Swansea Celebrates ‘Dear Christine’ in Art and Poetry

Tags

, , , , , , , ,

Dear Christine: A Tribute to Christine Keeler continues its run at the Elysium Gallery in Swansea with an evening of poetry this Saturday, as curator Fionn Wilson told Wales Art Review recently. An artist panel discussion will follow on October 26, and the exhibition will be on show until November 9. (If you can’t make it, Dear Christine will move to London next February.) Continue reading

‘Dear Christine’ Opens in Swansea

Tags

, , , , ,

Dear Christine: A Tribute to Christine Keeler is now on display at Elysium Gallery in Swansea, open from Tuesdays to Sundays at 12pm until November 9, with a series of associated events. (Shown above is ‘Welcome to the Sixties’ by Cathy Lomax.) Continue reading

Marilyn, the Morning Star and Me

Tags

, , , , ,

I’m proud to have a letter published in the British newspaper, The Morning Star, today. I have written to newspapers three times in my life, and all were about Marilyn Monroe (she is, perhaps, the subject about whom I feel most qualified to share my views in public.) Continue reading

Christine Keeler’s ‘Secrets and Lies’ Redux

Tags

, , , , , , , , , , , , ,

“I never met Christine Keeler,” Seymour Platt writes in his foreword to the latest edition of her memoirs, Secrets and Lies: The Trials of Christine Keeler. (This is a paperback reissue of her 2012 book, itself an update to her 2001 autobiography, The Truth At Last.) His mother changed her name, he explains, “to get away from being Christine Keeler. In our house Christine Keeler was talked about in the third person – who would want to be associated with Christine Keeler? Christine Keeler would get the blame for a lot of things that happened. Friends, family, relationships that soured, all that would be Christine Keeler’s fault.” Continue reading

‘The Best Way to Forget, Until You Find Something You Want to Remember’

Tags

, , , , , , , , , , , , ,

Nina Mae Fowler is a British artist who trained at the University of Brighton, and lives in Norfolk. Her latest solo exhibition, If You Don’t Want My Peaches (You’d Better Stop Shaking the Tree), on display at London’s Cob Gallery until September 28, borrows its title from an Irving Berlin song, and draws heavily on the iconography of Hollywood’s golden age. I was delighted to find Jeanne Eagels among the subjects, as she is often neglected. This portrait shows Jeanne in her penultimate movie (and only surviving talkie), The Letter (1929.) Continue reading