Exhibition focuses on memory. loss and the loss of memory, while honoring the life of the artist's brother, who died of HIV/AIDS in 1996. www.kingstongallery.com
Friday, September 30, 2011
Ann Wessmann: Memory - Loss
Exhibition focuses on memory. loss and the loss of memory, while honoring the life of the artist's brother, who died of HIV/AIDS in 1996. www.kingstongallery.com
thirtynothing: the exhibit
thirtynothing: the exhibit
September 30 – October 23, 2011
Dixon Place Gallery, 161 Chrystie Street, New York, NY
Curator: Dan Fishback
Associate Curator: Buzz Slutzky
Featuring objects and images loaned by Bill Dobbs, Jennifer Miller, Eric Rhein, Jenny Romaine, Sur Rodney Sur, Martha Wilson and Stephen Winter
To accompany the world premiere production of his new performance, “thirtynothing,” Dan Fishback curates a visual exhibit of ephemera from the lives and work of gay artists who died of AIDS. The objects are loaned by artists and activists with roots in the queer arts scene of the 80s and 90s, and each provide a different perspective into the era.
The “thirtynothing” project, which also includes an event series, marks both the 30th anniversary of AIDS and Fishback’s 30th birthday. The “thirtynothing” multi-media performance juxtaposes stories from Fishback’s childhood with stories about gay artists who died during that childhood.
For more information on the performance and event series (including ticket information), please visit: http://www.dixonplace.org/html/DanFishback_Oct11.html
(image by Gordon Stokes Kurtti for the screenplay ‘The Blond Leading The Blond,’ courtesy of Jack Waters)
thirtynothing: Dan Fishback
thirtynothing
Written and Performed by DAN FISHBACK
SEPTEMBER 30 and OCTOBER 1 at 7:30pm
OCTOBER 8, 14, 15, 21, 22 at 9:30pm
SEPTEMBER 30 and OCTOBER 1 at 7:30pm
OCTOBER 8, 14, 15, 21, 22 at 9:30pm
In his new solo performance, thirtynothing, Dan Fishback juxtaposes tales from the terrifying dawn of the AIDS epidemic with stories from his own more innocent childhood in those same years. As he unearths forgotten work by gay artists who died in the 80s and 90s, Fishback weaves stories from his own life through stories from theirs. Searching for role models and father figures amongst artists like Mark Morrisroe, David Wojnarowicz, David B. Feinberg, Essex Hemphill and many more, Fishback interacts with their work, dramatizing the generation gap between older and younger gay men. With insight, wit, and his characteristic dark, neurotic humor, Fishback tears open issues of sexual intimacy, mass death and cultural memory, creating an abstract theatrical landscape where the living and the dead can co-mingle and collaborate.
EVENT SERIES: The production will also feature a series of Sunday events about the cultural legacy of AIDS, focusing on the impact of the epidemic on the downtown queer arts community -- the heroes it lost and the generations that have emerged in their absence. All events will be at 5pm in the Lounge, with a $5 suggested donation.
October 2nd: THE QUEER GENERATION GAP - A panel discussion about age segregation in the queer community, how it functions, and how it can be resisted, featuring Ira Sachs (filmmaker, Last Address), Jack "Mother Flawless Sabrina" Doroshow (legendary drag performer), Carlos Motta (artist, We Who Feel Differently), and more.
October 9th: THE GENTRIFICATION AGE - Writer/activist Sarah Schulman reads from her forthcoming book, Gentrification of the Mind, and discusses the effects of AIDS and gentrification on the NYC cultural landscape.
October 16th: THE FILMS OF MARK MORRISROE - A screening of three rarely-seen Super-8 films by the late artist Mark Morrisroe, including Hello From Bertha (1983), The Laziest Girl in Town (1981) and Nymph-O-Maniac (1984).
October 23rd: THIRTYEVERYTHING - In the final event of the thirtynothing series, gay artists who have died of AIDS will be remembered with stories and performances by their surviving friends and admiring descendants.
thirtynothing Art Exhibit: September 30 – October 23, 2011
For this world premiere production of thirtynothing, Fishback will also create a visual installation in the Dixon Place Lounge, with mementos and artifacts from gay artists who died of AIDS in the 80s and 90s, specifically focusing on downtown performers whose work was often undocumented and whose names are now unknown. With these materials on the wall, Dixon Place in October will be transformed into a place where people can come to reflect on the past thirty years of AIDS, and the impact of those years on their own lives.
For this world premiere production of thirtynothing, Fishback will also create a visual installation in the Dixon Place Lounge, with mementos and artifacts from gay artists who died of AIDS in the 80s and 90s, specifically focusing on downtown performers whose work was often undocumented and whose names are now unknown. With these materials on the wall, Dixon Place in October will be transformed into a place where people can come to reflect on the past thirty years of AIDS, and the impact of those years on their own lives.
Pictures from Play Smart: RALLY THE TEAM
A great turn out and discussion at the Visual AIDS event for Play Smart: Rally The Team at Leslie/Lohman Museum on September 29, 2011. Provocative and engaging presentations by Demetre Daskalakis, Ted Kerr, Ivan Monforte. Plus artwork by the Play Smart photographers, and trading card signing by Michal Alago, Mike Harwood, and models, Tony, Tim and Gonzalo. Check out the fun on Facebook captured by Miguel Dominguez and Jon from Social + Diarist.
Wednesday, September 28, 2011
PLAY SMART: RALLY THE TEAM @ Leslie/Lohman Museum
Visual AIDS presents:
RALLY THE TEAM
Thursday, September 29
Panel Discussion: 6:00-7:00 PM
Reception & Signing: 7:00-8:00 PM
PLAY SMART Exhibition: one-night only
Leslie/Lohman Museum of Gay and Lesbian Art
26 Wooster Street, NYC
Join us for a spirited discussion with artists and community activists about the current score of HIV Prevention and Safer Sex campaigns. Panelist include:
• Demetre Daskalakis is an assistant professor at NYU School of Medicine.
• Ted Kerr is an artist and writer whose work focuses on queerness and HIV.
• Ivan Monforte is a artist and Community Specialist at GMHC.
Moderated by Nelson Santos, Associate Director, Visual AIDS.
After the panel, stay for a reception and card signing with the PLAY SMART photographers and models.
PLAY SMART Exhibition - for a one night only - get a peek at some of the racy outtakes and sporty photos by:
Michael Alago
Mike Harwood
Luna Luis Ortiz
Paul Mpagi Sepuya
PLAY SMART safer sex trading cards, produced by Visual AIDS, is an honest and straight-forward approach to promote harm reduction, HIV testing and post-exposure prophylaxis. PLAY SMART is distributed for free and packaged with trading cards, stickers, condoms and lube. The back of each trading card features information to help you learn more and play smart. Click here for more info.
Free and open to the public
Tuesday, September 27, 2011
September 27th is National Gay Men's HIV/AIDS Awareness Day
via CDC
National Gay Men's HIV/AIDS Awareness Day is a national effort founded by the National Association for People with AIDS to raise awareness of the HIV/AIDS epidemic among gay men.
Gay Men and HIV/AIDS
Men who have sex with men (MSM) remain among the most affected by HIV. While MSM represent approximately 2% of the U.S. population, they accounted for 64% of all new HIV infections in 2009.
Over the past 30 years, since the first cases of AIDS were reported in five gay men, many advances related to HIV research, prevention, treatment, and health equity have been made. Prevention efforts have helped reduce new infections, and treatment advances have allowed people with HIV to live longer, healthier lives. Gay and bisexual men have often been at the forefront of these efforts. Many have been instrumental in raising awareness about the public health impact of HIV/AIDS, shaping the HIV/AIDS research agenda, and ensuring that research is well funded.
More Frequent Testing
Knowledge of one's status and linkage to care and treatment are of upmost importance. Although HIV testing has been recommended at least annually for people with ongoing risks for HIV, recent data suggest that high-risk MSM should be tested more frequently. CDC guidance currently recommends more frequent testing for MSM who have multiple or anonymous partners, who have sex in conjunction with illicit drug use, or whose partners participate in these activities.
The data confirm the need for more frequent testing. In National HIV Behavioral Surveillance System (NHBS), 45% of those with undiagnosed HIV infection had been tested within the previous 12 months, and 29% within the previous six months. Based on these findings, sexually-active MSM might benefit from more frequent HIV testing (e.g., every three to six months). CDC is using NGMHAAD as an opportunity to highlight this information for gay men and their health care providers.
High Impact Prevention
Reducing the impact of HIV among gay and bisexual men remains a top CDC priority and demands that we target our efforts and expand our reach. To maximize every dollar and prevent the greatest number of new infections, CDC is pursuing High Impact Prevention activities to reach the aggressive goals of the National HIV/AIDS Strategy (NHAS).
Specifically, the goal to increase the proportion of HIV diagnosed gay and bisexual men with undetectable viral load by 20% by 2015. To meet this goal, CDC is working with prevention partners to implement programs for gay and bisexual men, ranging from behavioral interventions, treatment and education efforts for Prevention with Positives (PWPs), testing initiatives, and social marketing campaigns.
Specifically, the goal to increase the proportion of HIV diagnosed gay and bisexual men with undetectable viral load by 20% by 2015. To meet this goal, CDC is working with prevention partners to implement programs for gay and bisexual men, ranging from behavioral interventions, treatment and education efforts for Prevention with Positives (PWPs), testing initiatives, and social marketing campaigns.
For example, CDC is launching a new campaign, "Testing Makes Us Stronger," for black MSM at highest risk for HIV. Previewed at the 2011 National HIV Prevention Conference, this campaign is the latest phase of CDC's five-year, multi-faceted communication campaign, Act Against AIDS.
What Can You Do?
- Get tested for HIV. To find a testing site near you, visit hivtest.org, text your zip code to Know IT (566948), or call 1-800-CDC-INFO
- If you are living with HIV, make sure you get life-extending care and treatment and learn how to prevent transmission to others
- Find out about HIV/AIDS and other health issues that affect gay men
- Speak out against stigma, homophobia, racism, and other forms of discrimination associated with HIV/AIDS
- Donate time and/or money to HIV/AIDS organizations
Monday, September 26, 2011
Friday, September 23, 2011
NYTimes: New H.I.V. Cases Steady Despite Better Treatment
published August 3, 2011
Despite years of great progress in treating AIDS, the number of new infections with the virus that causes it has remained stubbornly around 50,000 a year in the United States for a decade, according to new figures released on Wednesday by federal officials.
The American epidemic is still concentrated primarily in gay men, and is growing rapidly worse among young black gay men.
That realization is causing a rift in the AIDS community. Activists say the persistent H.I.V. infection rate proves that the government prevention policy is a flop. Federal officials are on the defensive even as they concede that the epidemic will grow if prevention does not get better, which they know is unlikely while their budgets are being cut.
And some researchers believe it is impossible to wipe out a fatal, incurable disease when it is transmitted through sex and carries so much stigma that people deny having it and avoid being tested for it.
Looking back, epidemiologists at the Centers for Disease Control and Prevention believe that new cases peaked at 130,000 a year in the 1980s, sank slowly during the ’90s and reached a plateau at 50,000 around the year 2000.
Larry Kramer, a longtime AIDS activist and the author of “The Normal Heart,” a play about the epidemic’s early days, said: “It means I don’t see an AIDS policy, and I don’t see anyone in charge. It’s so dispiriting that it’s hard to find something to say about it. How many times can you yell ‘Help!’ without ever getting anywhere?”
Both Dr. Kevin Fenton, chief of AIDS prevention for the C.D.C., and Dr. Anthony S. Fauci, chief of AIDS research at the National Institutes of Health, took issue with Mr. Kramer’s interpretation. While both agreed that 50,000 new annual infections was, in Dr. Fauci’s words, “a great concern,” both pointed to some areas where substantial progress had been made. They said that new studies were seeking ways to get more people tested and treated early in the course of the illness, which would make them less infectious and drive transmission rates down.
“The C.D.C. is absolutely not resting,” Dr. Fenton said. “It was a major accomplishment to drop infections from 130,000 to 50,000, and we’re dealing with an epidemic that is dynamic.”
But, he conceded, 50,000 is an “unacceptably high level,” and without better prevention efforts “we’re likely to face an era of rising infection rates.”
Philip Alcabes, a public health epidemiologist at Hunter College in Manhattan, noted that 50,000 is close to the number of Americans who die in road accidents each year — almost 40,000 — “and in some ways, we consider dying on the road an ordinary thing.”
By contrast, he said, nearly one million Americans a year die of heart disease and strokes.
“So it’s not clear that prevention is a failure,” he said. “The average adult’s chances of encountering H.I.V. infection — 0.02 percent a year — are rather low. It’s not reasonable to expect that a sexually transmitted virus will disappear in America, or anywhere else. But I agree with Larry Kramer that there has been a dearth of new policy ideas.”
For most risk groups, infection rates are stable, with 61 percent of cases contracted through gay or bisexual sex, 27 percent through heterosexual sex and 9 percent through drug injections.
But they are increasing rapidly in one subgroup: young gay black men. Black teenage boys who realize they are attracted to men are often too poor to move to gay-friendly cities like San Francisco or New York, researchers said, and often must keep their homosexuality hidden from relatives and friends, making it more likely they will have furtive, risky sex.
They often lack health insurance, meaning they do not get checkups where a doctor might suggest testing. And while new surveys find that they use condoms at about the same rates as young gay white and Hispanic men, sex tends to stay within racial groups and more older black gay and bisexual men are infected. Also, untreated syphilis, whose sores open a path for H.I.V., is more common among blacks.
The National Institutes of Health is supporting studies in the Bronx, Washington and other heavily black urban areas seeking new ways to reach these men, Dr. Fauci said. Results will be ready in two or three years.
Prevention has worked for two groups, Dr. Fenton said. The number of women infecting their children at birth or through breast-feeding has dropped to only 100 a year from about 1,300 two decades ago. In that respect, the United States is like Africa: scarce public clinics focus on women and children, and many poor women see a doctor only when pregnant.
Also, the number of infections through drug use has dropped 80 percent, although that may be a result of changing fashions among addicts: Fewer inject heroin and more smoke or inhale heroin, crack, crystal meth and cocaine or swallow prescription opiates like OxyContin. Only needle-sharing passes virus-tainted blood.
Chris Collins, director of public policy for amfAR, the Foundation for AIDS Research, said the decade-long persistence of 50,000 infections “shows that we’ve failed to target prevention services adequately and have not gotten treatment coverage in many communities that would bring down community viral loads.”
A recent study has shown that getting people on antiretroviral drugs early makes them 96 percent less likely to infect others, so there is a growing outcry for “test and treat” — shorthand for actively seeking out gay men and those injecting drugs and asking them to get tested, and then helping them find medical care if they have the disease.
Dr. Fauci and Dr. Fenton said there was no discussion now of making such tests mandatory — as, for example, syphilis tests once were for marriage licenses.
San Francisco and Vancouver, British Columbia, have lowered new infection rates, Mr. Collins noted. But how applicable those lessons are to the United States as a whole is debatable; both cities have very small black populations, and Vancouver’s success relies partly on a government-approved center where drug addicts can shoot up under the eyes of a nurse and without fear of arrest — an experiment unlikely to be repeated in the United States.
The new C.D.C. figures are based partly on a new blood test that can tell recent infections from old ones, said Joseph Prejean, who led the team that made the new estimates. The test, invented in 2005 and nicknamed the “BED test,” for the B, D and E viral subtypes it uses, measures H.I.V. antibodies in the blood relative to total antibodies. That ratio rises rapidly from infection to about six months, then levels off, he said.
Dr. Alcabes, who was once a harsh critic of C.D.C. estimates, said he believed the new numbers were as accurate as they could get. “They’ve done an enormous amount of number-crunching with stupefying amounts of detail,” he said.
Wednesday, September 21, 2011
Monday, September 19, 2011
RALLY THE TEAM: Play Smart Talk & Signing
Visual AIDS presents RALLY THE TEAM on Thursday, September 29 from 6-8 PM for a spirited discussion with artists and community activists about the current score of HIV Prevention and Safer Sex campaigns, including Play Smart. Panelist include:
Demetre Daskalakis is an assistant professor at NYU School of Medicine. He is the founding director of the NYU/Bellevue Men’s Sexual Health Project (M*SHP) and Project 36:00, programs that provide HIV and STI preventive services. Working off a biomedical model, Dr. Daskalakis has integrated community based action with research and clinical care.
Ted Kerr is a Brooklyn based artist and writer whose work focuses on queerness and HIV. In 2011 he was the artist in residence at the Institute for Art, Religion & Social Justice at Union Theological Seminary under the tutelage of AA Bronson. In Canada, Kerr was a founding member of Exposure: Edmonton's Queer Arts and Culture Festival and was the first Artist in Red, a creative residency program at HIV Edmonton. He also served on the National Advisory board of the What It Takes - Gay Men's Health Campaign in 2009.
Ivan Monforte is a New York-based artist and Community Health Specialist with the Institute for Gay Men's Health at GMHC. He has worked on several HIV Prevention campaigns. Monforte has exhibited widely and is the recipient of a UCLA Art Council Award, a Lambent Fellowship in the Arts from the Tides Foundation, and an Art Matters grant for research in Samoa.
Moderated by Nelson Santos, Associate Director, Visual AIDS.
Followed by a Play Smart reception and trading card signing with photographers:
Michael Alago
Mike Harwood
Luna Luis Ortiz
Paul Mpagi Sepuya
and the Play Smart models
Play Smart safer sex trading cards, produced by Visual AIDS, is an honest and straight-forward approach to promote harm reduction, HIV testing and post-exposure prophylaxis. Play Smart is distributed for free and packaged with trading cards, stickers, condoms and lube. The back of each trading card features information to help you learn more and play smart. Click here for more info.
RALLY THE TEAM: Play Smart
Thursday, September 29 from 6-8 PM
Keith Haring: 1978-1982 at The Brooklyn Museum, April 2012
via ArtDaily.org
Keith Haring: 1978–1982, the first large-scale exhibition to explore the early career of one of the best-known of American twentieth-century artists, will be presented at the Brooklyn Museum from April 13 through August 5, 2012. Tracing the development of the artist’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.
“We are delighted to have this exceptional opportunity to present this groundbreaking exhibition of these dynamic works created by one of the most iconic and innovative artists of the late twentieth century as his formidable talents emerged,” comments Brooklyn Museum Director Arnold L. Lehman. “The works of art and the accompanying documentary material place in new perspective the development of this unique talent.”
Organized by the Contemporary Arts Center, Cincinnati, Ohio, by Raphaela Platow, Director and Chief Curator, and the Kunsthalle Wien, Austria, the Brooklyn presentation will be coordinated by Associate Curator of Photography Patrick Amsellem.
The exhibition chronicles the period in Keith Haring’s career from the time he left his home in Pennsylvania and his arrival in New York City to attend the School of Visual Arts, through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative musicians, poets, performance artists, and writers of the period. Also explored in the exhibition is how these relationships played a critical role in Haring’s development as a facilitator of group exhibitions and performances and, as a creator of strategies for positioning his work directly in the public eye.
Included in Keith Haring: 1978-1982 are a number of very early works that had previously never before been seen in public, twenty-five red gouache works on paper of geometric forms assembled in various combinations to create patterns; seven video pieces, including his very first, Haring Paints Himself into a Corner, in which he paints to the music of the band Devo, and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers that closely relate to collage flyers he created with a Xerox machine.
In 1978, when he enrolled in the School of Visual Arts, Keith Haring began to develop a personal visual aesthetic inspired by New York City architecture, pre-Columbian and African design, dance music, and the works of artists as diverse as Alechinsky, Dubuffet, Picasso, Willem deKooning, and Jackson Pollock. Much influenced by the gestural brushwork and symbolic forms of the abstract expressionists, his earliest work investigated patterns made of geometric forms, which evolved as he made new discoveries through experimentation with shape and line as well as the media. He meticulously documented his aesthetic discoveries in his journals through precise notes and illustrations. In 1980 he introduced the figurative drawings that included much of the iconography he was to use for the rest of his life, such as the standing figure, crawling baby, pyramid, dog, flying saucer, radio, nuclear reactor, bird, and dolphin, enhanced with radiating lines suggestive of movement or flows of energy.
The exhibition also explores Haring’s role as a curator in facilitating performances and exhibitions of work by other artists pursuing unconventional locations for shows that often lasted only one night. The flyers he created to advertise these events remain as documentation of his curatorial practice. Also examined is Haring’s activity in public spaces, including the anonymous works that first drew him to the attention of the public, figures drawn in chalk on pieces of black paper used to cover old advertisements on the walls of New York City subway stations.
Keith Haring died in 1990 from AIDS-related complications. His goal of creating art for everyone has inspired the contemporary practice of street art and his influence may be seen in the work of artists such as Banksy, Barry McGee, Shepard Fairey, and SWOON, as well as in fashion, product design, and in the numerous remaining public murals that he created around the world.
“We are delighted to have this exceptional opportunity to present this groundbreaking exhibition of these dynamic works created by one of the most iconic and innovative artists of the late twentieth century as his formidable talents emerged,” comments Brooklyn Museum Director Arnold L. Lehman. “The works of art and the accompanying documentary material place in new perspective the development of this unique talent.”
Organized by the Contemporary Arts Center, Cincinnati, Ohio, by Raphaela Platow, Director and Chief Curator, and the Kunsthalle Wien, Austria, the Brooklyn presentation will be coordinated by Associate Curator of Photography Patrick Amsellem.
The exhibition chronicles the period in Keith Haring’s career from the time he left his home in Pennsylvania and his arrival in New York City to attend the School of Visual Arts, through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative musicians, poets, performance artists, and writers of the period. Also explored in the exhibition is how these relationships played a critical role in Haring’s development as a facilitator of group exhibitions and performances and, as a creator of strategies for positioning his work directly in the public eye.
Included in Keith Haring: 1978-1982 are a number of very early works that had previously never before been seen in public, twenty-five red gouache works on paper of geometric forms assembled in various combinations to create patterns; seven video pieces, including his very first, Haring Paints Himself into a Corner, in which he paints to the music of the band Devo, and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers that closely relate to collage flyers he created with a Xerox machine.
In 1978, when he enrolled in the School of Visual Arts, Keith Haring began to develop a personal visual aesthetic inspired by New York City architecture, pre-Columbian and African design, dance music, and the works of artists as diverse as Alechinsky, Dubuffet, Picasso, Willem deKooning, and Jackson Pollock. Much influenced by the gestural brushwork and symbolic forms of the abstract expressionists, his earliest work investigated patterns made of geometric forms, which evolved as he made new discoveries through experimentation with shape and line as well as the media. He meticulously documented his aesthetic discoveries in his journals through precise notes and illustrations. In 1980 he introduced the figurative drawings that included much of the iconography he was to use for the rest of his life, such as the standing figure, crawling baby, pyramid, dog, flying saucer, radio, nuclear reactor, bird, and dolphin, enhanced with radiating lines suggestive of movement or flows of energy.
The exhibition also explores Haring’s role as a curator in facilitating performances and exhibitions of work by other artists pursuing unconventional locations for shows that often lasted only one night. The flyers he created to advertise these events remain as documentation of his curatorial practice. Also examined is Haring’s activity in public spaces, including the anonymous works that first drew him to the attention of the public, figures drawn in chalk on pieces of black paper used to cover old advertisements on the walls of New York City subway stations.
Keith Haring died in 1990 from AIDS-related complications. His goal of creating art for everyone has inspired the contemporary practice of street art and his influence may be seen in the work of artists such as Banksy, Barry McGee, Shepard Fairey, and SWOON, as well as in fashion, product design, and in the numerous remaining public murals that he created around the world.
image: Artist Keith Haring sits in his Broome Street apartment in New York, in 1983. AP Photo.
Friday, September 16, 2011
Ruble Above the Clouds
"Rumble Above the Clouds" Exhibit at the Church of St. Paul the Apostle
Do you hear that sound? It's a Rumble Above the Clouds, Openings 5th group exhibition at the historic Church of St. Paul the Apostle. Openings, an artists' collective on Manhattan's West Side, which seeks to spark discussion and interaction in the creative community, presents their largest group exhibition to date.
Participating artists include:
Emily Adams, Robert Aitchison, Kinda Barazi, Maria Barbo, Christina Batch-Lee, Michael Berube, Araceli Cruz, Yoon Cho, Sal Dungca, Lauren Gohara, Baris Gokturk, Meg Graham, Danielle Goldsmith, Keena Gonzalez, Graeme Gerard Halliday, Iliyan Ivanov, Joey Kilrain, Ben Knight, Caitlin McKee, Lori Merhige, Anthony Santella, Nikki Schiro, Porn Siphanoum, Carrie Elston- Tunick, and Tim Webster
Sept. 16th - Oct. 27th, 2011
Opening Reception: Thursday, Sept. 29, from 7-9pm
Church of St. Paul the Apostle
Corner of West 60th & Columbus Ave.
New York, NY 10019
Corner of West 60th & Columbus Ave.
New York, NY 10019
Alter
Michale Berube
2010
9.5 feet by 18.8 feet
Acrylic, fabric, glitter, gold/bronze pigment on canvas.
(photo of work installed over north entrance to church)
Michale Berube
2010
9.5 feet by 18.8 feet
Acrylic, fabric, glitter, gold/bronze pigment on canvas.
(photo of work installed over north entrance to church)
I am interested in the power of seduction. I am interested in a beauty that toys with excess and the abandon of Jouissance. I believe that seduction is a major element in my favorite work and in my own, I believe that beauty, an element of seduction, is something essential and not to be feared. My work has a direct relationship to the body, in its imagery and its scale. A core idea which is essential to my thinking and contributes heavily to my work is found in the word excess. Excess and the manner in which it has been interpreted and represented over the centuries is something that has always fascinated me conceptually. I have a profound connection to those excessive elements, as I interpret them, found in the art of the Baroque period, especially the religious art of Italy.
Drawing from elements of that period, such as scale, shape, shine, pattern, and the symbolic nature of the metallic colors of gold and bronze, my latest work is driven by the idea that the excesses of our contemporary time might be represented through the creation of a contemporary version of the Baroque, divorced from the religious content and exploring a purely secular imagery. It offers me a way in which to address my identity issues by exploiting the inherently camp sensibility of the aesthetics of taste and the decorative. This camp sensibility confronts my interest in the concept of beauty and complicates a purely aesthetic reading of the work.
Friday, September 9, 2011
Sunil Gupta: queer book launch at NYU
Prestel Publishing and Sepia Eye in collaboration with The Department of Photography and Imaging at New York University’s Tisch School of the Arts, will host a reception to honor photographer Sunil Gupta and the publication of Queer, the first monograph on his work.
Gupta explores narratives of contemporary gay life in India and other parts of the world, tackled issues of gender and sexuality, and documented his own experiences living with AIDS.
Reception: Tues., Sept. 20, 2011, from 6:00 to 7:30 p.m.
Tisch School of the Arts
721 Broadway at Waverly
Riese Lounge (Ground Floor)
Admission is free but an RSVP is required to info@autograph-abp.co.uk.
A photo ID is required when entering the building.
For further information, call 212.998.1930, or visit www.photo.tisch.nyu.edu
Gupta will speak briefly as well as be available to sign copies of the book.
Queer includes Gupta’s renowned series “The Pre-Raphaelites,” which offers images of children living in an HIV-positive care center, 1970s street scenes from New York City’s West Village, and groundbreaking portraits of gay and transgender individuals living in India and struggling against homophobic laws and culture. Gupta’s photographs have done much to raise awareness about—and overcome the taboos of—gay life throughout the modern world.
Queer includes Gupta’s renowned series “The Pre-Raphaelites,” which offers images of children living in an HIV-positive care center, 1970s street scenes from New York City’s West Village, and groundbreaking portraits of gay and transgender individuals living in India and struggling against homophobic laws and culture. Gupta’s photographs have done much to raise awareness about—and overcome the taboos of—gay life throughout the modern world.
Sunil Gupta was born in Delhi, India and has spent time living in Canada, London, and New York. His photographs have appeared in numerous solo and group exhibitions and are in the permanent collections of museums in the United States, England and Australia. He writes frequently about gay culture and history.
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