Monday, October 31, 2011

Postcards from the Edge: Artist Wanted


CALL TO ARTISTS:
Visual AIDS invites artists to donate a 4" x 6" original work on paper for our Postcards From the Edge exhibition and benefit sale. Painting, drawing, photography, printmaking and mixed media are all welcome.  Artists must be 18 years or older to participate. One entry per artist.


DEADLINE: Postmark Friday, December 9, 2011

Postcards from the Edge
A Benefit for Visual AIDS
January 6-8, 2012
Hosted by Cheim & Read



Postcards From the Edge is a Visual AIDS benefit show and sale of original, postcard-sized artworks by established and emerging artists. All artwork is exhibited anonymously. While buyers receive a list of all participating artists, they don't know who created which piece until after purchased. With the playing field leveled, all participants can take home a piece by a famous artist, or someone who is just making their debut. Nonetheless, collectors walk away with a piece of art they love, knowing that the money raised will support HIV prevention and AIDS Awareness.

Questions?  Visit our FAQ page here or email info@visualAIDS.org

Sunday, October 30, 2011

BOOK SIGNING for Frank Jump's Fading Ads of New York City


Frank Jump
Fading Ads of New York City
Book Launch

Performance & Visual Artist John Kelly will be joining Frank Jump on World AIDS Day to discuss the role of visual art in AIDS awareness & prevention - New York City is eternally evolving. From its iconic skyline to its side alleys, the new is perpetually being built on the debris of the past. But a movement to preserve the city’s vanishing landscapes has emerged. For nearly twenty years, Frank Jump has been documenting the fading ads that are visible, but less often seen, all over New York. Disappearing from the sides of buildings or hidden by new construction, these signs are remnants of lost eras of New York’s life. They weave together the city’s unique history, culture, environment and society and tell the stories of the businesses, places and people whose lives transpired among them — the story of New York itself. This photo-documentary is also a study of time and space, of mortality and living, as Jump’s campaign to capture the ads mirrors his own struggle with HIV. Experience the ads — shot with vintage Kodachrome film — and the meaning they carry through acclaimed photographer and urban documentarian Frank Jump’s lens.

Thursday, December 1 · 7:00pm - 8:00 pm

Barnes & Noble Booksellers (hosted by Lou Pizzitola)
West 82nd & Broadway
New York, NY

RSVP on Facebook here 

Wednesday, October 19, 2011

thirtyEVERYTHING - Dixon Place


Sunday, October 23 · 5:00pm - 7:00pm
 
The Lounge at Dixon Place
161 Chrystie Street, NYC
 
"thirtyEVERYTHING" is the final program in Dan Fishback's month-long "thirtynothing" event series, exploring the effects of the AIDS crisis on queer arts & queer community. In this event, gay artists who died of AIDS will be remembered and celebrated by their loving contemporaries and admiring cultural descendants, including:

JACK WATERS

GLENN MARLA
MAX STEELE
SUR RODNEY (SUR)
ETHAN SHOSHAN
MAX STEIN
ERIC RHEIN
DAN FISHBACK

This event series accompanies a four-week run of Dan Fishback's... new multi-media solo performance, "thirtynothing." The show explores the lives and work of gay artists who have died of AIDS, in an attempt to gain a greater understanding of the queer past, and the place of younger generations in queer history.


Click here for more information about "thirtynothing"
or visit facebook.

Tuesday, October 18, 2011

A Park, a Memorial, a Debate



Michelle V. Agins/The New York Times
ADVOCACY A presentation by the Queer History Alliance to Community Board 2 on creating an AIDS memorial park in Greenwich Village. The village was especially hard hit by the AIDS epidemic.

AN October rain was pelting down on the overgrown and under-loved slice of the Village formally known as St. Vincent’s Triangle Park. At its apex, an ugly three-story brick building still shielded the gargantuan oxygen tanks that once pumped life into the bitterly missed St. Vincent’s Hospital, which succumbed to bankruptcy in 2010. From the squat structure’s double driveway and loading dock, patients who did not leave the hospital alive were removed to their final resting places.

St. Vincent’s, which recorded one of the earliest AIDS cases, in 1981, was the home of the first, and most famous, AIDS wing in the Northeast. Tens of thousands of its patients were among the 100,000 New Yorkers who died from 1981 to 1996, the peak of the AIDS epidemic; while sick, many of them could see the park from their hospital rooms. 

Now, with the hospital’s new owners, Rudin Management, planning seven residential towers and five town houses for the St. Vincent’s footprint, the park’s destiny may be up for grabs. The expectation had been that Rudin, in consultation with Community Board 2, would spend up to $10 million to turn the 15,000-square-foot triangle bordered by Seventh Avenue, Greenwich Avenue and West 12th Street into a privately owned public space, much like Zuccotti Park farther downtown. 

It was a rezoning “giveback” the community was never completely happy with, mainly because Rudin would own the space and retain the oxygen tanks for the use of the emergency care facility that is replacing the hospital. But the board felt it had no alternative.

Enter Chris Tepper, 29, and Paul Kelterborn, 33, friends and fledgling urban planners with a poignant idea: Refurbish the triangle as a gemlike neighborhood park and memorial to those who lost their lives to AIDS and to the New Yorkers who cared for them before they died. Pay for it by soliciting state and city money and private donations as well as requesting that Rudin contribute to the construction and endow a maintenance fund. 

Under the umbrella of the Queer History Alliance, established last spring, they have insisted that this dilapidated Greenwich Village corner is the obvious location for a memorial park with grand ambitions. After all, many of those stricken were Village residents, and early on, St. Vincent’s became the epicenter of the epidemic that raged through the city. 

Mr. Tepper, a deputy director of development at the Brooklyn Navy Yard, and Mr. Kelterborn, a project manager at the Municipal Art Society, are mobilizing a coalition of supporters — last weekend they hosted a fund-raising barbecue in Williamsburg called “Sausage. Beer. Advocacy” — to turn a mundane plot in an emotionally resonant location into what they say will be a transcendent and historic place. Yes, there is already an AIDS memorial in Hudson River Park, but the Queer History Alliance argues that the city can and should do better. 
“This is one of the sweetest corners in the Village, or at least it could be, and this is probably the last chance anybody will have to design a public piazza in New York City,” Mr. Tepper said. “This opportunity is not going to come back in 20 years; it’s do it now or it will never get done.” 

The plans of Mr. Tepper and Mr. Kelterborn are detailed in a 22-page PowerPoint presentation that had its debut at the Oct. 5 meeting of Community Board 2’s parks committee before a standing-room-only crowd in a classroom at the Little Red Schoolhouse.

It was mostly Mr. Tepper who lectured on the superiority of the Queer History Alliance’s memorial park to the proposed redesign of the park presented the same evening by Rudin Management, which bought the St. Vincent’s campus for roughly $260 million. 

Rudin’s conceptual plans for the park had varying amounts of greenery and brown circles to demarcate “features” like a fountain or a play area. The oxygen tanks continued to stand sentry at the park’s west corner. 

In Mr. Tepper and Mr. Kelterborn’s scheme, the tanks, loading dock and driveways were eliminated and the entire triangle was devoted to parkland. 

Where there now sits a dreary tangle of rat-infested ivy and half-dead trees, the Queer History Alliance envisions a sylvan masterpiece at street level, with the shape of the totemic AIDS ribbon integrated into the landscaping. In an existing underground space, an education facility/museum about the history of the epidemic, and the pivotal role played by St. Vincent’s and the community, would be installed. 

The ultimate design would be selected through a juried competition and ownership of the park would be given to the city. 

The alliance has grown from the grass-roots vision of Mr. Tepper and Mr. Kelterborn to an advocacy group with an e-mail list of 300 supporters and an advisory board that includes Robert Hammond, co-founder of the High Line; Philip E. Aarons, co-founder of the developer Millennium Partners; and Richard Burns, for 22 years the executive director of the Lesbian, Gay, Bisexual and Transgender Community Center, a block from St. Vincent’s. 

The Center is acting as the alliance’s fiscal sponsor as it pursues not-for-profit status. Mr. Hammond is the group’s de facto rabbi and role model. 

“I thought they had a good concept, but that’s the easiest part, and I bombarded them with all the problems they would have to overcome to get a project like this done,” Mr. Hammond said of the intricacies of navigating the city stakeholders involved in the approval process. “As someone who walks by that site often, I personally have thought, ‘What a waste.’ But this idea could be big enough to get through all the challenges that might bring it down.
“The other challenge is making something both a public space and a memorial. In the end, it has to be the kind of project where everyone wins.” 

High-profile neighborhood residents like the actor, writer and director John Cameron Mitchell, who after nearly 20 years there refers to himself as “the official Village crank,” are embracing the proposal.  

“It’s a no-brainer to put it here,” Mr. Mitchell said. “I walk out of my apartment and St. Vincent’s is standing there like a ghost ship. That was the ground zero of AIDS in New York, a conservative institution that quickly adapted to its unconventional patients and made heroic efforts to try and save them.” 

Not everyone in the neighborhood agrees with the alliance’s vision, at least not yet.
In an Oct. 4 letter to the board, the Greenwich Village Block Associations stipulated that while they were not opposed to the concept of some commemoration of the AIDS epidemic, “we oppose any design that would make the park, itself, an AIDS Memorial that would attract additional visitors to an already over-visited community.” 

AT a tour of the Triangle an hour before the Oct. 5 meeting, Lisa Whiting, a community resident toting her tiny white dog, Mia, said she “was not keen on the AIDS memorial because it might take away from the sense of a real park.” 

Another neighborhood resident, Frederica Sigel, was cautiously optimistic. “I think we only have one shot to get this right,” she said, “and yes, there are some inhibitors on the site as it now stands and we have to make sure Rudin does something right about that. But a well-designed park that attracts people will maintain itself, as opposed to a poorly designed one. And I think the idea of an AIDS memorial is a lovely idea that just has to be done right. It’s a more sensible idea than others I can think of.” 

Brad Hoylman, the chairman of Community Board 2, said of the park, “People who live in the neighborhood seem to have something very different in mind.” Among the requests he has heard are that it include a full playground, or a memorial for 9/11 responders who were treated at St. Vincent’s. 

And though some residents complained that the initial Rudin plan felt like a corporate plaza — no wrought-iron fence, no bubbling fountain, no character — Mr. Hoylman said others worried about the delay of a lengthy design competition. 

“It’s the age-old question: What does the community really want?” he said. “For some, an AIDS memorial is not a priority. It’s become kind of a hot potato: Do we want a memorial park or a park with a memorial in it?” 

That question has yet to be answered. 

As part of the seven-month Uniform Land Use Review Process of planning and approvals, the community board will hold hearings into November. The board and Scott M. Stringer, the Manhattan borough president, will pass advisory recommendations along to the City Planning Commission, which has 60 days to review the design proposals before sending its recommendation to the City Council for a vote. 

“You want to encourage people who have bold ideas and give them an opportunity to present them,” Mr. Stringer said in a telephone interview. “I see this memorial as part of our toolbox of things that can happen there.” 

Earlier last week, the Queer History Alliance and officials of Community Board 2 began to discuss a possible “co-branding” of the park plan, Mr. Tepper and Mr. Hoylman said.

John Gilbert, Rudin’s chief operating officer, said the developer would take no official stance on the memorial. “We don’t have the power to bless or not bless this project,” he said. “Our goal was obviously to create a world-class open space.” Eric Rudin, president and vice chairman of his family’s firm, said: “We don’t want to specifically endorse or oppose anything at this time. We would like to make the community happy. Everything is possible, I guess.” 

But that might not be the case. 

As part of its redevelopment of the St. Vincent’s site, Rudin Management has asked for zoning variances that require it to provide a certain amount of open space, which needs to be approved within the strict seven-month land-use review period. Moreover, city rules require that park space be provided at the same time a development is occupied. Rudin expects to finish construction by 2014, but it is unclear whether the alliance’s design competition would have produced a winner by then. Working out those issues to the satisfaction of the planning department, Rudin and the community could prove thorny.

In the meantime, encouraged by the response at the Oct. 5 meeting, Mr. Tepper and Mr. Kelterborn asked George Vellonakis, the parks department architect who supervised the renovation of Washington Square Park, to provide conceptual renderings of a memorial park/education center, pro bono, for the November meeting of the community board’s parks committee. 

“I feel like we’re being taken really seriously by the community board, and that the Rudins are taking us very seriously, too,” Mr. Kelterborn said. “They know we’re not just going to go away and that there may be a way if not to collaborate, then to at least make an interesting alliance.” 

Marjorie J. Hill, chief executive of the Gay Men’s Health Crisis, said the alliance’s proposal gave Community Board 2 an opportunity “to provide the neighborhood with the green space all neighborhoods want and deserve, and also to recognize the valiant contribution of this community and this hospital during the AIDS crisis.” 

“The site is very special,” Dr. Hill continued. “Some might even say it’s holy.”

Kermit Berg - Tokyo Night Office

 

Friday, October 14, 2011

New 'Keep it 100' campaign in Harlem is a hi-tech approach to curbing HIV/AIDS

via NY DAILY NEWS 
Posters from the campaign can be found throughout Harlem and the South Bronx.
Posters from the campaign can be found throughout Harlem and the South Bronx.
A new HIV/AIDS campaign sweeping through Harlem is more than just giant posters on bus shelters - it's an interactive initiative aimed at prevention of the potentially deadly disease.

Smartphone users checking out the new "LOVE YOUR LIFE - KEEP it 100 NYC" posters can scan a special barcode, known as a QR code, that will instantly direct them to a website providing resources to a community that's been hit hard by the HIV/AIDS epidemic.

The campaign, which features young black models, uses a popular phrase in the urban community to "keep it 100" - that essentially means to be honest or keep it real.

In central and East Harlem, the rate of HIV diagnoses and people living with HIV/AIDS is more than twice the rate in New York City, according to the Centers for Disease Control.

One out of every 38 residents in central and East Harlem is HIV positive, compared with just more than 1 out of 100 citywide, statistics show.

The innovative campaign is a project led by Iris House, a Harlem-based organization that serves women, families and at-risk communities infected with and affected by HIV/AIDS.

"For years, there has been a strong correlation between substance abuse and the transmission of HIV/AIDS among at-risk racial/ethnic minority young adults," said Ingrid Floyd, executive director of Iris House, on Adam Clayton Powell Jr. Blvd. near W. 137th St.

"Further contributing to this community-wide problem is the fact that nearly 90% of the women served by Iris House contracted HIV/AIDS through their male partners," she said, noting the campaign also aims to "help change social norms and attitudes of males regarding condom use."

Once a smartphone user scans the barcode on the posters, they will be sent to KEEPit100NYC.org, where there is information on free condom locations and HIV testing sites in the local area.

The posters and palm cards are spread throughout Harlem and the South Bronx on bus shelters, in barbershops, hair salons, schools, places of worship and other community businesses.

Funding for the campaign has been provided by Substance Abuse and Mental Health Services Administration (SAMHSA) via the Center for Substance Abuse Prevention (CSAP).

For more information, visit KEEPit100NYC.org.

Thursday, October 13, 2011

The Films of Mark Morrisroe at Dixon Place

Mark Morrisroe  

The Films of Mark Morrisroe, featuring The Laziest Girl in Town, Hello from Bertha and Nymph-o-maniac. To accompany his new solo show thirtynothing, performance artist Dan Fishback curates a month-long series of events about the legacy of AIDS on queer art and culture.

Sunday, October 16 at 5pm
Dixon Place, 161A Christie Street, NYC 
Tickets: $5 suggested donation 

The events will take place in The Lounge at Dixon Place, where Fishback will also create an art installation made of ephemera from the lives and careers of gay artists, writers, and performers who died of AIDS

Dan Fishback's new performance, thirtynothing, 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.

The Gayest Link - Game Show & Benefit

Come test your gay trivia knowledge.  Proceeds to benefit Visual AIDS, The Leather Archives & Museum, and the National Archive of LGBT History at The Center. 

Tuesday, October 11, 2011

Keith Haring at Pace Prints

 
 
Keith Haring
October 14 - December 3, 2011
 
521 West 26th Street
Opening Reception: October 13, 6-8pm

Pace Prints, in cooperation with the Keith Haring Foundation, is pleased to present its first exhibition of prints and small-scale multiples by Keith Haring. The exhibition focuses on editioned works created between 1983 and 1990.

Printmaking was an essential part of Haring’s work. He believed in the inherent democracy of creating limited editions that could extend the reach of his imagery in an attainable and affordable manner. Haring was as fascinated by the process of printmaking as he was with any medium he tackled, and he worked hands-on with numerous print publishers in the USA, Europe and Japan. In the course of his 10-year career, Haring created over 60 separate and distinct editions on paper using a variety of methods including lithograph, silk-screen, etching, embossing and aquatint. Ever prolific, Haring also created small-scale multiples in aluminum, wood, concrete and terracotta, several of which are also on view.
Highlights of the exhibition are works from The Blueprint Drawings, 1990, a series of 17 silk-screens based on Sumi ink drawings Keith completed in 1980-81. The imagery in these works presages the iconic language associated with Keith Haring ever after - images of a pyramid, flying saucer, dog and crawling baby are intermixed with wandering figures and human/animal/extraterrestrial activities. This intentional juxtaposition of his “icons” conjures up different meanings, relationships and narratives, taking some inspiration from the “cut up” methods of William Burroughs and Brion Gysin.

The exhibition will also include a special Pop Shop installation. The original Pop Shop, founded by Haring in 1986, operated in downtown Manhattan for nearly 20 years. Haring viewed the store as an extension of his work, a unique venue where his imagery could be accessible to everyone. In keeping with his vision, the Pop Shop installation at Pace Prints will feature a recreation of the Pop Shop mural environment. In addition to artwork, the Pop Shop installation will feature pieces from two of the Keith Haring Foundation’s recent collaborations: Keith Haring by Nicholas Kirkwood, haute couture footwear by the shooting-star British shoe designer; and Keith Haring by Patricia Field, apparel and accessories designed by the celebrated New York stylist and fashion designer.

Keith Haring was born on May 4, 1958 in Reading, PA. In 1978, Haring moved to New York City and enrolled in the School of Visual Arts. It was here that he found a thriving alternative art community that was developing outside of the gallery and museum system, with events and exhibitions taking place in the downtown streets, subways and nightclubs. In 1990, at the age of 31, Keith Haring died of AIDS-related illnesses in New York. 

Thursday, October 6, 2011

Sarah Schulman at Dixon Place



thirtynothing event series:  thirtynothing at Dixon Place 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 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. 
 
Dixon Place, 161A Christie Street, NYC  
 
Dan Fishback's new performance, thirtynothing, 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. 
 

 
 
 
 

The A.R.T. Show – Make Art/Stop Aids

via curate.a.space

 
Keiskamma Guernica by Keiskamma Art Project  3.5 x 1.5m embroidery


The A.R.T. Show, an exhibition, looks at the current HIV/AIDS situation where theoretically there is wide-spread availability of treatment. How is this ‘reality’ affecting the lives of individuals and the social structure of our society? This exhibition represents a variety of artworks examining both the triumphs and trials of this new phase in the AIDS epidemic.

The exhibition features a range of artists including:
William Kentridge (SA), Andrew Verster (SA), Sara Anjargolian (Armenia), Daniel Goldstein (USA) and Gideon Mendel (UK).  Several collectives have also been commissioned to make work for the show.  These include the Keiskamma Art Project, the Woza Moya collective and the Siyazama Project.  Xavier Clarisse, a Durban based designer, is constructing original display material.


The A.R.T. Show is co-curated by Professor David Gere, of Make Art/Stop Aids Foundation and professor at UCLA.

The shows opens at the Tatham Art Gallery in Pietermaritzburg on December 1st 2011.  In conjunction with this will be a smaller exhibition at the Alliance Francaise in Durban.  The Tatham show will continue until the end of January after which the exhibition will move to KZNSA Gallery in Durban (official launch 10th February) until March, and then will travel nationally and internationally.

Monday, October 3, 2011

Stereopsis curated by Andrew Blackley


Andrew Blackley curates the online exhibition, Stereopsis, featuring artwork by Visual AIDS Archive Members; Scott Burton, Bruce Cratsley, Brent Nicholson Earle, Mark Morrisroe, John Morrison, Eric Rhein, Kurt Reynolds, Daniel Roberts, Juan Sanchez, and Richard Sawdon Smith.

From the Curator's Statement:
These artworks date from 1989 to 2003 and have been selected to represent the following of a specific vein of self-viewership and self-spectatorship that is found in many of the thousands of artworks in the Visual AIDS archive.
 
The ten artists here have engaged the self – as depicted or depicting - using media technologies and methodologies during periods in social and art history where new contexts were presented for embodiment. Specifically, artists began to look at their bodies - individually, and the social body to which they belong and participate  - through various media and corresponding institutions of display and support.
 
Such methods and selections are lifted from the archive’s coverage period during which artists living with HIV/AIDS began, through the medicalization of their bodies and lives, constituted a new category of experience: one of both acute and subtle traumas, maintenance and alternation. This doubling, the after/death (in response the huge numbers of men who died with HIV/AIDS in the 80s and 90s) and living/dying, is mirrored in the subject/object relationships between artist and viewer.  (read more)

About the Curator:
Andrew Blackley is an artist and gallery director living in New York with a recent history in Chicago. Recent reviews and essays have been published by Black Visual Archive and Art in Print, and his artworks are held in collections internationally and distributed in France and the United States. In May 2011, he organized "John Neff Prints Robert Blanchon," an exhibition focused on the reprinting and remaking of a 1995 artwork by Robert Blanchon in disrepair.


View WEB GALLERY here
[web gallery may contain adult content]

Image: Eric Rhein, William and His Silhouette (Martha's Vineyard 1993), silver gelatin print, 10" x 8", [William Weichert 1968-1996]