Tag Archives: Tilda Swinton


Whether one was auditing Peter Wollen’s classes at UCLA, reading his essays, or watching the films he wrote and/or directed, one was always persuaded by what Tilda Swinton calls his “dazzling prophetic genius.”

Wollen—director of Friendship’s Death and co-director with Laura Mulvey of Riddles of the Sphinx and Crystal Gazing—was born in London in 1938 and died earlier this month in England. He is survived by his wife, the writer and artist Leslie Dick.

He co-wrote Michelangelo Antonioni’s The Passenger, authored several books—including Signs and Meaning in the Cinema and Paris Manhattan: Writings on Art—and was professor emeritus of film, television and digital media in the UCLA School of Theater, Film and Television.

From top: Peter Wollen, photograph by Karen Knorr; Wollen, Paris Manhattan: Writings on Art; Wollen, Paris Hollywood: Writings on Film; Michelangelo Antonioni, The Passenger (1975); Laura Mulvey and Wollen, Riddles of the Sphinx (1977); Wollen, Friendship’s Death (1987), with Tilda Swinton and Bill Paterson; Wollen, photograph by Leslie Dick. Images courtesy and © the filmmakers, the author, the photographers, and Verso books.


Twenty-five years after his death, the scope of Derek Jarman’s work as a painter, writer, set-designer, gardener, political activist, and, of course, filmmaker is on view in PROTEST!, an extensive new exhibition at the Irish Museum of Modern Art featuring many bodies of work never before seen in public.

“[Derek] wasn’t chasing the center. He wrapped the center around him… Twenty years on and we’re fighting for space that we had once.” — Tilda Swinton, 2014

Young bigots flaunting an excess of ignorance. Little England. Criminal behavior in the police force. Little England. Jingoism at Westminster. Little England. Small town folk gutted by ring roads. Little England. Distressed housing estates cosmeticized in historicism. Little England. The greedy destruction of the countryside. Little England.Derek Jarman, The Last of England, 1987

DEREK JARMAN—PROTEST! is curated by Seán Kissane, and the exhibition was organized in partnership with the Manchester Art Gallery. In early 2020, Thames and Hudson will publish a major monograph to accompany the retrospective.


Through February 23.

Irish Museum of Modern Art

Royal Hospital Kilmainham, Dublin.

Derek Jarman, Protest!, Irish Museum of Modern Art, November 15, 2019–February 23, 2020, from top: Jarman, photograph by Ray Dean; Queer, 1992; Margaret Thatcher’s Lunch, 1987; Burning the Pyramids (Art of Mirrors), 1970–73, super 8 film, courtesy and © the LUMA Foundation; Jarman, photographs by Ray Dean (2); Derek Jarman’s Sketchbooks, “Edward II to Glitterbug,” private collection; Derek Jarman’s Sketchbooks, 1965, Untitled (“Poem V”), courtesy and © BFI National Archive; AIDS Isle, 1992; Landscape with a Blue Pool, 1967; Avebury Series II, 1973, collection Derby Museum and Art Gallery; Morphine, 1992, Arts Council Collection, Southbank Centre; T.B. or not T.B., 1990; Blue, 1993, photograph by Liam Daniel, courtesy and © Basilisk Communications; photograph from Jarman’s notebooks, 1968, “Ballet for small spaces”; The Angelic Conversation (1985), still, courtesy and © BFI National Archive; Fuck Me Blind, 1993; Self-Portrait, 1959, private collection. Artwork by Derek Jarman; images courtesy and © the Keith Collins Will Trust, the Amanda Wilkinson Gallery, London, and the IMMA.


This week—in a co-presentation of the American Cinematheque and Beyond FestJim Jarmusch will present his new comedy THE DEAD DON’T DIE.

The film stars Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton, Iggy Pop, Steve Buscemi, Tom Waits, Selena Gomez, Danny Glover, Caleb Landry Jones, and Carol Kane, and the director will be on hand for a post-screening Q & A.


Wednesday, June 5, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

The Dead Don’t Die, from top: Bill Murray (left), Chloë Sevigny, and Adam Driver; Iggy Pop; Selena Gomez; Murray; Tilda Swinton. Images courtesy the filmmaker and Focus Features.


“Virginia Woolf wrote Orlando in an attitude of celebration of the oscillating nature of existence. She believed the creative mind to be androgynous. I have come to see Orlando far less as being about gender than about the flexibility of the fully awake and sensate spirit…

“Where I once assumed it was a book about eternal youth, I now see it as a book about growing up, about learning to live.” — Tilda Swinton*

ORLANDO—the Aperture exhibition inspired by Woolf and curated by Swinton—features the work of Zackary Drucker, Lynn Hershman Leeson, Paul Mpagi Sepuya, Jamal Nxedlana, Elle Pérez, Walter Pfeiffer, Sally Potter, Viviane Sassen, Collier Schorr, Mickalene Thomas, and Carmen Winant.


Through July 11.

Aperture Gallery

547 West 27th Street, 4th floor, New York City.

From top: Photographer unknown, Virginia Stephen in 1912, photograph sent to Leonard Woolf; Lynn Hershman Leeson (2), Rowlands/Bogart (Female Dominant), 1982, from the series Hero Sandwich, hand-painted collage, and Roberta Getting Ready to Go to Work ,1976, photograph of Roberta Breitmore, Leeson’s alter ego in a multiyear performance piece that lasted throughout the 1970s, both courtesy and © the artist and Bridget Donahue, New York; Mickalene Thomas (2), Untitled #3 (Orlando Series) and Untitled #4 (Orlando Series), both 2019 for Aperture, courtesy and © the artist and Yancey Richardson Gallery, New York, (Untitled #4 is a portrait of Thomas’ partner, Racquel Chevremont); Jamal NxedlanaFAKA Portraits, Johannesburg, 2019, for Aperture, courtesy and © the artist; Walter Pfeiffer, untitled, 2009, courtesy and © the artist and Art + Commerce, Artists Rights Society, New York, and ProLitteris, Zürich; Collier Schorr, untitled (Casil), 2015–18 (2), courtesy and © the artist and 303 Gallery, New York; Carmen WinantA melon, a pineapple, an olive tree, an emerald, a fox in the snow, 2019, for Aperture, courtesy and © the artist, (artwork incorporates a photograph of Woolf’s lover Vita Sackville-West); Zackary DruckerRosalyne, 2019, for Aperture, courtesy and © the artist and Luis De Jesus, Los Angeles.


In conjunction with Aperture‘s Virginia Woolf-inspired ORLANDO exhibition and edition, Tilda Swinton—currently co-starring in Joanna Hogg‘s brilliant new film The Souvenir—and B. Ruby Rich will talk about “images and writings that celebrate gender fluidity, curiosity, and life without limits.”*


Wednesday, May 29, at 6:30 pm.

New York Public Library, Celeste Bartos Forum

476 Fifth Avenue (at 42nd Street), New York City.

Virginia Woolf‘s 1928 novel Orlando—inspired by her lover Vita Sackville-West—was made into a 1992 film written and directed by Sally Potter, starring Tilda Swinton, Quentin Crisp, and Jimmy Somerville.

From top: Tilda Swinton (left), in the title role of Orlando, with Quentin Crisp as Queen Elizabeth I; Virginia Woolf; Vita Sackville-West; Aperture 235, Summer 2019 issue; Swinton in Orlando. Images courtesy and © the artists, filmmakers, and publishers.