Nostalgia’s a strange habit for an undead creature, but that doesn’t stop Adam, a vampire rocker in Jarmusch’s latest, from keeping a curmudgeonly lament on permanent simmer. People—i.e., humans—just never learn when it comes to preserving culture, or the Earth. His pale partner, Eve, retains a sense of wonder, and patience, and she knows how to flick gently at his pessimism: “How can you have lived so long and still not get it?” Yet theirs is still a “marriage of true minds,” to quote Shakespeare, or Marlowe, as Jarmusch playfully has it, in this tender, and perhaps personal, romance.
Adam (Tom Hiddleston) and Eve (Tilda Swinton) belong to each other but they also belong to a rare breed, revived. If Jarmusch filters the West through Blake in Dead Man and remixes samurai codes in Ghost Dog, here he taps the conceit of the vampire as oldest-of-old-school hipster, communing with artists across the ages. When the nocturnal film begins, drone rocker Adam is laying low in the photographically popular ruin of Detroit. Eve leaves bohemian Tangier to join him in his crumbling mansion pad, crammed with rare guitars and vinyl. Adam knew Byron; he and Eve were dead before it was cool. For bloodwork, the couple drinks only “the good stuff” with druggie abandon; a hypnotic opening overhead shot is a ringer for a scene of post-high bliss. The biggest downer is when Eve’s kid sister visits from (shudder) LA and wrecks everything.
“Do women have to be naked to get into U.S museums?” When the feminist group Guerilla Girls asked this question in 1989, they pointed to an obvious but oddly glossed-over fact: history of art is full of naked people, most of them women. And if it weren’t for an art-historical tradition of viewing the unclothed figure as artfully, aesthetically, unerotically “nude”—rather than plain naked—the lofty halls of the Met would fall afoul of obscenity laws. Actually, why hasn’t it? On the occasion of No Clothes, Grace Coddington’s curated auction of nudes, we explore the difference between naked and nude and take a look at the history of the unclothed body.
Sharon Hayes political upheaval on view at Andrea Rosen Gallery. The exhibition expands and builds upon an established line of inquiry in Hayes’ work through her active mining of the intersection between history, politics and speech. Both the title of the exhibition and a new body of work, Fingernails on a black board investigate how voice acts as the embodied medium of speech. Hayes takes the 1977 National Women’s Conference in Houston, TX as a historical point of departure. The 1977 conference was a result of an executive order to assess the status of women in light of the United Nations proclaiming 1975 as International Women’s Year; New York Congresswoman Bella Abzug was appointed to head the conference. Following the conference, an extension was granted for the ratification of the Equal Rights Amendment. Having only been ratified by 35 states by the 1982 deadline, the amendment has never been passed.