“See what the boys in the [dark]room will have”: No Highway, Angus McBean, and Dietrich’s Face

Marlene Dietrich (1951) by Angus McBean, SoAM&G, Aberystwyth University
Purchase: Adrian Woodhouse (2016)
Funding support: ACE/V&A Purchase Grant Fund and The Art Fund

Of all the pictures currently on display in Make/Believe, the latest in a series of annual exhibition projects I create for staging by students of my curating class at Aberystwyth University, Angus McBean’s 1951 photograph of Marlene Dietrich is my favorite. 

What draws me in is the blankness of Dietrich’s face, her eyes looking not at us but beyond us, at nothing in particular, with a lack of any definable expression, emotion or urgency. The vacant gaze, bespeaking an unavailability and a refusal to engage, suggests the subject’s control over an image that is all surface: like theatrical curtains, the lids may come down on those eyes any moment now, shutting us out entirely.

It is a blankness that is not nothingness, invested as it becomes with the spectacle it makes of our longing.  It is a blankness that is not openness; it gives nothing away while it commands our attention and inspires our awe at its sublime perfection – a perfection that belies the sprezzatura, the rehearsed effortlessness and nonchalance of the performance.

Nothing here encourages us to imagine what those eyes are looking at; nothing that invites us to see anything through those eyes.  Those eyes are the event in a face – a site – that is all look.  I am glamor, this face says, and what else, what more could you – or anyone – possibly be looking for!

The photograph holds me because the look withholds so much. What we are not getting is a portrait of the sitter, then in her fiftieth year.  This photograph, clearly, is not of Dietrich, the person.  It is the image of a mask that is already a persona.  In this masquerade, as intriguing as anything conceived by Cindy Sherman in her film stills, the image is a simulacrum – the fiction of a fiction of a fiction.

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