New York

David Krippendorff

Massimo Audiello

Rita Hayworth’s star turn in Charles Vidor’s movie Gilda (1946) was decisive in establishing the actress as a Hollywood sex bomb. On July 1 of the same year, the United States exploded the fourth atomic bomb on Bikini Atoll in the Marshall Islands, a test designed to show the world that the country had a nuclear arsenal. The bomb was named Gilda and had Hayworth’s image painted on its surface. David Krippendorff takes this equation as a point of departure for paintings, drawings, and video that move adroitly through the linked terrains of social criticism and political dissent.

The movie Gilda, with its narrative stereotypes and cloying sets, is a perfect manifesto of American cultural colonialism in the wake of World War II, and Krippendorff uses it to map Hollywood’s role in glamorizing war and power, with their potent mix of the erotic and the political. In postwar Buenos Aires, where

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the September 2004 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.