Visual AIDS and Day Without Art, 1988–1989
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Art, AIDS, SF Tales of the City
Art, AIDS, SF Tales of the City GLEN HELFAND In considering San Francisco of the AIDS years, I keep and the magnetic Rick Jacobsen, who started Kiki recalling an unnerving telephone conversation I had Gallery in 1993 (fig. 00) and organized the incendiary in the early 1990s with a Los Angeles–based editor Sick Joke exhibition to tackle the subject of AIDS humor of a lifestyle magazine. Before we began discussing and irony as a coping strategy (with a logo of the the article I would be writing for her, she asked me HIV-awareness red ribbon slyly restyled as a noose) sympathetically, “So, are there people dying in the (fig. 00). And there was the High Risk book series, with streets there?” Certainly she wasn’t being literal; she dashing, urgent covers designed by Rex Ray (fig. 00). was responding to news coverage of the health cri- Most of all, when I think about that time, I see a city sis, which conjured an image of a city overtaken by on fire with the urgency of grappling with mortal coils, catastrophe. and with the erotic power of seizing a moment as if it This was not the city as I knew it. While indeed were your last. catastrophic things were in effect—there was even The scale of these memories, and this is just a sliver the Loma Prieta earthquake of 1989 to rock the foun- of them, is as elastic as are aspects of the city itself. dations—San Francisco in those years was filled with San Francisco is geographically and demographically a vitality, creative passion, and sense of community compact, which tends to magnify the cultural condi- that I feel lucky to have experienced. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Psychosocial Aspects of HIV/AIDS: Children and Adolescents Kristin L
Chapter Title Psychosocial Aspects of HIV/AIDS: Children and Adolescents Kristin L. Close, LMSW Objectives Overview 1. Identify psychosocial factors that affect children and Children and adolescents are an ever-growing part of the adolescents infected with human immunodeficiency human immunodeficiency virus (HIV)/AIDS pandemic. virus (HIV)/AIDS and how these factors relate to In 2007, an estimated 2.1 million children younger than general chronic illness. 15 years were living with HIV, and 290,000 children 2. Identify sources of stigma and discrimination died from the disease in 2007 alone. HIV/AIDS takes against children and adolescents and explore how an enormous physical toll on those infected by the stigma affects disclosure of HIV status. virus as well as those who care for them. However, the 3. Examine issues of death and dying and the grief/ psychological toll of the pandemic is just as significant. bereavement process that follows for survivors. The psychological and social effects of HIV/AIDS are 4. Identify particularly vulnerable pediatric and magnified in today’s youth. adolescent populations and explore reasons why they are at increased risk of HIV/AIDS infection and Children involved in the pandemic face a set of psycho- progression. logical and social issues that must be addressed, not 5. Discuss special issues encountered by adolescents overlooked. This chapter will discuss how children and infected with and affected by HIV/AIDS. adolescents are affected by important aspects of the HIV/ AIDS pandemic, including stigma, disclosure, and death, Key Points as well as how health care professionals can support them while dealing with these challenges. -
Hiv/Aids and Its Impact Hiv/Aids
Section 1 HIV/AIDS and its impact Section 2 Legal and policy HIV/AIDS AND ITS IMPACT framework Section 3 Employers need a clear understanding of HIV/AIDS and the impact of the epidemic in order to plan a workplace programme. Developing workplace policies This Section helps you fi nd basic information about inf HIV and inf AIDS, and their implications for society as a whole as well as for Section 4 the world of work. Implementing workplace programmes To view the contents, click on the headings on the left or scroll through the pages. Section 5 Good practice and lessons learnt HIV/AIDS - the facts The Human Immunodefi ciency Virus (HIV) is a virus that weakens the body’s immune system, ultimately causing AIDS. The Acquired Immune Defi ciency Syndrome (AIDS) is a cluster of medical conditions linke to HIV infection. These conditions include diseases known as inf 2 opportunistic infections, as well as certain cancers. To date there is no cure, but the onset of AIDS can be slowed and symptoms relieved with the appropriate use of antiretroviral drugs (ARVs). A person with HIV is not necessarily sick, and can go on working for a number of years after infection. ARVs make it possible for people to continue living full and productive lives. You are in Section 1 The ILO Code of Practice on HIV/AIDS and the world of work (Appendix I) and the accompanying HIV/AIDS and its impact Education and Training Manual contain basic facts about the epidemic and its implications, conditions that contribute to inf HIV and AIDS – the facts vulnerability, and the gender dimension. -
Dec1 Untitled REF GUIDE FINAL[2]
UNTITLED RESOURCE GUIDE SUGGESTIONS FOR ENGAGEMENT ABOUT UNTITLED Beginning with a reflection on the early AIDS epidemic, Untitled eschews a linear narrative to introduce a fractious timeline, moving from the sublime to the tragic and back again. By juxtaposing mainstream network news, activist footage, artists' work, and popular entertainment from the last turbulent decades, Untitled references regimes of power that precipitated a generation of AIDS and queer activism and continues today with international struggle and expression. In 2010, artist Jim Hodges was invited to give a lecture on the billboard project of Félix González-Torres at San Antonioʼs Artpace. He teamed up with fellow filmmakers Carlos Marques da Cruz and Encke King to create Untitled. Neither a portrait or a documentary about González- Torres, the film was an attempt to place the viewer “in his room,” that is to say, the filmmakers worked to create, for the viewer, an understanding of the influences and contexts within which González- UNTITLED Torres was working. In Hodges's words, “In this way, the framing of the artist can become a way to project any number of people, endlessly.” A Film by Untitled can therefore be considered to be as much about González- Jim Hodges, Carlos Marques da Cruz, and Encke King Torres and the AIDS crisis as it can be seen as grappling with the continuum of global dehumanization. PURPOSE OF THIS RESOURCE GUIDE In an effort to honor the sense of endlessness that Untitled suggests, this guide is a resource for provoking both public and private conversation. We have provided you with: • WORDS for engagement regarding HIV/AIDS, art, and culture • THOUGHTS to provoke dialogue • HIV/AIDS TIMELINE • INFORMATION about prevention and wellness • LINKS to extend the conversation CREDITS • Like the film, this Resource Guide hopes to raise more questions than it answers. -
The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
Rosalyn Drexler at Mitchell Algus Ans Nicholas Davies
bringing hard-edged , often ro lent imagery from film noir alll tabloid culture into the Poi arena. Known also as a plat wright and novelist , Drexler r her youth enjoyed a brief stintas , a professional wrestler. Ths dual -ven ue selection of bol '60s work and recent painting! and collages more than proves the lasting appeal of her literale comic sensibility. Sex and violence are he intertwined themes. Se/f-Port,a, (1963) presents a skimpily cloo Sylvia Sleigh: Detail of Invitation to a Voyage, 1979-99, oil on canvas , 14 panels, 8 by 70 feet overall; at Deven Golden. prone woman against a rel background with her high heel. in the air and her face obscurocf Gardner is good with planes, import, over the years , of her Arsenal , a castlelike fortress by a pillow . The large-seal! O both when delineated as in self-portraits as Venus as well built on an island in the early image s in what is perhap. Untitled (Bhoadie, Nick, S, Matt as the idealized male nudes of 20th century by eccentr ic & Tim playing basketball, The Turkish Bath (1973), art crit Scottish-American millionaire Victoria) or when intimated as in ics all, including her husband, Frank Bannerman to house part Untitled (S pissing). The latter the late Lawrence Alloway. of his military-surplus business. was one of the best pieces in Perh aps the practice harks Sleigh first glimpsed the place the exhibition. The urine spot on back to Sleigh 's charmed from the window of an Amtrak the ground is delicately evoked, girlhood in Wales; perhaps train, and on a mild spring day as is the stream of urine, which it ha s something to do with a some time later she organized a has the prec ision of a Persian European tendency to allegory riverbank picnic to take advan miniature. -
Photography Exhibition ‘This Place’ Will Be Presented by Tang Teaching Museum in Collaboration with Museums at Colgate, Hamilton and Ualbany
The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College For Immediate Release Photography Exhibition ‘This Place’ will be presented by Tang Teaching Museum in collaboration with museums at Colgate, Hamilton and UAlbany The Tang to feature work by Wendy Ewald, Gilles Peress, Stephen Shore, Nick Waplington that explores Israel and the West Bank SARATOGA SPRINGS, N.Y. (December 12, 2017) — The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College is leading a four-campus exhibition of This Place, which features more than 600 images by twelve internationally acclaimed photographers who explore the personal and public spaces in Israel and the West Bank. Opening February 3 through April 22, 2018, the Tang’s presentation will feature work by four of the twelve photographers, who each took different approaches, highlighting how photography can illuminate multiple perspectives on a complex topic: Wendy Ewald, taught and photographed children and adults in fourteen communities in Israel and the West Bank in their homes and villages, collecting tens of thousands of digital images, a selection of which is on display at the Tang Museum; Gilles Peress photographed the Road of Patriarchs from Hebron to Jerusalem and the Palestinian village of Silwan in East Jerusalem, areas he considers to be fault lines in the Israeli-Palestinian conflict; Stephen Shore used a his 8 x 10 view camera and a digital camera to photograph landscapes and cityscapes, sacred places, street scenes, and community; and Nick Waplington created a photographic survey of Jewish settlements in the West Bank through both family portraits and images of the natural and built environment. -
MANGAARD C.V 2019 (6Pg)
ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany. -
Ross Bleckner
ROSS BLECKNER Ross Bleckner is an American painter. Bleckner was born May 12, 1949 in New York City and is an influential contemporary artist. Perhaps best known for his paintings dealing with loss and memory, Bleckner notably tackled the emotional toll brought by the AIDS crisis in the 1980s. “Life is short. Life goes fast,” he has said. “And what I really want to do in my life is to bring something new, something beautiful and something filled with light into the world.” His poetic works often employ recurring symbolic imagery, such as candelabras, doves, and flowers, rendered with a blurred, glowing sense of light. Bleckner began exhibiting with Mary Boone gallery in 1979, and was the subject of a retrospective at the Guggenheim Museum in New York in 1995. His work can be found in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Carnegie Museum of Art in Pittsburgh, and the Walker Art Center in Minneapolis, among others. Bleckner lives and works in New York, NY. Not only has Mr. Bleckner had a profound impact of shaping the New York art world, his philanthropic efforts have enabled many community organizations to perform their vital work. For ten years, Mr. Bleckner served as president of AIDS Community Research Initiative of America (ACRIA), a non-profit community-based AIDS research and treatment education center. More recently, he has been working with the United Nations Office on Drugs and Crime in Northern Uganda to help rehabilitate and raise money for ex-child soldiers. -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.