Art Basel Miami Beach Reveals 2025 Exhibitor Lineup
Art fair season is just around the corner and as galleries around the world ready for this fall's Armory Show and Frieze Seoul,Art Baselis chiming in with the exhibitor lineup for its upcomingMiami Beach edition. Set to take place from December 5 through 7, 285 galleries hailing from 44 countries and territories will come together at the Miami Beach Convention Center for the 2025 iteration of Art Basel Miami Beach.
Under the direction of Bridget Finn for the second year, the fair will spotlight 'the most urgent artistic currents shaping the American scene today,' with a sharpened focus on Latinx, Indigenous and diasporic practices. Over two-thirds of the featured galleries operate in the Americas.
In addition to the usual roster of mega-galleries and blue-chip names, 2025 fair will welcome 41 first-time exhibitors, including El Apartamento, Crisis, Parallel and Pasto Galeria from Latin America. New York's downtown gallery scene is also stepping up its presence, with inaugural booths from YveYang,Margot Samel, Candice Madey andKate Werble Gallery.
Akin to previous editions, the the fair will be organized across four key sectors: Galleries, Nova, Positions and Survey. While details for a 2025 Meridian section have yet to come, Art Basel states that details regarding additional sectors and programming will be announced in the coming months.
The strength and caliber of this year's exhibitors reaffirms Art Basel Miami Beach's centrality within the global art ecosystem' Finn expressed in a recent statement. 'This edition reflects the vitality of artistic production across the Americas—which continues to shape contemporary art practice, patronage, and discourse worldwide—and the fair's role as a critical gateway for introducing pioneering international artists and perspectives to the American market. It is bold, rigorous and attuned to the moment.'
The winter fair will also reveal the medalists of the inauguralArt Basel Awards. Launched in February, the initiatives aims to spotlight 'exceptional achievement' across various creative landscapes. The 36 gold medalists announced in may will vote amongst themselves to reveal this year's gold medalists on December 4.
The 2025 edition of Art Basel Miami Beach will take place from December 5 to 7, with VIP Previews held on December 3 and 4. See the full list of exhibiting galleries below.
GALLERIES1miramadrid / 2miraarchiv303 Gallery47 CanalA Gentil CariocaMiguel Abreu GalleryAcquavella GalleriesAfriart GalleryAlexandre GalleryAlisan Fine ArtsAlmeida & Dale Galeria de ArteAltman SiegelAmes YavuzGaleria Raquel ArnaudAlfonso ArtiacoBANKBarrovon BarthaGallery BatonNicelle Beauchene GalleryLivia BenavidesRuth Benzacar Galeria de ArteBerggruen GalleryBerry CampbellPeter Blum GalleryMarianne Boesky GalleryTanya Bonakdar GalleryBortolamiBradley ErtaskiranLuciana Brito GaleriaBroadwayBen Brown Fine ArtsMatthew BrownCanadaCardi GalleryCasa TriânguloDavid CastilloCayónCentral FineGaleria Pedro CeraChapter NYJames Cohan GalleryCommonwealth and CouncilGalleria ContinuaPaula Cooper GalleryCrèvecœurCristea Roberts GalleryGalerie Chantal CrouselThomas Dane GalleryDastan GalleryTibor de NagyMassimodecarloJeffrey DeitchDocumentAnat EbgiEdel AssantiAndrew Edlin GalleryEl Apartamentogalerie frank elbazDerek Eller GalleryThomas Erben GalleryLarkin ErdmannGalerie Cécile FakhouryDaniel Faria GalleryEric Firestone GalleryKonrad Fischer GaleriePeter Freeman, Inc.Stephen Friedman GalleryJames FuentesGagaGagosianGalateaGavlakGemini G.E.L.François GhebalyGladstone GalleryGomide&CoGalería Elvira GonzálezGoodman GalleryMarian Goodman GalleryGrayAlexander Gray AssociatesGarth Greenan GalleryGalerie Karsten GreveHales GalleryHauser & WirthGalerie Max HetzlerHirschl & Adler ModernEdwynn Houk GalleryPippy Houldsworth GalleryXavier HufkensGallery HyundaiIngleby GalleryInstituto de visiónIsla FlotanteAlison JacquesCharlie James Galleryrodolphe janssenJenkins Johnson GalleryNina JohnsonJohyun GalleryGalerie JudinKalfayan GalleriesCasey KaplanJan KapsKarmaKasminkaufmann repettoSean KellyAnton Kern GalleryGalerie Peter KilchmannTina Kim GalleryMichael Kohn GalleryDavid Kordansky GalleryAndrew Kreps GallerykurimanzuttoPearl Lam GalleriesLeeahn GalleryLehmann MaupinGalerie LelongLévy Gorvy DayanJosh LilleyLisson GalleryLocks GalleryJane Lombard GalleryLuhring AugustineMagenta PlainsMai 36 GalerieMaisterravalbuenaMatthew Marks GalleryPhilip Martin GalleryMartos GalleryBarbara Mathes GalleryMayoralMazzoleniMiles McEnery GalleryAnthony MeierMendes Wood DMMennourMaruani MercierMignoniVictoria MiroMnuchin GalleryThe Modern Institutemoniquemelochemor charpentierEdward Tyler NahemHelly Nahmad GalleryNanzukaneugerriemschneiderNicodim GalleryNight GalleryCarolina NitschGalerie NordenhakeGallery Wendi NorrisGalerie Nathalie ObadiaOMRGalleria Lorcan O'Neill RomaOrtuzarRoslyn Oxley9 GalleryP.P.O.WPace GalleryPace PrintsParagonParker GalleryParrasch Heijnen GalleryFranklin Parrasch GalleryPatronPerrotinPetzelPKM GalleryPolígrafa Obra GràficaProyectos MonclovaGaleria Marilia RazukAlmine RechRegen ProjectsRele GalleryRoberts ProjectsNara RoeslerThaddaeus RopacMeredith Rosen GalleryMichael Rosenfeld GalleryLia RummaRichard Saltoun GallerySCAI The BathhouseEsther SchipperSchoelkopf GalleryGalerie Thomas SchulteMarc Selwyn Fine ArtJack Shainman GallerySusan Sheehan GallerySicardi Ayers BacinoSies + HökeSikkema Malloy JenkinsJessica SilvermanBruce SilversteinSimões de AssisSkarstedtSMAC Art GalleryFredric Snitzer GallerySociétéSperone WestwaterSprüth MagersSTPILuisa StrinaGalería SurTimothy TaylorTemplonCristin Tierney GalleryTilton GalleryTornabuoni ArtLeon Tovar GalleryTravesía CuatroTwo PalmsUffner & LiuULAEVadehra Art GalleryVan de WegheVan Doren WaxterTim Van Laere GalleryNicola VassellVedovi GalleryVermelhoVielmetter Los AngelesGalleri Nicolai WallnerWentrupMichael Werner GalleryWhite CubeYares ArtDavid Zwirner
NOVAGalería Isabel AninatEspacio ValverdeRebecca Camacho PresentsLuis De Jesus Los AngelesGypsum GalleryUnion PacificHeidiLohaus SominskyCandice MadeyMax Estrella Gallerymother's tankstation limitedNazarian/CurcioGalerie Alberta PanePequod Co.Proyectos UltravioletaPhillida ReidRolf ArtChris Sharp GallerySilverlensPark View / Paul SotoWelancora GalleryKate Werble GalleryW—galeríaYveYang
POSITIONS56 HENRYGalerie AllenCarbon 12CrisisFranz KakaLodosLomexMadragoaProyecto NasalNicolettiPasto GaleríaGaleria Dawid RadziszewskiMargot SamelThetaVerveZielinsky
SURVEYPiero Atchugarry GalleryJack BarrettCatharine Clark GalleryErin Cluley GalleryDavid Peter FrancisSebastian GladstonekóGaleria MapaGaleria Elvira MorenoPaci contemporaryParallel OaxacaPauline PavecDiane Rosenstein GalleryRyan LeeSapar ContemporaryThe PitVoloshyn GalleryWooson
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New York Post
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Atlantic
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Yet he also proves to be a compelling and empathetic guide, observing his country and its citizens, not just himself, with open and unjaded eyes. If his jaunty prose sometimes feels forced, his curiosity doesn't: He needs to focus on the details of his new manual labor, and milieu, or else fall hopelessly behind his co-workers (which he does anyway). Immersing himself in unfamiliar work in a familiar place throws him off-balance in a way that feels bracing. Driving his late grandmother-in-law's 1999 Toyota RAV4 (rural carriers, he learns, often have to rely on their personal vehicles) through breathtaking Appalachian landscapes exhilarates, and occasionally terrifies, him. The car loses traction on an uphill dirt road that abruptly becomes 'a rutted-out washboard.' Heedlessly reaching a hand into an abandoned mailbox turned hornets' nest induces 'a full-body, screaming freakout, standing in the middle of a dirt road.' He savors surprising, sweet moments, too: an old widower who shows him the sprawling model-train setup in his garage that he began assembling 'once Jennie passed'; a man in a trailer who reacts with boyish delight when the Lord of the Rings replica sword he ordered with his pandemic check arrives. 'This is Anduril, Flame of the West!' the man explains. Grant chimes right in with 'Reforged from the shards of Narsil by the elves of Rivendell.' With his co-workers, his approach is 'show up, don't sandbag anybody, be humble, play through to the buzzer.' But he's also keenly aware of being a soft former white-collar worker on a team of hardened veterans—and during a period, the pandemic, when the Postal Service is 'on a wartime footing,' its intricate processes strained by new magnitudes of mail. Kat, a terse USPS lifer, helps him get through the worst days: 'I think as long as she saw a carrier trying, she was supportive.' Serena, a woman who handles surging Amazon deliveries with Sisyphean dedication, instructs him in a new task, chucking parcels into metal cages organized by route: 'Start scanning, start throwing, and get the fuck out of my way.' Glynnis, a 70-something whose back is killing her, 'swore like a marine with busted knuckles'—loudly and creatively, sometimes with racist verve. She drives him crazy with her incessant complaining, not that the fan noise and the heat don't make him cranky too. By contrast, Wade, an Alaskan, is the Michael Jordan of backwoods mail delivery, which features a degree of 'freedom in terms of when and how you wanted to work' absent from bigger urban routes fully plugged into the Postal Service's centralized system. Wade's 'process fluency' awes Grant—his preternatural ability to keep track of every variety of mail ('the hot case, the raw flats, the parcels, the raw mail,' plus the trays of machine-sorted first-class and standard mail, arriving every morning) and then fit it all, Tetris-like, into his vehicle's cargo area, arranged for delivery; his mastery of a labyrinthine route; his agility in eating sandwiches with one hand while delivering the mail with the other. Wade could do a route 'rated at 9 hours' in five. Grant barely manages half of it in 11 hours, with help. Philip F. Rubio: Save the Postal Service Mailman includes its share of epiphanic wisdom. But unlike many works of nonfiction that focus on this region and its people, it avoids treating those who find themselves in its pages with the sort of condescension or reflexive romanticizing—or worse, a blend of both—that often seeps into writing about Appalachia. Grant doesn't pretend that the Blue Ridge is all wholesome water-bath canning, porch sitting, and verdant greenery. He doesn't deal in crude stereotypes of poor rural people, but neither does he avert his eyes from details that might be construed as backwoods caricature. He gets a glimpse into the trailer where the man who buys the expensive sword lives, watching as he has to 'slide crabwise' along the wall, hands raised high, to get past a huge flatscreen TV that dominates the space. Imagining how many times a day he does that, Grant doesn't judge; he just notes 'the kind of trade-offs people are willing to make for picture quality.' His portrayals throughout tend toward the gently sentimental, no noble savagery in view. Grant's forthright evocation of community, a word so frequently used that its meaning has grown fuzzy, would be easy to attribute to his own roots in the rural-Blacksburg area, where the story unfolds. The truth, though, is more complicated. Sociologists have sometimes categorized Appalachia as an 'internal colony': an impoverished and economically exploited area within a country that is often viewed by elites as if it were an underdeveloped region outside that country. The firmly upper-middle-class Grant—raised in the mountains because he was born to a Virginia Tech professor, rather than into a long line of coal miners or lumberjacks—doesn't really try to hide that he sometimes feels more like a colonizer than an 'authentic' Appalachian. In one moment of obvious angst early on, after his wife accuses him of having an inordinate soft spot for Virginia's country people, Grant proclaims, 'I'm from Appalachia. I'm Appalachian!' She tells him pointedly, 'You are not!' Identitarian anxiety crops up more subtly too: Grant wistfully recalls his desire to join his high-school classmates on their annual November deer-hunting trips, his father's refusal to take him, and his envy of the homemade venison jerky the other boys would bring to school. When he says, 'I wanted a giant Ziploc bag of venison jerky,' he seems to be saying, 'I wanted to be a real Appalachian.' m ailman is most distinctive when it ventures into territory that feels timely in a way that goes beyond COVID-era tributes to 'essential workers.' Grant finds himself preoccupied with the nature of public service, its scale and scope, and with coordination among systems and humans, of which the Postal Service turns out to be quite an astonishing example. He focuses in on the scene, not just the enormous 'superscanner, like a seven-foot-tall mechanical praying mantis,' that logs incoming parcels, but also the low-tech mail-sorting methods. He also gets to appreciate up close the skillful interplay between brain and body involved in becoming 'unconsciously competent at complex tasks'; where once he knew only the academic phrase process fluency, now he can see the intricacy involved, and the dignity imparted by mastery. When Grant declares, 'My robot brain was in charge' at one point, reflecting on the execution of letter gathering while driving, he's speaking with pleasure and pride about achieving a flow state in the fulfillment of a worthwhile task; he's not complaining about drudgery or soul-sucking labor. Ever the marketer, Grant celebrates the Postal Service's uniqueness (indulging in a bit of statistical overreach). 'FedEx? UPS? They simply cannot do what the USPS does. All they carry are parcels,' he scoffs. 'We carry everything for everybody, with 99.993 percent accuracy.' Mailman is also a shameful revelation of the inexcusable working conditions that letter carriers are subjected to: The injury rate for postal workers is higher than for coal miners. You can almost feel Grant's blood pressure rising as he describes the decades-out-of-date, unsafe, and AC-less delivery trucks—'death traps,' he calls them. (The advent of new electric vehicles, thanks to a 2022 infusion of federal funds, doesn't make it into his book, perhaps because their expected delivery last year has been running behind schedule.) Grant's indictment—and his celebration—predates DOGE, whose arrival only makes both more relevant: a counter to the slander of public servants routinely dispensed by Elon Musk, a man who accrues more money in an hour than the average USPS employee will make in a lifetime. When Grant says he finally learned that 'what was essential was just doing your job,' he doesn't mean that the USPS work is easy but that it is hard, and that being a mail carrier, showing up day in and day out, matters. 'That's the difference between a regular and a sub,' he observes, remarking on the distinction between being a fill-in and someone's daily letter carrier. 'The sub just delivers the mail. The regular is delivering something else. Continuity. Safety. Normalcy. Companionship. Civilization. You know, the stuff the government is supposed to do for its people.' In Grant's telling, postal workers bring order and predictability to a country that can feel like it's unraveling, especially during crises that starkly illustrate how reliant we are on the federal bureaucracy. If Hollywood were to option this story, the hero would get offered the job of his dreams and turn it down, realizing in his heart that he is meant to be a mailman after all. But Grant has indicated from the start that his USPS stint is a placeholder. He applies for and ends up accepting a cushy position at a media agency, turns in his Halloween-job uniform, and takes a dig at himself for becoming 'just another white-collar ghost with a job that nobody understands.' You may roll your eyes when this interloper describes the solace that his brief sojourn in blue-collar life has brought: that after decades of 'feeling like I wasn't doing any good in the world, being part of something—even something as mundane as the Postal Service—made me feel whole.' Glynnis certainly takes a different view as she counts down to retirement. When Grant, hoping to quiet her carping, says, 'I'm in the same jam as you are,' she calls him on it: 'No you ain't, because I'm here to get my motherfucking pension, and you're too goddamned stupid to stay at home and collect unemployment.' Grant acknowledges that 'she had a point.' His final revelation is that Americans misunderstand the difference between white- and blue-collar work. 'Both forms of labor want all of your time and both exact a toll. One form is no more or less noble than the other,' he writes. 'The real distinction is between work and service, and I think it's one of the great dividing lines in American life.' The question this leaves for readers isn't why Grant decided to stop being a mailman. The question is how we ended up with a country where choosing a life of service all too often feels financially untenable and socially undervalued.
National Geographic
an hour ago
- National Geographic
The wild, joyful, passionate world of Marilyn Monroe's superfans
The actress's greatest legacy might be the happiness she still inspires in so many people. More than 60 years after her death, photographer Amy Gaskin documented Monroe's international legions of admirers. Marilyn gives strength and hope to people worldwide. Through her remarkable rags to riches story, she inspires many to persevere against the odds. In Australia, Marilyn is the motivation for those whose lives are touched by cancer. They raise money for cancer research, support and prevention by swimming in the ocean dressed as Marilyn. Swimmer Belinda explains, 'My mum died of bowel cancer when she was 58, and I had a good friend whose son died at 32 of cancer. It seems everyone has a connection to cancer. This is our ninth year doing the swim.' Back left to right: Petal (Belinda's granddaughter, 6 years old). Mark, Monique Front left to right: Belinda, Wisha, Jacqui Brighton, South Australia August 4th marks 63 years since actress Marilyn Monroe died at her Los Angeles home in 1962 (her housekeeper discovered Monroe in the early morning of August 5th). Her tragic death at age 36 has undoubtedly fueled the world's enduring fascination with the actress and, more than half a century after her passing, she remains one the most recognizable faces in the world. Best known for her roles in the movies Gentlemen Prefer Blondes (1953), The Seven Year Itch (1955), and Some Like It Hot (1959), Monroe established herself as the archetypal blonde bombshell, marrying sex appeal with uncanny comedic timing. But her legacy is more complicated than the nearly 30 films she appeared in: she is simultaneously an actress, an American icon, and a woman whose life was mired in sadness. Monroe's multifaceted appeal continues to fascinate fans across the world, documented here by photographer Amy Gaskin. Over 500 people have gathered, dressed as Marilyn, on the morning of the swim. The Marilyn Jetty Swim began in 2014 with just a small group. Founded by Sarah in honor of her mother, Esther, who died from uterine cancer, the crowd grows every year and has now raised over a million dollars.'As a breast cancer survivor, I am inspired by Marilyn for her ability to overcome adversity and to be resilient when faced with difficult situations. Whilst I was undergoing treatment, her story inspired me to remain strong and accept the many physical changes that I have had to go through,' explains Katrina.'Marilyn Monroe has inspired a generation of people like me to never give up, believe in ourselves, and always put our best foot forward, no matter how unattractive or depressed we feel,' says Cate. Cate lost both of her parents to cancer and had a scare herself. Brighton, South Australia Gaskin discovered this ardent fandom during the early days of the pandemic when she visited Monroe's crypt in Los Angeles's Westwood Memorial Park, a cemetery that is the final resting place for numerous celebrities. The photographer was intrigued by the 'wet lipstick marks decorating [Marilyn's] resting place,' present even while much of the world was social distancing. It piqued Gaskin's curiosity, and she began photographing visitors at the grave. They shared with her stories of why Monroe was important to them. In these photographs, Gaskin captures the undying dedication of the many superfans who visit Monroe's grave and demonstrate their devotion to the icon across the world. These fans don her iconic look because they find commonalities with the woman she was, not the woman they imagine she might have been. They find consistent, real joy in Monroe. For the superfans documented in Gaskin's images, Monroe is everything from a source of inspiration to an icon of resilience, a role model of body positivity, and a shared source of community. A mother hopes Monroe inspires her daughter; fans find community with one another and dress up in Monroe's iconic outfits, wearing the white halter dress with the pleated skirt from The Seven Year Itch or the platinum blonde wig cut to mimic Monroe's stylish bob. 'If you love Marilyn, I know you are a kind person,' a member of the Marilyn Remembered Fan Club told Gaskin. Established in 1982, the fan club, an international group of devotees, gathers online to post photographs of Monroe and raise money to place flowers at her grave. (To mark her 92nd birthday in 2018, the group placed flowers from Parisian Florist, the Los Angeles-based florist that Monroe's ex-husband Joe DiMaggio used, on her grave.) In Palm Springs, CA, Marilyn is a symbol of hope. The 26-foot-tall sculpture "Forever Marilyn" is being installed to revive the city's tourist economy decimated during the COVID-19 pandemic. 'We are hoping she'll be a magnet and the 800-plus businesses downtown that have suffered will get some relief,' says Aftab Dada, Chairman of PS Resorts, the tourism group that brought the sculpture to Palm Springs. The sculpture was created by Seward Johnson and is based on a photo by Bernard of Hollywood. During installation, Karina R., of the Seward Johnson Atelier, carries supplies in the early morning during a record heatwave. That kind of devotion to the star isn't unusual. As these photographs make clear, Monroe's superfans continue to find their own sense of belonging in her life and work. Greg, the president of a fan club dedicated to Monroe and photographed here, collects the actress's personal items. He told Gaskin that his collection began as a way to 'get to know her better.' Surrounded by Monroe-inspired dolls and photographs of the actress, his attachment to her is clear. Undoubtedly, Monroe's biography inspires them as much—if not more—than her work. Born to a single mother in 1926, Monroe's childhood was unstable, spent moving between different households after her mother was institutionalized. Each turn of her story is marked by tragedy: sexual abuse, failed high-profile marriages, and an early death. Melissa in Dubuque, Iowa, shares a sense of intimacy with Monroe, relating to her 'hardships and traumas,' she told Gaskin. 'Marilyn taught me a lot of things without saying a word to me.' In Monroe's story, fans find a woman who persevered through hardship. She is a quintessential American success story: overcoming the odds to find fame and fortune. Though it's impossible to know what Monroe would have wanted her legacy to be, perhaps it's the legions of admirers who see hope and inspiration in her life. As Gaskin's photographs make clear, Monroe's appeal shows no signs of diminishing. With arms in the air, Kelly, left, from Los Angeles, and Haley, right, from Indiana, visit Marilyn's crypt. 'I've always felt connected to Marilyn. She was more than just a symbol of fame and beauty—she longed to be truly loved and accepted. She grew up feeling unwanted, searching for a sense of belonging, and that deeply resonates with me. I didn't grow up feeling good enough either, and knowing that someone as iconic as Marilyn felt those same emotions reminds me that vulnerability doesn't make us weak—it makes us human. Her story encourages me to embrace who I am, even when I feel like I'm not enough,' explains Haley. Pierce Brothers Westwood Village Memorial Park & Mortuary in Los Angeles, CA Donna, from the UK, plans to be buried near Marilyn. She recently purchased a crypt near Marilyn's, even though she and her family live in England. 'I was the black sheep of the family. I felt different, but I didn't know why until I got older. When I first came out, my mom didn't speak to me for a year. She was born the same year as Marilyn, but they were very different in their views.' Donna said. 'Marilyn is very relatable, with what she went through and what she achieved. She stuck up for human rights and didn't like racism. She wasn't afraid to say what she felt. I wanted to be like that. Through her actions and acceptance of all types of people, she was trying to say 'love is love.' It doesn't matter your color, sexuality, or anything like that. She was very much ahead of her time. I feel close to her when I visit LA. I get so emotional. I just cannot imagine my life without her in it.' Pierce Brothers Westwood Village Memorial Park & Mortuary in Los Angeles, CA The Marilyn Remembered Fan Club hosts the annual memorial service for Marilyn Monroe in the same chapel where Joe DiMaggio (Monroe's ex-husband) held her funeral more than 60 years ago. The club was formed four decades ago by a group of people who met by chance on the anniversary of Monroe's a Club member, says, 'Marilyn brings us all together. If you love Marilyn, I know you are a kind person.'Another Club member, Jeanne W., says, 'Marilyn's story of coming from a background of having no real stability inspires me. I love her resilience and determination to create a beautiful life for herself.' Pierce Brothers Westwood Village Memorial Park & Mortuary in Los Angeles, CA Greg is president of the original Marilyn fan club. He has a vast collection of personal items that belonged to Monroe. 'I wish that I had known her, and that's why I started collecting— so I could get to know her better. She started from nothing and rose to being one of the greatest movie stars of all time.I didn't know her of course, but I've met dozens of people that did know her. They said that she had a very warm, giving, loving personality. She was the kind of person you'd want to hang around. She overcame so much, and that inspires many people. She fought the studio system and got her own production company. She had no major education yet she kept studying and learning on her own to become the accomplished person that she was. As a child, she was shuffled to several foster homes and lived in an orphanage. She never had a stable home. Her mother was alive, yet was unable to take care of her. This must have been very difficult for Marilyn to deal with. Her story is inspirational.' Los Angeles, CA Swim founder Sarah helps her daughter, Isla, 11, dress as Marilyn to help raise money for Cancer Council SA. Sarah believes that participating helps her daughter learn body positivity, while honoring her grandmother, who died from cancer.'I want my daughter to have these values about her body and to help others. I want her to feel good about herself in the world,' Sarah says."I hope my kids never get cancer. But if they do, I hope treatment can be easier, more effective, smarter. Somebody has to do something to get us there, and it might as well be all of us. I like to think, 'Just give us the right bathing suit, a blonde wig and a touch of red lippy and we can conquer the world!'' Brighton, South Australia Melissa always travels with her suitcase full of Marilyn photos. She has come to Los Angeles from Dubuque, Iowa, for the anniversary of Monroe's death and has decorated her hotel room with all things Marilyn.'I'm not alone. I have Marilyn all around me. I talk to her every day. Marilyn taught me a lot of things without saying a word to me. I relate to her hardships and traumas growing up.' 'Marilyn brought us all together. There's something inside each one of us that she loves about each of us,' Melissa said. "You'll be surprised how many Black women love Marilyn. Marilyn was one of the first people to help Ella Fitzgerald get a performing job. Marilyn gives me the strength to be who I am. She has given me strength at my lowest points. Be true to yourself. Don't fake it. Do it for yourself, not anybody else. She really loved African Americans and didn't discriminate at all. I love that she used her privilege for something good. It makes her goals board is on my wall. It has motivational quotes and pictures of Marilyn which inspire me to chase my dreams.' Saviyance Detroit, MI 'Marilyn brought us all together. There's something inside each one of us that she loves about each of us.' Dolls in a collection. The doll on the left holds a bottle of Chanel No. 5. perfume, which Marilyn had a passion for. She was famously said to wear only this perfume to bed and was rumored to have 26 bottles. Simon, center, gets ready for the big swim with help from friends Kaerena, left and Cate, right.'I lost my mother to cancer, and I started taking part in cancer fundraising walks. Sarah came to our office looking to recruit people for the swim. It sounded like a bit of fun to raise funds for cancer research, so I joined up and have taken part now for many years,' Simon explains. Hallett Cove, South Australia Marilyn parties attract a range of enthusiasts. Monica enjoys dressing like Marilyn for special occasions and is bringing a dish to the party. 'My Marilyn friends are like my second family. They watched me grow. I can't imagine my life without Marilyn. I find peace and solace whenever I think of her. Her vulnerability and the things she has conquered and accomplished are both inspiring and relatable. She means everything to me,' says Monica. Los Angeles, CA This is a long-term project by award-winning photographer Amy Gaskin, who lives in Los Angeles, and who has been studying the Marilyn phenomenon for years. What began with noticing fresh lipstick on Marilyn's crypt has now taken Amy on a worldwide journey. 'I didn't realize Marilyn inspires so many people,' Amy said. 'The more I researched, the more facets of Marilyn I uncovered. I discovered that people relate to Marilyn on many different planes. They relate to the person and her life experiences, rather than the film star. Her influence and inspiration has spread like ripples in a pond throughout the world." Amy's research has involved interviewing and photographing hundreds of Marilyn admirers from many continents over many years.
