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Sometime in the Near Future, Future Foods

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Sometime in the Near Future, Future Foods Mars Repetina: Constructing Disease during the Black Death and AIDS Epidemics 1 There are many parallels between the Bubonic Plague of 1350 and the AIDS epidemic. Though plagues have been present throughout the world’s history, these particular two episodes pose some of the most interesting iconographical questions relevant today. First, artists addressing the Black Death developed a consistent iconography throughout Europe, and second, artists today have purposefully evoked this iconography as a platform from which further exploration of AIDS and image can take off. Both eras faced hysteric populations trying to come to grips with death and the “victim,” and despite certain paranoid explanations proposed by religious and homophobic commentators today, “AIDS looks to us, as the plague of 1348 did to the people of medieval Europe, like an inexplicable and horrific exogamous calamity.”1 This paper, then, will address the way in which the visual arts of the respective eras both reflected and affected cultural expectations in medicine, politics, economy, and religion when faced with the situation of wide spread death. I first became interested in the correlation between the two eras when I discovered the work of Robert Farber. His “Western Blot” series, produced between 1991-1994 was a series of 23 painting-constructions that reflected on parallels between the Black Death of 1348-50 and AIDS. The Western Blot itself is one of two tests used to detect HIV, a title that Farber appropriated for works he considered both symbolic and literal in approach and construction. He used quotes within his works taken directly from witnesses and victims of the Black Death and AIDS.2 The striking resemblance in responses is complemented even further by Farber’s view of himself as historian, adding panels upon panels to the works, symbolizing the passage of time. In one of his last interviews, Farber spoke of the current parallel between AIDS and the Bubonic Plague, which served as the key inspiration for his 1 Herlihy, David. The Black Death and the Transformation of the West. Harvard University Press. Cambridge, MA. 1997. Pg.5 2 Farber, Robert. Someday: Robert Farber, a retrospective. Brandeis University. Waltham, MA. 1997. Pg.29 2 Blot series. “There were so many equivalents: sociology, economically, spiritually… I think that a part of my thesis is that the rituals that people found themselves involved in are paralleled…in the art itself.”3 In one of Farber’s most personal works, Western blot #19, he related his role as artist to that of the chronicler John Clyn of Kilkenny (1349)4. Clyn wrote, “I, as among the dead, waiting till death do come, have put into writing truthfully what I have heard verified. And that the writing not perish with the scribe, I add parchment to continue it, if by chance anyone be left in the future, and any child of Adam may escape this pestilence and continue the work thus commenced.” The chronicle continued written in another hand, “Here it seems the author died.”5 In response to this statement in his later work #19, Farber had become aware of his own imminent death due to AIDS related complications, and wanted, like Clyn, to find the courage to continue adding information. “I’m doing the same as he did. Only it’s not parchment; it’s one of my panels.”6 3 Farber. Pg.20 4 Farber. Pg.34 5 Farber. Pg.34 6 Farber. Pg.34 3 In the 20th century the topic of pestilence was not explored until the AIDS crisis brought to the attention of the public once again the incurable infectious diseases.7 AIDS, considered the “plague of the Millennium,” forces us to readdress the same issues the Black Death brought about in 1350. There are several understandings that I will address when critiquing the works produced at the time. The analyses will focus around the key question of the relationship between man and mortal disease, and how art serves as mediation between the two. These observations will operate with the understanding that, 1. Disease is a language. 2. The body is a representation, 3. Medicine is a political practice.8 How do visual works express these concepts, and what can we learn from comparing these two particular episodes in history? It is crucial to look at the Great Death in order to create a discourse around AIDS related artwork today because of the standard in which contemporary artists must navigate. This standard, though predating the Plague, is one of death and its association with sin. True, this association does pre-date the Black Death, however in 1350, for the first time, Europe’s fear of the bubonic plague lead it to be the only disease which developed a specific iconography.9 This iconography carries with it a significant understanding of the foreignness of the Plague disease and the societal reaction to it. Contemporary artists have intentionally invoked these images in order to address the current AIDS agenda. Both sets of artists deal with the same underlying question, that of the “profound ambivalence about origins of illness.” Does one prefer an illness that is caused by who one is, therefore capable of being prevented through “self control,” or does one prefer an external cause that 7 Boeckl, Christine M. Images of Plague and Pestilence: Iconography and Iconology. Truman State University. Kirksville, M.S. 2000. Pg.150 8 Treichler, Paula A. How to Have Theory in an Epidemic: Cultural Chronicles of AIDS. Duke University Press. Durham, N.C. 1999. Pg. 35-36 9 Boeckl. Pg.18 4 can be addressed strictly as foreign? In short, does one prefer a medical problem to a life- style one?10 The choice of these two particular epidemics, being the most widespread and relevant issues of their respective times is important to observe in relation to the artwork stemming from them. Each new recurrence of an epidemic caused people to look back to earlier traditions. “Humans tend to cope with overwhelming experiences by reverting to testimonies of earlier generations.”11 While the diseases themselves have been widely assessed and associated, the art surrounding them has received less attention. The visual arts’ world serves as reflection and condemnation of the cumulative experiences of the dead, the dying, and the observer of the dying, and this paper will investigate the artists’ use of specific iconography in context of its exchange with culture. The visual artist needed to invent modes of representation pertaining to different concepts of the individual and the community in the two periods. These different perspectives lead to vastly different discourses of responsibility and death. European culture and artists defined the Black Plague as completely foreign. The perception of community was based in geography, which enabled the Plague to be considered an “invader” that attacked a physical region. One particular line of rhetoric surrounding plague was its origin elsewhere.12 As consequence of this construction, the art of the time was invested in images of mass death, like a battle scene. Bodies lay in piles, already dead or in the process of dying, as death, indiscriminate, was an equal opportunity murderer. Most importantly, public works of art served as mass media. Works commissioned to be viewed in public spaces served to expose the population to a particular construction of the sick “victim.” 10 Treickler. Pg.21 11 Boeckl. Pg.34 12 Sontag, Susan. AIDS and Its Metaphors. Farrar, Straus and Giroux. New York, N.Y. 1988. Pg. 47. 5 In contrast, AIDS artists today have a dissimilar power of authority. Rather than being/enforcing the mass communication image, the 1980’s were preoccupied with trying to counter it. AIDS artists had to deal with the same question of foreignness, but from a completely different role in society than artists in the Plague faced. Today, AIDS is both an entity from with-out (foreign) but also a constructed one from with-in (lifestyle attached) that artists’ work attempts to deconstruct. Placed into the confines of media generated images of “guilty victims,” homosexuals, drug users, etc, the new “plague” is still associated with Christian concepts of sin. However, a new construction, the “innocent” victim, the hemophiliac, the heterosexual, forced the disease to return to Plague style foreignness. The gay man, as a consequence, becomes a disease vector. The innocent victim is not altogether a new concept. Many innocent victims were depicted in Black Death artwork. In fact, almost all depictions of Plague victims, despite the Church’s position on Plague being punishment for sin, expressed the innocence and powerlessness of the victim. However, the media’s depiction of a guilty “vector” gay community was rarely glimpsed in actual medieval public works. The artist of the 80’s worked to deconstruct this concept of a guilty gay community. How he/she did this was to create the individual as metaphor. The work became personalized in an attempt to find different receptive audiences. However the repercussions of this movement is the ever present argument of how to depict the Person With AIDS (PWAs), and the even subtler topic of “Yes, but is it art?” Both questions are inevitably linked to the visual probing of the individual when faced with death, especially in context of mass media created stereotypes. Certainly there are few if any paintings in the Middle Ages that assign significant guilt to sailors (who brought the disease to Italian city ports), purely for being sailors. In 1347 a Genoese fleet departing from Caffa arrived in their Messina harbor in northeast Sicily containing sick and dying crewmembers. Too late, the Messinese harbor 6 authorities tried to quarantine the fleet, and within 6 months half the region’s population had either died of plague or fled.
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