Artists whose lives were affected by AIDS now have a space dedicated entirely to showcasing and honoring their works.
There are several US organizations and libraries that contain key archives documenting art practices and work linked with AIDS and artists living with HIV.
NEW ORLEANS — During a recent tour of the Michael Meads retrospective at the Ogden Museum of Southern Art, curator Bradley Sumrall jokingly credited the artist with single-handedly inventing the “hot redneck” genre with his photographs of young Southern men in various states of languid shirtlessness.
One might be led to think, from the title of Hunter Reynold’s current exhibition at PPOW Gallery, Survival AIDS Medication Reminder, that the show deals with issues of health and physical condition, or perhaps reminiscence.
SAN FRANCISCO — At the end of the 2012 documentary How to Survive a Plague, we see a group of ACT UP protestors march on the nation’s capital with the ashes of their dead, a counterprotest to the exhibition of the AIDS Quilt on the Washington Mall.
How did this ethereal design of an “infinite forest” transform into a hideous, bus-shelter-like, 18-foot steel canopy?
At some point, nearly two hours in, Marlene McCarty, one of the members of the AIDS activist group Gran Fury, an affinity group that was part of ACT-UP, reminded those gathered: “We were not making art.” The event was a panel discussion that took place at Columbia University on November 15, organized by Columbia’s School of the Arts, and was intended to draw on some of the themes present in the exhibition that just opened at the Institute for Contemporary Art (ICA) in Boston, This Will Have Been: Art, Love & Politics in the 1980s. The panel was comprised of ICA Boston curator Helen Molesworth and four members of the eleven-member collective that was Gran Fury: Avram Finkelstein, Tom Kalin, Marlene McCarty, and Robert Vazquez-Pacheco.
The question that prompted McCarty’s response was one of a handful that arose during the Q&A that followed the presentations by the panel. There was a similar tone to many of the questions that came up, the majority of which were something along the lines of: “How can we do what you did?” In addition to reminding those present that Gran Fury’s intention was never to make art, per se, McCarty added, “We were very brash about the fact that we were making propaganda.”
While at The Piers: Art and Sex along the New York Waterfront at the Leslie-Lohman Museum of Gay and Lesbian Art, one question kept popping up in my mind: What is with this obsessive nostalgia for the decaying, destroyed and often depressing New York of the past, particularly as connected to the emerging gay subculture and downtown art scene of the 1970s and ’80s?
On April 25th, and in honor of its 25th anniversary, AIDS activist group ACT UP (The AIDS Coalition to Unleash Power), joined by organizations ranging from Occupy Wall Street to Visual AIDS to Housingworks as well as other AIDS activist and queer organizations, will be staging a large scale demonstration on Wall Street reminiscent of its original Wall Street protests of the late 1980s.
The slogan “Silence=Death” remains one of the most recognizable images from the art produced during the AIDS crisis in America. Created by the activist art collective Gran Fury, it complemented a movement of creativity that held social change as its core. Now, over 30 years since the term “AIDS” was first recognized, the collective’s retrospective Gran Fury: Read My Lips at NYU captivates this tumultuous time in American history and shows us that, perhaps, we haven’t progressed much.
Walking through galleries filled with reproductions of posters, flyers, takeaways and other ephemera rather than torn and yellowed scraps of archival materials, I spoke with Gran Fury member and artist Marlene McCarty and 80 Washington Square East Gallery assistant director and curator Michael Cohen, who gave me an illuminating walk-through of the exhibition and answered my questions from the history of Gran Fury to its connection with subsequent protest movements such as Occupy Wall Street to the importance of archiving the history of AIDS activism and AIDS losses.
Long before Facebook and Twitter made getting a message out to a mass audience as simple as a couple of clicks, the art/activist collective known as Gran Fury used a heady combination of bold graphic design, guerrilla dissemination tactics, and art institutional support to communicate the urgency of the AIDS epidemic in light of disastrous government and political inaction.