there will be a textual panel titled ‘Allure’ with educational information about the exhibitions theme and artworks. The visitors will first encounter a small, dark room screening the first 20 minutes of the 1927 film IT. This offers the audience a brief yet immersive experience of how the ‘It Girl’ phenomenon began. The walls of this
room will be covered in large scale prints of the original IT posters which will provide the audience historical context (fig 2.1). As visitors exit the film room, a red carpet will lead the audience through the ‘Allure’ room. To the left will be four of Russell Young’s vibrant screen-prints of iconic female celebrities: Bridget Bardot, Audrey Hepburn, Marilyn Monroe, and Kate Moss. These large-scale artworks coated in diamond dust will shimmer against a silver backdrop to convey the bright and glamourous side of fame (fig 2.2). To the visitors right, large scale photography prints by Ellen Von Unwerth are showcased. The photographs feature Naomi Campbell, Kate Moss and other ‘It Girls’ in luxurious, fun settings. These images capture the allure and excitement of fame (fig 2.3).
As the audience continue down the red carpet, performers posing as paparazzi appear, shouting and flashing their cameras at the audience. Many audience members may enjoy being in the spotlight, however, this may also temporarily evoke feelings of discomfort in others. This immersive performance will replicate the same intrusive spotlight ‘It Girls’ endure (fig 2.4). The final artworks in the ‘Allure’ room are three of David McCabe’s photographs. The images focus on Edie Sedgewick, widely known as the ‘It Girl’ of the 60s (fig 2.5). These photographs will lead the audience to the infinity mirror installation which connects the ‘Allure’ and ‘Peril’ rooms. The mirrored walls and spheres in the installation create endless reflections which mimics the relentless scrutiny female celebrities endure as they are observed from every angle (fig 2.6).
As the audience exit the infinity mirror room, they will find themselves in the ‘Peril’ room. There is a vast contrast between the bright, flashing lights and vibrant colours of the ‘Allure’ room and the sombre ‘Peril’ room. The black walls and dim lighting will create a dark, gloomy atmosphere to emphasise the dark realities of fame. As the audience enter the room there will be a ‘Peril’ text panel with educational information about the theme of the room and the showcased artworks. The first wall is a media covered wall where a range of paparazzi photos, gossip magazine covers, and tragic newspaper headlines are collaged together. This aims to shock viewers and confront them with the reality and seriousness of relentless media attention celebrities endure (fig 2.7). To further emphasise the downside of fame are three defaced portraits of Marylin Munroe by Douglas Gordon. In these works, Munroe’s face has been burnt and vandalised which demonstrates the destructive nature of public obsession (fig 2.8). Opposite, will be Barbara Kruger’s graphic design prints which state short phrases about the negative side of the female experience. They address the
pressure women feel to conform and behave in a certain way (fig 2.9). The exhibition will be concluded with two close-up paintings of Amy Winehouse by Marlene Dumas. These paintings aim to stir raw and upsetting emotions creating a powerful reminder of how the glamourous promise of fame can turn into tragedy (fig 2.10).
Chapter Four: Other Curatorial Influences
A wide range of media influenced the curation and themes of my exhibition, especially the art exhibitions Women in Revolt! (Tate Britain, 2023-2024) and Beyond Fashion (Saatchi Gallery, 2024). Many films inspired the exhibition, especially, the documentary Amy (2015) and biographical film Factory Girl (2006).
Influential Exhibitions
An exhibition that has significantly inspired and influenced my exhibition is Women in Revolt! (Tate Britain, 2024) a Tate Britain exhibition shown in London and toured around the UK. I was delighted to see it in November at the Modern One Gallery in Edinburgh. The exhibition thoroughly explores female art and activism in the UK between 1970 and 1990. It is the first exhibition of its kind and highlights how communities of women used rebellious methods and radical ideas to contribute to British culture. Their art helped keep the women’s liberation movement going during significant social, political, and economic change. This exhibition has inspired me as it is entirely dedicated to women, and my exhibition will also focus entirely on Women, highlighting their strengths and accomplishments as well as their struggles.
The exhibition showcased artworks using a timeline enabling visitors to immerse themselves in the evolution of women’s activism. This has influenced me to use this format and use a timeline to educate the audience about the of the It Girls since the 1920s. The exhibitions extensive range of media including film, sculpture and videography which offered fully immersive experiences, has also influenced me to use a wide range of media in my exhibition.
Beyond Fashion (Saatchi Gallery, 2024) a recent exhibition curated by Nathalie Herschdorfer, showcased the work of fashion photographers who pushed boundaries of creativity. The exhibition featured many acclaimed photographers including Nick Knight and Viviene Sassen as well as a new generation of photographers. The exhibition also focused on
celebrity culture and included photos of supermodels such as Christy Turlington and Naomi Campbell.
The exhibition was divided into four sections, telling a story of how fashion photography has evolved into an art form that is not only commercial. The separate spaces inspired my exhibition to follow a similar format and name the two gallery spaces: ‘Allure’ and ‘Peril’ to create a strong narrative for each room. ‘Allure’ being the romanticised period during fame and ‘Peril’ being the darker side of fame.
Each section of Beyond Fashion had vibrant, colourful walls which successfully highlighted each stage of the exhibition. This has influenced my choice to paint the gallery walls metallic silver in the Allure room. This will create an atmosphere of the glitz and glamour of the celebrity lifestyle. In contrast I have chosen black walls for the Peril room to create a gloomy atmosphere and emphasise dark side of fame. This aims to deepen the visitor experience.
Influential Films
Amy (2015) is an award-winning documentary film directed by Asif Kapadia, which follows Amy Winehouse’s life and career as a singer-songwriter. Through TV footage, home video and a series of videos and interviews, it starts by showing a young, energetic Amy singing at a friend’s 14th birthday party. The documentary then continues to show her meteoric rise to fame. However, the documentary changes its tone, and goes on to show how the constant scrutiny from paparazzi had a profound and detrimental effect on her mental health. It provides influence and relevance to my exhibition as Amy accurately illustrates the exhibition’s key themes of media intrusion, the effects of public fascination and the enormous pressure placed on these celebrities (Amy, 2015)
The documentary presents intimate video footage demonstrating how her talent became overshadowed by the media’s shocking headlines and images. The documentary then presents an interview with Amy’s friend, Nick Shymansky, who describes how Amy was unable to “escape her life in this horrible goldfish bowl” (Amy, 2015) and claims that the media treatment had pushed her over the edge. The has influenced the selection of the mirror installation to mirror how Amy felt. The documentary accurately explores this by
highlighting the contradiction between the public’s love and admiration for her, with the intense struggles that came with fame. The film also exposes the relentless media coverage, particularly, focusing on her toxic relationship. This lack of privacy and constant hounding by the press, fuelled her alcohol and drug addiction, which led to her eventual death.
The editorial style of the documentary and its use of archived material has influenced me to create a wall of archived gossip magazine covers and newspaper headlines to display in the exhibition. This displays real life examples that encourages the audience to question the cost of fame and celebrity. The documentary shows how Amy’s fans and media became inadvertently complicit in her demise and possibly in her death. The documentary ends with a video of her funeral, emphasising the tragedy of this young, talented woman Like the documentary, the exhibition will start off with vibrant atmosphere and will end with a gloomy, dark atmosphere
Factory Girl (2006) a biographical film of Edie Sedgwick’s life, directed by George Hickenlooper, perfectly demonstrates my exhibition’s themes of the allure of stardom and the detrimental effects it often has. The film provides an in-depth insight into her turbulent life as a 60’s fashion icon and ‘It Girl.’ The film documents Edie’s arrival in New York in 1964 at the age of 21, her relationship with Andy Warhol and her involvement with ‘The Factory’. ‘The Factory’ was the Warhol’s legendary studio which he filled with artists, actors, musicians, and free thinkers known as ‘Warhol’s Superstars’ Warhol inspired pop art will feature in the exhibition as it captures the atmosphere of Warhol’s factory. At the time, Edie adored the limelight, and was propelled to instant stardom from this collaboration. The film shows how her unique style, her kohl rimmed eyes and cropped blonde hair, which influenced the style that became recognised as the signature look of the 60’s. (Factory Girl, 2006)
Although Edie revelled in the spotlight, Factory Girl goes on to exhibit this darker reality behind Edie’s glamourous lifestyle. It shows how she turned from a party loving socialite to becoming alienated by the fame that once made her so alluring. The lifestyle and pressures of the fame led her to becoming addicted to class A drugs. Her drug use continued to spiral causing her to spend time in psychiatric institutions and eventually led to her death. The film visually conveys the rise and fall of Sedgwick by beginning with brighter, saturated colours and gradually shifting to a moody, duller pallet which is a clear metaphor for her emotional
and physical decline. This film has influenced me to curate my exhibition using this technique. The Exhibition will start with vibrant and saturated colours and end with dark and moody colours.
Conclusion
My exhibition proposed exhibition The Allure and Peril of the ‘It Girl’ will take place in the Saatchi Gallery in London. The Saatchi Gallery was chosen due to location, its contemporary art focus and history of exhibitions that explore thought-provoking cultural and social themes. The Gallery also has open and versatile spaces, which allow the creation of separate rooms for installations and film. Therefore, the audience can fully immerse themselves in each artwork without distractions. The exhibition’s primary audience is women aged 18-35, although the exhibition will also appeal to anyone fascinated by celebrity culture. The Allure and Peril of the ‘It Girl’ offers an exploration of the glamourous side of fame as well as the dangers that accompany it. The curation of a timeline of ‘It Girls’ from the 1920s to the 2000s will reveal the cyclical nature of fame and will expose how the same media and public that idolise these women often has a role in their demise. The exhibition will feature carefully selected artworks from 10 contemporary artists, including immersive installations, screenprints, archival materials, photography, and paintings. The exhibition will be split into two sections, ‘allure’ and ‘peril,’ creating a straightforward narrative for the viewers. It will begin by immersing the audience in a bright and vibrantly coloured room alongside a red carpet which emphasises the glamour of celebrity. They will then enter a contrasting sombre and dimly lit room that will emphasise the dark realities that many celebrities face. This curative structure represents both the two sides of fame and is a metaphor for the emotional shift from the allure of fame to its tragic consequences.
The viewers will receive historical context by screening the silent film “IT” (1927), where the star, Clara Bow, originated the ‘It Girl’ phenomenon. The exhibition will demonstrate that the 'It Girl' phenomenon is not new by displaying photographs of celebrities from past decades, such as Edie Sedgwick and Marilyn Monroe. The ‘Allure’ room also features diamond dust screen-prints by Russell Young and playful fashion photography by Ellen Von Unwerth which highlights the glamour of celebrity. The fake paparazzi installation by Michael Elmgreen & Ingar Dragset and Yayoi Kusama’s Let's Survive Forever mirror installation will allow the visitors to step briefly into the shoes of a celebrity. Some may find these experiences exhilarating, whilst others may feel unsettled by the lack of privacy and scrutiny. This shift in mood shows how quickly admiration can turn into intrusion, which is one of the most important messages of the exhibition.
To achieve the exhibition's aims, it will use a layered approach that is both educational and touching. Informative text panels and an archival media-covered wall will give the audience real-life examples of how exploitative celebrity culture can become. The exhibition mixes academic ideas, such as Chris Rojek’s concept of celebrity “frontier space”, with works such as the documentary Amy (2015) and biographical film Factory Girl (2006), which connects scholarly research with public interest. This encourages visitors to reflect on their role, whether as consumers of shocking headlines or active participants who perpetuate celebrity stories. Exhibitions including Beyond Fashion (2024) and Women In Revolt! (2024) have also influenced the exhibition, inspiring ideas of an interdisciplinary approach and the curation of separate rooms to create a narrative.
Overall, The Allure and Peril of the ‘It Girl’ achieves its curatorial goals by illustrating how the media and public play a significant role in creating these female icons but may also play the same role in their destruction. As the visitors exit the ‘Peril’ room, confronted with vandalised artworks of Marilyn Monroe, haunting paintings of Amy Winehouse and other unsettling imagery, they leave with a deeper awareness of how fame can be both glamorous and destructive. They may also leave with empathy for these women as they understand that behind each glamourous façade is a human being that faces relentless scrutiny every day. This final impression aims to encourage viewers to question the nature of fame and their own role in supporting or challenging the cycle of celebrity worship.
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Appendices
Appendix 1. Saatchi Gallery floor plans (Saatchi, 2024)
Appendix 2
Images of exhibition model
Appendix 3. Promotional “IT” posters
