Last updated Gran Fury advertisement "Silence=Death."
The AIDS pandemic began in the early 1980s and brought with it a surge of emotions from the public: they were afraid, angry, fearful and defiant. The arrival of AIDS also brought with it a condemnation of the LGBT community. These emotions, along with the view on the LGBT community, paved the way for a new generation of artists.[1] Artists involved in AIDS activist organizations had the ideology that while art could never save lives as science could, it may be able to deliver a message.[2] Art of the AIDS crisis typically sought to make a sociopolitical statement, stress the medical impact of the disease, or express feelings of longing and loss. The ideologies were present in conceptions of art in the 1980s and are still pertinent to reception of art today as well. Elizabeth Taylor, for example, spoke at a benefit for AIDS involving artwork, emphasizing its importance to activism in that "art lives on forever". This comment articulates the ability of artwork from this time to teach and impact contemporary audiences, post-crisis.[2] This page examines the efforts of artists, art collectives, and art movements to make sense of such an urgent pandemic in American society.
NAMES Project AIDS Memorial Quilt in Washington D.C.
Individual artistry of the AIDS crisis often was often found in museums or art galleries, in the spaces that only the economically and socially privileged could benefit from their messages. Artistic and Activist Collectives were meant to reach the general public, providing a space to build community, mourn, and spread education about the AIDS epidemic in a much more prolific manner.
One example would be the NAMES Project AIDS Memorial Quilt, a large quilt containing thousands of panels that commemorate those living with or those who have died of AIDS. The quilt is composed of panels of many colors and patterns, some somber and dark, others vibrant, and it tells no narrative other than remembrance. Each panel commemorates an individual or group who suffered from AIDS, although some individuals have several panels dedicated to them and others have simply a first name, a familial or relationship-related nickname, or "anonymous." In June 2006, the quilt commemorated approximately 83,900 names, although the NAMES Project pointed out that the thousands of names represented less than a quarter of all U.S. AIDS deaths, and an even smaller percentage for the total number of AIDS-related deaths worldwide.[3]
National AIDS Memorial Grove
The National AIDS Memorial Grove, which can be found in San Francisco's Golden Gate Park, was first conceived by a group of local individuals in 1988. The AIDS epidemic had been devastating to San Francisco, and the group desired a tranquil environment in which to mourn healthily. Work began at the site of the de Lavveaga Dell in 1991, and in 1996, Nancy Pelosi led the United States Congress in passing the National AIDS Memorial Grove Act of 1996, which was signed into law by President Bill Clinton. The site has been cared for by hundreds of volunteers and a city gardener.[4] The Grove houses a flat concrete circle on the ground, intended to be engraved with the names of those who suffer from AIDS. This act of memorializing is participatory and open for visitors to take part in.[5] In 2011, Andy Abrahams Wilson and Tom Shepard created a documentary about the process of creating the Grove, discussing the contest for a potential design and the mixed responses the Board of Directors felt to them.[6] Other responses to the Grove have been less positive, including tagging, graffiti, and vandalizing.[7]
Gran Fury, the artistic committee within ACT UP, was an anonymous collective designed to create artistic media about the AIDS epidemic. The collective functioned as an anonymous group because it took emphasis away from any individual and reinforced the idea of collective efforts towards ending the crisis. Gran Fury's mission was to bring a close to the epidemic, primarily through bringing to light the issues that society grappled with, such as homophobia and discrimination of people with AIDS (PWA). The collective brought art into the public sphere often to reach wider audiences than it could reach within the museum space; additionally, because the group often faced censorship, it took to illegally posting work on the city streets.[8]
DIVA TV (Damned Interfering Video Activist Television) was a collective of artists who utilized video as their primary mediums, targeting their work at ACT UP members. Founded by Catherine Saalfield (now Catherine Gund), Ray Navarro, Jean Carlomusto, Gregg Bordowitz, Bob Beck, Costa Papas, Ellen Spiro, George Plaggianos, and Rob Kurilla, DIVA TV created videos that covered ACT UP actions as well as events within the movement. DIVA TV functioned as an educational queer television program that often educated its viewers about the AIDS epidemic. Some characteristic features of DIVA TV were its staunchly unprofessional style, with unrefined shots and no studio cleaning up of the footage, and tendency towards civil disobedience.[9]
Proyecto ContraSIDA por Vida, a Latino/a HIV prevention agency that began in San Francisco in 1993, was designed to reach a marginalized populations in San Francisco impacted by the AIDS pandemic: specifically, queer Latin@ youth, sex workers, and transgender populations and other disenfranchise people in San Francisco's Mission district. Proyecto used very progressive language and radical interpellation (giving identity to something) in its advertisements, which facilitated the inclusion of a wider audience. Additionally, Proyecto used a mixture of Spanish and English in its brochures and posters, which represented the mixed identities of its audiences while also making clear that the Spanish-speaking audience was the crucial demographic in Proyecto's mission. The agency offered several workshops aimed at a vast array of different identities in order to facilitate discourse and build communal relations while also educating the young population about sexual practices and the issues of the AIDS epidemic. Proyecto often used very poignant artistic activism in symbolic and provocative ways, such as a papaya shown in erotic ways to suggest Latino/a sexuality. Proyecto also facilitated workshops in which participants created images in response to the AIDS pandemic; these images were based on retablos, a Latino traditional art form.[10]
Individual artists
Nicholas Nixon became well known as a photographer; in 1988 he had an exhibition at the Museum of Modern Art in New York City entitled "Pictures of People." Some photographs were of people with AIDS, documenting their physical deterioration in intervals of weeks or months. Nixon claimed that his goal was to visually capture the dire consequences of the AIDS epidemic. His depiction of people with AIDS was very controversial as some claimed his images were of hopeless, lonely individuals. During the exhibition at the MOMA, an offset of ACT UP called the AIDS Coalition to Unleash Power staged a very calm protest against Nixon's images of PWA.[11]
Aziz + Cucher, a collaborative duo who have created much art aside from the AIDS epidemic, created the Chimera series after Cucher was diagnosed with HIV. Cucher was very ill after his diagnosis until medicinal advancements allowed him to restore his health and survive the virus. The series captures the mixture of medical and technological advancements that restored Cucher's standard of health and attempts to signal the life experience and comfort that Cucher finds in biotechnology as a person living with HIV.[12]
Sunil Gupta is an artist who was diagnosed with HIV but was able to live healthily due to medicinal advancements. Gupta created a series titled From Here to Eternity in 2001 in which he photographs his daily life and routines as a person living with HIV, including getting blood drawn. Unlike prior photographs of people diagnosed with HIV, Gupta's images are less morbid and insist on his own vitality. Gupta's work is often categorized as a visual depiction of an ongoing experience of AIDS.[12]
The famous avant-garde director Rosa von Praunheim campaigned for AIDS education, safe sex and the rights of the infected with his art right from the start of the HIV epidemic. In the USA he was able to get a lot of attention with his films Silence = Death and Positive (1990), which deal particularly with the fight of American artists such as Keith Haring and David Wojnarowicz against AIDS. He was a co-founder of ACT UP in Germany and carried out numerous high-profile campaigns in his home country to draw attention to the situation of infected people. The director's radical approach made him an international icon of AIDS activism.[13]
David Wojnarowicz was an American artist and AIDS activist who also suffered from and died of AIDS. The artist was particularly provoked by the silence of the Reagan and Bush administrations in regards to the AIDS crisis, which he saw as a result of the straight white men being the ones in charge of what the public is exposed to via the media.[14] His work was typically political in nature, but was also autobiographical in that he drew from his own experiences as a queer person with AIDS. His work often borrowed imagery from Pop Art, street art, science, and the Surrealist movement, but he developed his own arsenal of iconic images that included soldiers, men embracing each other, and animals, among other things. In 1987, Wojnarowicz lost his friend Peter Hujar and in the same year was diagnosed with AIDS. After these events, Wojnarowicz increasingly turned to photography as his medium of choice, incorporating text in a signature way.[15]
Felix Gonzalez-Torres has become a famous queer artist in contemporary America, and he created many works in relation to AIDS, specifically how HIV/AIDS affected his romantic life. The emotional toll of losing a lover to disease was emphasized, allowing audiences to examine a Queer relationship through a loving, domestic lens, distant from any presumed homoeroticism that masses expected to find with AIDS-related art.[16] His work was rarely, if ever, explicitly queer or open about its sociologically political commentary in regards to American culture and AIDS. Instead, Gonzalez-Torres made several post-minimalist pieces that were regarded as timeless, and photographs that any individual could relate to without ever knowing its queer undertones "Untitled" (Portrait of Ross in L.A.). Many of Gonzalez-Torres' pieces were conceptual and participatory, and often viewers were encouraged to take a piece of the artwork home with them. Josh Takano Chambers-Letson stated that Gonzalez-Torres' work infected the spectator with an "ideological virus," which the spectator would carry with them to reflect on later.[17] Gonzalez-Torres desired to bring the discussion about queer identity and the AIDS epidemic away from the legislative halls of the country and into the more public space of the art gallery. He was well aware of the censorship of queer culture going on within the nation, and he stated that he intentionally created queer work that would be indecipherable to any conservative seeking to debase his work; if they indeed could understand the queer and homoerotic tones of his conceptual pieces, the conservative would have to explain the way in which he or she came to understand these things.[17]
Keith Haring, diagnosed with AIDS in 1988, had been an artist since childhood. Haring first studied art at the Ivy School of Professional Art in Pittsburgh and eventually at the School of Visual Arts. It was at this second school, located in New York, that he became part of a thriving artist community. Haring knew he wanted to create public art based on his inspiration from artists such as Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin, and Robert Henri. He began his career doing “subway art” but quickly became recognized for his exhibits in New York and a Pop Shop selling a multitude of items of different media. Haring was a well-known public artist with many pieces in Children’s hospitals before his AIDS diagnosis. AIDS further prompted him to make public art that specifically showed imagery of the AIDS epidemic, including Todos Juntos Podemos Parar el SIDA; this was the start of the Keith Haring Foundation. Haring's last major collaboration The Valley with William S. Burroughs is an ominous allegorical depiction of the horror and chaos of the AIDS Crisis, published weeks before his death. By the time of Haring’s death in 1990, he had already been featured in multiple newspapers and magazines with artwork in both solo and group exhibitions.[18]
Robert Mapplethorpe, born in 1946, fell in love with art and photography at a young age. He began experimenting with Polaroids, which led to his first exhibit and continued with photography after acquiring a camera. Mapplethorpe shot photographs that many at the time found “shocking.” These photographs included work of the New York S & M scene and nudes of males and females. In the year 1986 when he was diagnosed with AIDS, Mapplethorpe had a number of commissions, including but not limited to, designing dance performance sets and taking portraits of New York artists for the book, 50 New York Artists. Before Mapplethorpe passed away in 1989 he managed to not only make a huge impact on modern art but also establish the Robert Mapplethorpe Foundation which promotes and supports continuation of the arts as well as help fund medical research for AIDS.[19]
AIDS Video Movement
The AIDS Video Movement consisted of several different video and filmmakers. Tom Kalin was an American AIDS activist and director who made at least eight videos directly focusing on the AIDS epidemic, yet he has stated that all of his works are somewhat affected by the AIDS crisis. Kalin's works express his own personal responses to the epidemic and his search for his community during the crisis. He made his videos specifically for those who were victims of the crisis, many of whom were friends of his.[20] Juanita Mohammed was a female AIDS activist and filmmaker whose earliest work began when she was producing with WAVE, the Women's AIDS Video Enterprise. With WAVE, Mohammed worked to empower marginalized women who were disproportionately affected by AIDS in their communities, specifically lower income women of color. Mohammed later took charge of the production of Words to Live By, a video created by teenagers, for teenagers; Mohammed was especially fond of this work for the authenticity of the voice of its filmmakers towards its audience, and for its educational potential for a demographic that was not properly educated enough about AIDS.[20] Ray Navarro, mentioned earlier as a founding member of DIVA-TV, was a Chicano video artist and writer who created work that reflected what Joshua Javier Guzman calls a "queer Chicano aesthetic."[21] Ray Navarro's work expresses his ambivalence towards life in the AIDS epidemic and that of the queer Chicano community, using the stylistic structure of the camera frame as a mode of depicting the separation between the inner, private life and external socialization, which is embodied in the ambivalence of the queer Chicano aesthetic.[21]
Music
The AIDS Quilt Songbook initially was an 18-song collection that premiered in 1992 but now is an ongoing song-cycle by multiple composers, now with sub-collections centered in Chicago, Minnesota, Chapel Hill, Philadelphia and Tacoma.
Widely regarded as the first symphony to deal with the subject, John Corigliano's Symphony No. 1 (written between 1988 and 1989 and first performed in 1990), was partly inspired by the NAMES Project AIDS Memorial Quilt and its three movements are dedicated to a pianist, a music executive, and a cellist respectively, all friends and colleagues in Corigliano’s life that he memorializes.
The longest string quartet ever written in Australia, the AIDS Memoir Quartet is a 17-movement work by Lyle Chan, a member of ACT UP during the 1990s. The work is 90 minutes long when performed without narration, and 2 hours with. It contains portraits of famous activist friends now dead, and unusual effects like the use of police whistles to recall street demonstrations by ACT UP, the direct action protest group of which Lyle Chan was a core member. He and other activists ran a buyers club to smuggle AIDS treatments from the US that were unavailable in Australia.
Between 1986 and 1988, Diamanda Galas released her trilogy about AIDS called Masque of the Red Death.
Performance art
Ron Athey's performance art often reflects AIDS-related themes, particularly a performance at the Walker Art Center in Minnesota which caused controversy, and his 1993 performance Four Scenes in a Harsh Life.
Related Research Articles
The NAMES Project AIDS Memorial Quilt, often abbreviated to AIDS Memorial Quilt or AIDS Quilt, is a memorial to celebrate the lives of people who have died of AIDS-related causes. Weighing an estimated 54 tons, it is the largest piece of community folk art in the world, as of 2020. It was conceived in 1985, during the early years of the AIDS pandemic, when social stigma prevented many AIDS victims from receiving funerals. It has been displayed on the Mall in Washington, D.C., several times. In 2020, it returned to San Francisco, where it is cared for by the National AIDS Memorial. It can be seen virtually.
AIDS Coalition to Unleash Power is an international, grassroots political group working to end the AIDS pandemic. The group works to improve the lives of people with AIDS through direct action, medical research, treatment and advocacy, and working to change legislation and public policies.
David Michael Wojnarowicz was an American painter, photographer, writer, filmmaker, performance artist, songwriter/recording artist, and AIDS activist prominent in the East Village art scene. He incorporated personal narratives influenced by his struggle with AIDS as well as his political activism in his art until his death from the disease in 1992.
Cleve Jones is an American AIDS and LGBT rights activist. He conceived the NAMES Project AIDS Memorial Quilt, which has become, at 54 tons, the world's largest piece of community folk art as of 2020. In 1983 at the onset of the AIDS pandemic, Jones co-founded the San Francisco AIDS Foundation, which has grown into one of the largest and most influential advocacy organizations empowering people with AIDS in the United States.
Steven Reigns is an American poet, artist and activist known for his poetry publications, his work as West Hollywood's first City Poet, his participatory art projects, his LGBT activism, and his scholarly work on Anaïs Nin.
Thomas Block Rubnitz (April 2, 1956 – August 12, 1992) was an American painter, video artist, and AIDS activist. He was a part of the New York City drag world of the late 1980s, and he has been described as "an exuberant ethnographer of the East Village queer scene."
Day Without Art (DWA) is an annual event where art institutions and other organizations organize programs to raise awareness of AIDS, remember people who have died, and inspire positive action. Initiated in 1988 by VisualAIDS from New York City (NYC), nowadays a global event.
The Canadian AIDS Society (CAS) is a national charitable organization dedicated to advocating for AIDS Service Organizations across Canada. Established in 1987 amidst the growing HIV/AIDS crisis and an inadequate governmental response, CAS initially began as a grassroots movement and later formalized into a coalition, incorporating in 1988. The decision to relocate to Ottawa was strategic, aiming to enhance engagement with governmental bodies.
Silence = Death is a 1990 documentary film directed, written, and produced by Rosa von Praunheim. The film received international resonance.
Gregg Bordowitz is a writer, artist, and activist who worked as a professor in the Video, New Media, and Animation department at The School of the Art Institute of Chicago and currently teaches at the Whitney Museum Independent Study Program.
Proyecto ContraSIDA Por Vida was a non-profit HIV-prevention agency located in the Mission District of San Francisco that provided community-based healthcare for the Latino/a and LGBT communities. It was one of several community-based health organizations that emerged in response to the AIDS crisis. Proyecto ContraSIDA por Vida emerged from a variety of organizations that aimed at reducing the spread of HIV in communities of color. Some of the predecessor organizations of PCPV were the National Task Force on AIDS Prevention (NTFAP), the Gay Latino Alliance (GALA), and Community United in Responding to AIDS/SIDA (CURAS), among others. Some of the leaders who came together to create PCPV included Ricardo Bracho, Diane Felix, Jesse Johnson, Hector León, Reggie Williams, and Martín Ornellas-Quintero.
Henry M. Tavera was an AIDS activist, artistic director, and archivist based in the Mission District of San Francisco, California; his 1979 move to the region put him at the forefront of the AIDS epidemic via his involvement in various HIV/AIDS service organizations as well as AIDS theatre. He also did work around Chicano Gay Activism and teaching/advising. Tavera died on February 27, 2000, at 56 years old from kidney cancer.
Jaime Cortez is a Chicano-American graphic novelist, visual artist, writer, teacher, and performer. Cortez is also known for his role as an LGBT rights activist, and HIV/AIDS prevention work.
Jean Carlomusto is a New York filmmaker, AIDS activist, and interactive media artist. She produced and directed HBO's Emmy nominated documentary, Larry Kramer in Love & Anger, which was featured at the Sundance Film Festival. Her works have been exhibited internationally in festivals, museums and on television. She was an early pioneer in documenting the AIDS crisis. As the founder of the Multimedia Unit at Gay Men's Health Crisis, she created the television series Living with AIDS. She was a founding member of DIVA TV and a member of the Testing The Limits Video Collective.
Raymond Robert Navarro was an American video artist, filmmaker, and HIV/AIDS activist. Navarro was an active member of ACT UP and a founder of Diva TV. His activism was featured in the documentary How to Survive a Plague. Navarro's art was exhibited at the Institute of Contemporary Art, Boston, Museum of Contemporary Art, Los Angeles, Tacoma Art Museum, Bronx Museum of the Arts, and Museum of Contemporary Art, Cleveland, among others. Navarro's papers, videos, and artworks are held at the ONE National Gay & Lesbian Archives at the USC Libraries in Los Angeles.
Socio-political activism to raise awareness about HIV/AIDS as well as to advance the effective treatment and care of people with AIDS (PWAs) has taken place in multiple locations since the 1980s. The evolution of the disease's progress into what's known as the HIV/AIDS pandemic has resulted in various social movements fighting to change both government policies and the broader popular culture inside of different areas. These groups have interacted in a complex fashion with others engaged in related forms of social justice campaigning, with this continuing on to this day.
Queer art, also known as LGBT+ art or queer aesthetics, broadly refers to modern and contemporary visual art practices that draw on lesbian, gay, bisexual, transgender, and various non-heterosexual, non-cisgender imagery and issues. While by definition there can be no singular "queer art", contemporary artists who identify their practices as queer often call upon "utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships and relationships." Queer art is also occasionally very much about sex and the embracing of unauthorised desires.
Joey Terrill is an American Chicano queer visual artist. He works in the mediums of painting, collage, drawing, and photography. His work often pays tribute to gay visual artist, and features Chicano themes. Terrill uses inspiration from cartoons, magazines, 1950s and 1960s art movements, and comics to produce his work. He is based in Los Angeles.
The queer Chicano art scene emerged from Los Angeles during the late 1960s and early 1990s composing of queer Mexican American artists. The scene’s activity included motives and themes relating to political activism, social justice, and identity. The movement was influenced by the respective movements of gay liberation, Chicano civil rights, and women’s liberation. The social and political conditions impacting Chicano communities as well as queer people, including the HIV/AIDS epidemic, are conveyed in the scene’s expressive work.
Unfinished Painting is a 1989 painting by American artist Keith Haring. It is a 100 cm by 100 cm acrylic painting on canvas piece, recognizable by the large swath of canvas left exposed. It is known as one of Haring's final paintings before his 1990 death from AIDS-related complications at the age of 31. From April 27 to September 8, 2024, the piece was on tour with the "Keith Haring: Art Is for Everybody" exhibit at the Walker Art Center.
↑ Blair, Carole, and Neil Michel. “The AIDS Memorial Quilt and the Contemporary Culture of Public Commemoration.” Rhetoric and Public Affairs 10, no. 4 (2007): 595–626.
↑ "About The Grove". National AIDS Memorial Grove in San Francisco. Retrieved March 18, 2016.
↑ "Circle of Friends". National AIDS Memorial Grove in San Francisco. Retrieved March 18, 2016.
↑ Crimp, Douglas. “Portraits of People with AIDS” from Melancholia and Moralism: Essays on AIDS and Queer Politics. Cambridge, MA: MIT, 2002. Print. p. 83107
1 2 Meyer, Richard. “Ongoing: Notes on Contemporary Art and AIDS,” in Bodies of Resistance New York: Visual AIDS, 2000, p. 1925
1 2 Juhasz, Alexandra. “So Many Alternatives: THE ALTERNATIVE AIDS VIDEO MOVEMENT”. Cinéaste21.1/2 (1995): 37–39. Web...
1 2 Guzman, Joshua Javier. "Dark Meditations: Queer Chicano Performance and the Politics of Style." Diss. New York U, 2015.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
