Politics, sex, religion, loss, and beauty all of the topics that you cant talk about over dinner but can at a museum are open for discussion in Art AIDS America, an exhibition that reveals for the first time how the AIDS crisis forever changed American art. It debuted at Tacoma Art Museum
on October 3.
Since the first reports of mysterious illnesses in the early 1980s, HIV and AIDS have touched nearly every American in some way, and operated as an undeniable (though often unacknowledged) force in shaping politics, medicine, and culture. Art AIDS America presents the full spectrum of artistic responses to AIDS, from the politically outspoken to the quietly mournful.
Art AIDS America is a story of resilience and beauty revealed through art, and the community that gathered to bring hope and change. While recognizing and honoring loss and grief, it refutes the narrative that AIDS is only a tragic tangent in American art, exploring how artists responses to the crisis and its legacy continue to inform contemporary American art. These artworks offer a vibrant representation of community, caring, creativity and activism. And, Art AIDS America serves as a vivid reminder that the crisis is not over; HIV infections are increasing. According to the Centers for Disease Control and Prevention (CDC), more than 1.2 million Americans are living with HIV.
A decade in the making, this exhibition is co-curated by TAMs Chief Curator, Rock Hushka, and Jonathan D. Katz, PhD, Director, Visual Studies Doctoral Program, University at Buffalo.
AIDS fundamentally changed American art, remaking its communicative strategies, its market, its emotional pitch and ‒ not least ‒ its political possibilities. But we've repressed the role of AIDS in the making of contemporary American culture, as we've repressed the role of AIDS in every other aspect of our lives. This exhibition underscores how powerfully a plague that is still with us has changed us, says Katz. Art AIDS America creates spaces for mourning and loss, yes, but also for anger and for joy, for political resistance and for humor, for horror, and for eroticism.
The exhibition assembles 125 significant works in a wide range of media. The artists are diverse, including the internationally acclaimed such as Robert Gober, Felix Gonzalez-Torres, Keith Haring, Jenny Holzer, Annie Leibovitz, Robert Mapplethorpe, and Martin Wong, and those not yet as widely celebrated such as Luis Cruz Azaceta, Chloe Dzubilo, Derek Jackson, Kia Labeija, and Joey Terrill. The works date from 1981 to today, and some, like Catherine Opies photographs of the 1986 AIDS/ARC vigil in San Francisco, are on public view for the first time.
Art reflects and reacts to social, cultural, and political climates, and in the past 30 years, HIV and AIDS has been a constant presence, says Hushka. So many of us recall friends, family, and partners we have lost and the terror of the early years of the crisis, while younger people are just learning this story. We seek to create a deeper understanding of the legacy of HIV/AIDS in contemporary American art, and encourage our visitors to see their experiences in these works.
Works in the exhibition generally fall into two categories: art with a clear tie to AIDS, and art that requires the viewer to look beyond the surface to understand its connection to HIV/AIDS. Some artists addressed the AIDS crisis through activist works, community projects, graphics, and direct political statements. For example, the collective ACT UP NY/Gran Furys installation Let the Record Show
sears the words of public officials whose actions inflamed the crisis, including the silence of President Ronald Reagan, who would not speak publicly about AIDS until 1987. Other artists use camouflage, coding, misdirection, symbols, or other covert strategies to address the social, political, and physical impacts of HIV. An example is Robert Sherers beautifully rendered Sweet Williams, a basket of cut flowers, painted in HIV-negative and HIV-positive blood, about the untimely deaths of so many young men. The exhibition has been organized roughly by works created pre- and postcocktail (in this case, cocktail refers to the combination of drugs and therapies used to manage HIV and prevent the development of AIDS).
Tacoma Art Museum is a safe space where people are able to address important and challenging issues. We are proud to present Art AIDS America. It is fitting that the exhibition debuts in Tacoma, the city that established the nations first government-sanctioned needle exchange program in a proactive approach toward controlling the spread of AIDS, said Stephanie Stebich, TAMs Executive Director. TAM also has the scholarship to support this exhibition through our chief curator Rock Hushka and the exhibitions co-curator Dr. Jonathan D. Katz, who also co-curated the award-winning Hide/Seek: Difference and Desire in American Portraiture, which we brought to TAM in 2012.