Wednesday, December 28, 2011

Silent Auction at Postcards from the Edge Preview Party



Silent Auction @ Postcards From the Edge Preview Party
January 6 from 6-8 PM

One night only silent auction of artworks by renowned artists will be held during the Postcard from the Edge Preview Party on Friday, January 6 from 6-8 PM.   VIP access packages granting "the front of the line" access to Saturday's for Postcards from the Edge Benefit Sale will also be auctioned*.  See details below. 

Admission to Preview Party is $85, payable at the door.  Bidding will begin at 6:00 PM and conclude at 7:30 PM.  To place an advance bid or to arrange a proxy bidder, contact Visual AIDS at 212-627-9855 or info@visualAIDS.org

Silent Auction


Mark Beard
Untitled Male Nude, 1998
Polaroid transfer on paper, 22” x 15” (AP 2 of 3) 
Courtesy of the artist and ClampArt
Starting bid:  $300 / Retail value:  $1,500

 
Barton Lidice Beneš
Pink, 2011
mixed media on paper, 30” x 22 ¾"
Courtesy of the artist and Pavel Zoubok Gallery
Starting bid: $2500 / Retail value: $6,000 (unframed)


Suzanne Caporael
Untitled, 2010
Monoprint, 19
¾" x 15 ¾", Edition MP A/Y#20100.MP
Courtesy of the artist and Ameringer | McEnery | Yohe 
Starting bid: $800 / Retail value: $4,000



Eva & Adele
Ocean View (Art Basel Miami Beach), 2011
Mixed media on cloth (cotton pads, paper, stickers, thread, ballpoint pen on cloth napkin), Unique, 12” x 12”
Courtesy of the artists
Starting Bid: $900 / Retail price: $5,000


Neil Farber
Sadness Festival, 2011
acrylic on birch, 18"x14"
Courtesy of the artist
Starting bid $800 / Retail value $4,000

Joy Garnett
Paris Riots (#10), 2005
oil on wood panel, 11" x 14"
Courtesy of the artist and Winkleman Gallery, NY
Starting bid: $400 / Retail value: $1,000


Barbara Hammer
I WAS / I AM (triptych), 1972
photography, 10" x 26"
Courtesy of the artist & Banff Cenrtre for the Arts
Starting bid $700 / Retail value $1,000


David Humphrey
Master of Donald, 2010
acrylic on canvas, 18" x 18"
Courtesy of the artist and Fredericks Freiser Gallery
Starting bid: $500 / Retail value: $3,000


James Jaxxa
PAID, 2006
Plexiglas, glitter, nail enamel and wire, 2 ½" x 6" x ¼”  
Courtesy of the artist  
Starting bid: $250 / Retail value: $1,500


Larry Krone
Love is in the Air (Kailua Beach), 2007
ink on printed paper, acid free tape, 10 5/8" x 7"
Courtesy of the artist
Starting bid: $200 / Retail value: $950 (framed)

Lucas Michael
The Invert (1927), 1948-1969, 2007
Graphite and ink on paper, 11" x 14"
Courtesy of the artist and Silverman Gallery
Starting bid: $450 / Retail value: $900 (framed)


Carrie Moyer
Elixir, 2009
Screenprint and glitter flocking, 30" x 21
¼”
Courtesy of the artist
Starting bid: $600 / Retail value: $1,000

Dawit L. Petros
Untitled (Blue Falls), 2011
Chromogenic print,
Edition: Unique, 20” x 24”
Courtesy of the artist
Starting bid: $500 / Retail value: $3,500


David Reed
Studio Study #57, 2011
alkyd on illustration board, 8" x 10" 
Courtesy of the artist and Peter Blum Gallery
Starting bid: $300 / Retail value: $750


Eric Rhein
Frank the Visionkeeper (for Frank Moore 1953-2002), 2002-2011
(from Leaves, an AIDS memorial, conceived in 1996)
wire on paper, 16” x 13” x 2”
Courtesy of the artist
Starting bid: $500 / Retail value: $1,500 (framed)



STAY WARM
SLEEP IN

and still be one of the first in line at
Postcards From the Edge!
 

* Bid on the opportunity to be one of TEN people to receive VIP ACCESS to Postcards From the Edge. The ten highest bidders will get in the front of the line on Saturday, January 7, 2012. VIP ACCESS allows you to go directly to the front of the line ... NO WAITING. You will be allowed in the gallery as soon as the doors open at 10:00 AM. You must arrive at the gallery by 9:45 am, or lose your place in line -- no refunds.  Once the doors open, those behind you in line will also be let into the gallery.

Tuesday, December 20, 2011

Creating is Giving...Cheers from Visual AIDS




Season's Greetings from Visual AIDS.  2011 has been a tremendous year for Visual AIDS. One in which we considered the role of creating as we observed the 30 years of HIV. As the only contemporary arts organization fully committed to HIV prevention and AIDS awareness through producing and presenting visual art projects, while assisting artists living with HIV/AIDS, here are some idea of what creating means to us.

Creating is Connecting: For our Day With(Out) Art, we collaborated with over 65 screening partners nationwide to present UNTITLED, a film by Jim Hodges, Encke King, and Carlos Marques da Cruz.

Creating is Inspiring: Our exhibition entitled, MIXED MESSAGES, curated by John Chaich at La Mama La Galleria, received engaging reviews from ArtForum.com and The New York Times.

Creating is Honoring: Marking the 20th anniversary of the Red Ribbon, an essay by Visual AIDS Executive Director, Amy Sadao was featured on CNN.com.

Creating is Giving: Help Visual AIDS keep the creating going. By making the largest gift you can this season, you are helping guarantee that more art is created, experienced, and discussed to help in the fight against AIDS.


Thank you for considering Visual AIDS in your year-end giving, your giving directly impacts the creating process.

New films about AIDS & it's politics take a look back (and forward)


David France, Director
David France, T. Woody Richman, and Tyler Walk, Screenwriters
U.S.A., 2012, 120 min, color, 

Faced with their own mortality, an improbable group of mostly HIV-positive young men and women broke the mold as radical warriors taking on Washington and the medical establishment. How to Survive a Plague is the story of two coalitions—ACT UP and TAG (Treatment Action Group)—whose activism and innovation turned AIDS from a death sentence into a manageable condition. Despite having no scientific training, these self-made activists infiltrated the pharmaceutical industry and helped identify promising new drugs, moving them from experimental trials to patients in record time. With unfettered access to a treasure trove of never-before-seen archival footage from the 1980s and '90s, filmmaker David France puts the viewer smack in the middle of the controversial actions, the heated meetings, the heartbreaking failures, and the exultant breakthroughs of heroes in the making.  Screening at SUNDANCE FILM FESTIVAL, JAN 19-29, 2012
Jim Hubbard, Director
Presented by Jim Hubbard and Sarah Schulman
U.S.A., 2012, color, 

United in Anger: A History of ACT UP is an inspiring documentary about the birth and life of the AIDS activist movement from the perspective of the people in the trenches fighting the epidemic. Utilizing oral histories of members of ACT UP, as well as rare archival footage, the film depicts the efforts of ACT UP as it battles corporate greed, social indifference, and government neglect.



David Weissman, Director and Producer
Bill Weber, Editor and Co-Director
U.S.A., 2011, 90 min, color

We Were Here documents the coming of what was called the “Gay Plague” in the early 1980s. It illuminates the profound personal and community issues raised by the AIDS epidemic as well as the broad political and social upheavals it unleashed.  It offers a cathartic validation for the generation that suffered through, and responded to, the onset of AIDS. It opens a window of understanding to those who have only the vaguest notions of what transpired in those years. It provides insight into what society could, and should, offer its citizens in the way of medical care, social services, and community support.


A film by Jim Hodges, Encke King, and Carlos Marques da Cruz.
Distributed by Visual AIDS
U.S.A., 2010, 60 minutes, Color, DVD
 
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.

Thursday, December 15, 2011

Celebraty judges join design jury for AIDS Memorial Park

via ABC News



Whoopi Goldberg joins design jury for AIDS park

NEW YORK -- Actress Whoopi Goldberg and shoe designer Kenneth Cole have joined the jury that will choose a design for an AIDS memorial park in New York City.

The memorial is planned for a triangle across the street from the former St. Vincent's Hospital in Greenwich Village. The property is now owned by Rudin Management.

The memorial park is intended to honor the more than 100,000 people who have died from AIDS in the city and to celebrate the efforts of AIDS caregivers and activists. Entries for the design competition are due Jan. 21.

The memorial organizers said Wednesday that actresses Susan Sarandon and Julianne Moore have joined as supporters of the effort. Sarandon says the park will be "an inspirational, educational and green public oasis."


 

AIDS Memorial Park Design Competition

via Architizer

AIDS Memorial Park Design Competition from Beechwood Film on Vimeo.

The New York City AIDS Memorial Park Campaign is a coalition of individuals and organizations dedicated to the recognition and preservation of the ongoing history of the AIDS crisis. In the 30th year of the epidemic, we seek to honor the more than 100,000 New York City men, women and children who have died from AIDS, and to commemorate and celebrate the efforts of the caregivers and activists who responded heroically to the crisis. We represent artists, health care providers, historians, family, friends and neighbors committed to remembering the history of the crisis.

New York City still has no significant public AIDS memorial. Simply stated, we believe that we can fill that void by engaging the community, architects, designers, and urban planners in the design process, in order to create a memorial park that provides a much-needed inspirational, educational and green public oasis for the city and surrounding community. 


For more info visit queerhistoryalliance.org or click here for design competition details.

Tuesday, December 13, 2011

Visual AIDS Holiday Party + Artists Talk



Join Visual AIDS for an Artists Talk and Holiday Party at The Painting Center this Thursday, December 15, 2011.

Holiday Party for Visual AIDS from 6:00 - 8:00 PM
Have a glass of cheer and come celebrate an exciting year for us, plus pick up some fun stocking stuffers, including PLAY SMART trading cards, NOT OVER buttons, and tote bags.

Artists & Curator Talk begins at 6:30 PM
Bradford Branch and Joseph Stabilito speak with curator and artist, Patrick Webb.  The Sword of Damocles contemplates the pandemic as seen through the transformation of twelve mid-career artists, who are also long-term survivors living with HIV.

The Painting Center
547 West 27th Street, Suite 500, NYC

Exhibition runs through December 23, 2011
Gallery hours: Tuesday - Saturday 11-6 PM


Ron Athey/Julie Tolentino Resonate/Obliterate


The Self-Obliteration cycle has been presented in Bristol, Lyon, Nancy, Portland, Victoria, Krems, Los Angeles, Ottawa, Montreal, Warsaw, Berlin, Riverside, London, Naples, Madrid, Glasgow, Ljubljana, and Bourges: this will be the final performance. Julie Tolentino's The Sky Remains the Same, her physical archiving of Self-Obliteration has been performed in Los Angeles, Riverside, and House of World Cultures, Berlin. This will be the final performance on the night that this work has been a meditation on presenting, a sexualized living corpse: December 16th is Athey's 50th birthday. In a post-AIDS reality, post doesn't mean after-, but some other kind of monster.

RSVP lia@participantinc.org TICKETS $20
pre-show reception 7p
performance at 8p
post-performance reception with DJ Scott Ewalt

POSTCARDS FROM THE EDGE - Sneak-Peek & Preview Party



GET A SNEAK-PEEK AT POSTCARDS FROM THE EDGE

PREVIEW PARTY
Friday, January 6, 2012 from 6:00 - 8:00 PM
Join us for a Sneak Peek! It's the only opportunity to see the entire exhibition! Look only - No sales.
$85 Admission (participating artists attend free) includes a raffle ticket for the chance to pick the FIRST postcard that evening. Preview party will also include a silent auction of small artworks and VIP Postcard packages. 

CAN'T WAIT?!?
Starting this week, get a peek at some of the artwork on Facebook.  More images will be added daily, until the Benefit Sale. While you are there, be sure to "like" Visual AIDS! (We like you too!)

BENEFIT SALE
Saturday, January 7, 2012 from 10:00 - 6:00 (Buy four and get a bonus fifth)
Sunday, January 8, 2012 from 12:00 - 4:00 (Buy two and get a bonus third)
Over 1500 anonymous displayed postcard-size masterpieces.  All works only $85 each!
Click here for more information.

Friday, December 9, 2011

ARTISTS & CURATOR TALK: The Sword of Damocles

 
Artists & Curator Talk: Thursday, December from 6-8 PM

Join Visual AIDS and The Painting Center for a talk with artists, Bradford Branch and Joseph Stabilito and the curator of The Sword of Damocles, Patrick Webb.

The Sword of Damocles: Selections from the Frank Moore Archive presents a range of work from twelve mid-career artists, who are also long-term survivors living with HIV. As we mark 30 years of AIDS, The Sword of Damocles contemplates the pandemic as seen through the transformation of these artists’ work over time.  Drawing exclusively from Visual AIDS’s Frank Moore Archive Project, curator Patrick Webb sought to find parallels in the evolution of long-term survivors’ paintings.  Featuring the work of Bradford Branch, Jerry Frost, Michael Golden, Frank Holliday, Martin Klug, Jonathan Leiter, Michael Lownie, Ricardo Morin, Joseph Stabilito, Pete Wyman, and Laurence Young.

“In 1992 I witnessed the death of my boyfriend of 14 years. I never imagined I would outlive him by almost 20 years. I am fortunate to be alive, though at times feel poised on the edge of an abyss. The experience has shaped my sense of self and the development of my work. I hope to bring that perspective as a painter to my selection of paintings." - Patrick Webb

"Every painting is a personal journey; an evolving dialogue about what I’ve learned in relation to color, texture, and line. For me, the process itself is the struggle…and the joy". - Joseph Stabilito


Watch the NY1 segment about The Sword of Damocles here.

Exhibition runs through December 23, 2011

The Painting Center
547 West 27th Street, Suite 500, NYC

Gallery hours: Tuesday - Saturday 11-6 PM



Images
Top (left to right): Bradford Branch, Oranges and Glass Vase, 1994; Joseph Stabilito, Prayer for My Father, 1992; Patrick Webb, By Punchinello's Bed, 1992.

Bottom (left to right): Bradford Branch, Still Life with Orchids, 1999; Joseph Stabilito, Blood Flowers, 2010; Patrick Webb, House of Cards, 2004-06.

Thursday, December 8, 2011

Untitled (discussion) - Dec 1, 2011


"Untitled" Screening and Discussion in Commemoration of World AIDS Day/Day With(out)Art from creativetime on Vimeo.

In commemoration of World AIDS Day/Day With(out) Art, Visual AIDS and Creative Time presented screenings of "Untitled," a film by Jim Hodges, Encke King, and Carlos Marques, followed by a discussion with respondents Malik Gaines, Che Gossett, and Shanti Avirgan. 
The discussion raised questions, such as:
How do we make sure that the "history of AIDS activism" is not written in a single voice?

How do we continue the line of activism and who's job is it to pass or grab the baton? 
How can we continue to occupy a politics of HIV prevention justice that treats AIDS as an intersectional and cross cutting issue that is crucial for our collective liberation?

Read My Lips: Reflections of an Accidental AIDS Activist

via The Atlantic

Douglas Crimp had been an art critic for over a decade. But in the summer of 1987, a lethal disease was on the rise and he got swept up in another vocation.

main aids004.jpg
Douglas Crimp's detour into the world of AIDS activism was prompted by a pink triangle. Back in New York from a trip to Germany in 1987, he couldn't ignore this graphic, which was on buttons, stickers, banners, t-shirts, and posters everywhere. An art critic since the early '70s, he admired its simple but striking design and the choice to render SILENCE = DEATH in bold, white Gill Sans font against a black background. As a gay man who was suddenly embroiled in a new epidemic, he was also moved by its message.

That summer, he joined a new AIDS activist group called ACT UP. "That was a lesson for me," says Crimp, who was in the middle of his 13-year stint as an editor of the cultural journal October. "A really, really, smart, really punchy graphic image could captivate and form a community around an issue."

In the gallery below, see other powerful protest paraphernalia that Crimp and his fellow demonstrators used to gain public support for AIDS, stop the New York Stock Exchange, and seize the FDA in the late '80s. Then, in the Q&A that follows, hear poignant reflections from this art and culture academic about the rise and demise of ACT UP, and the enduring problems with HIV/AIDS.
Read My Lips (boys)
1988, Gran Fury. Poster, offset lithography.

How did you get involved in AIDS activism?
I was implicated in it from the beginning because I'm gay and I had a lot of friends who became ill. Like everyone else at that moment who was directly affected, it kind of took over my life. Initially, I thought I'd do a couple of pieces about AIDS and art in this cultural journal. And then it mushroomed from there. When I started doing research, I met someone who told me to go to ACT UP meetings. This was in the summer of 1987, and ACT UP was formed that March. I began going to meetings, and I just got swept up into the movement. Suddenly, that's what I was doing. I was teaching, I was lecturing, I was writing, and I was demonstrating. I was just completely involved.

Maybe it seems kind of late in the game -- from '81 (when the virus was discovered) to '87-- but ACT UP was the beginning of real activism around the issue. It stood for AIDS Coalition To Unleash Power. It's a bad acronym. You know how acronyms work. They just wanted to have a catchy title.

The individual words sound very violent.
It wasn't violent. It was specifically non-violent. We were trained in civil disobedience. It's a little bit like Occupy Wall Street in that way. It's in the tradition of non-violent activism like the Civil Rights Movement. But, yes, we were unruly.

Our first demonstration was at the [New York] Stock Exchange, as a matter of fact. We were protesting the price gauging of AZT, the first drug for HIV. We shut down the exchange -- not at that demonstration but at a later one, where we got people on to the floor. We did some pretty unruly things. We occupied the Food and Drug Administration, for example, to try and get them to speed up the process of drug approvals. And we really changed things. I really do believe that working in concert with the NIH scientists can really be given a great deal of credit for the speed with which the anti-retroviral cocktail, which is saving so many people's lives right now all over the world, was developed as fast as it was. If you think about it, from 1981, the recognition that there was a new virus in the world, to 1995, when they actually developed anti-retroviral combinations that would stop that lethal virus, that's a short time for drug development. And there was a lot of pressure we brought to bear in order to make that happen. I think that's one of the great achievements of ACT UP.

Why was AIDS activism so necessary back then?
Ronald Reagan became president in 1980. The disease was recognized in 1981. By 1987, he had not spoken the word AIDS. He refused. The first thing you learn in dealing with AIDS is that the medical and social issues are completely intertwined. That's why AIDS became the crisis that it became. That's why Reagan couldn't speak the word. He didn't treat it as a medical issue. He treated it as a social, religious issue. He had a phobic response to it. Koch was also the mayor of New York City. He was considered by many to be a closeted homosexual, and he did very little to combat AIDS, at least from our perspective. It was a very grim time, politically.

It was a devastating time. The New York Times obituaries were filled every day with famous people who were dying of AIDS. There was incredible fear. If you look at the television coverage in the mid-1980s -- of course, now, television coverage has reached new heights of hysteria-mongering -- the irrationality and the kind of hysterical pitch of a lot of that coverage was astonishing.

How so?
The rhetoric had this sense of us vs. them, gay vs. straight. "There are those terrible people who have AIDS, and they might actually infect us, the people who don't get AIDS." There were various scapegoated groups of people in whom HIV was first recognized. It was a very odd mixture of people that included Haitians and people who had blood transfusions.

Young people were getting visibly sick and dying around you, and the sicknesses they were getting were terrible ones that people didn't get anymore, like Kaposi's sarcoma (a kind of cancer that manifests as skin lesions). People were wasting away. Buff gay guys suddenly, over a period of months, looked like dying old men. You would see those images, and they were shown not to solicit sympathy but to solicit fear. If you were susceptible or ill or had friends who were ill, you felt incredibly scapegoated and vilified. There was a kind of incredible hysteria about the so-called lifestyle of gay men, the excessive promiscuity. I could go on and on. It was just a huge range of negative stuff, and there was very little responsible coverage of it.

In fact, there was no coverage of it at first. That was the other problem. The New York Times was not covering AIDS. It never put AIDS on the cover for the longest time. It was like we were living in the midst of this crisis that wasn't being recognized as a crisis by the powers-that-be. All of that brought out the kind of activism that I was a part of.

What was working in ACT UP like?
We were a very sophisticated activist group. This was pre-Internet media, but we were very good at getting words out, making press kits, and being very professional. Producing very, very punchy graphics was part of that professionalism. When we had a demonstration, you'd just see this stuff all over the city. And we were very good at speaking to the news media because we had people who were delegated to do these things. AIDS was affecting everyone, and the reason we could get on the stock exchange and close it down was because we had stock brokers in our group who had credentials to come in. We had people who had access, even to the media. We had people who were trained as publicists, who knew how to put together a press kit.

Between 1987 and 1990, which was the major period of ACT UP, we had 500 people at least per week coming to meetings in New York. It was a very large group. We had really effective demonstrations because we could get thousands to go to Washington, to Atlanta at the CDC. And then it spawned chapters all over the country and all over the world.

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Was there a turning point or a time you felt you were succeeding?
So long as our friends were dying, there was no such thing as a turning point. People dying was a constant. Whatever victory or optimism we could take from that was countered by the fact that we were surrounded by people who were sick and dying.

But the one that I think probably gave us a sense that we had accomplished the most was a demonstration against the FDA. It was a big march. We went to Bethesda and surrounded the FDA. There were a lot of really amazing graphic works made, and we did the most professional press kits we had ever done for that. We had existed for a year and a half, and people came in from all over the country for this huge demonstration.

It really got a lot of stories in the news. I remember specifically coverage by NPR that was basically reading the materials from our press kits. They were just totally taking our point of view. It was all about the slowness, the secretiveness, and the interest in profits rather than health of the clinical trials that were taking place for AIDS drugs at that time.

Really, the FDA looked at life-saving drugs and clinical trials differently from that time on. That changed not only what happened with AIDS treatments, but what happened with cancer and all kinds of treatments. It changed their culture to some degree because I think the scientists were on our side. They were essentially with us. And because we had people within ACT UP who knew the science of HIV as well as any FDA scientist -- they were unbelievably self-educated people -- they could talk to the scientists and the scientists would listen.

What is the state of AIDS today?
I don't think the culture has yet understood what AIDS really is. I think there are still issues. I'm not directly involved with it, so I'm no longer the expert I once was. But I know, for example, the rates of HIV infection among gay men in this society has not changed much from that time. We're still getting as many people infected every year.

So AIDS education is not effective still. Obviously, it has to be differently oriented now because people are under the terrible illusion that, because there are treatments, it doesn't really matter. But I can tell you that a lifetime of having to take these kinds of drugs is not a picnic. Even in the United States alone, a rich country -- but of course we know who has the wealth in this country -- we still have an enormous rate of infection and death in poor communities, especially communities of color. 

We're a little more enlightened about gay sexuality, but that's partly because we have a new view of gay sexuality, which is that gay people just want to get married, settle down, have children, and be like everyone else. But there's still lots of gay men and other people out in the world who are having lots of sex with anonymous partners and transmitting HIV. That's still an issue.

When the activist movement ended, it wasn't because things got better. It was because we recognized how bad things were. We burned out when we realized what we were up against, for example, a health care system that was completely inadequate for people who were poor. When we had to start dealing with the structures of society beyond the immediate issue of AIDS, like poverty and health care, it got too big for us. A lot of the interest groups within the movement started fighting with each other about whose issue was more important. In the meantime, whatever optimism we could have gained from particular victories didn't really keep us optimistic. People were still dying around us. Around 1991, the movement kind of disintegrated. It kept going, but it lumbered along. It didn't have that kind of enthusiasm or the numbers that it did in those three, four years.

There was a very dark period there in the early '90s before most people got the cocktail in 1996. At the same time, Clinton was elected in '92, so there was a sense that we had someone who's attitude toward homosexuality at least was really different. It didn't turn out so great after all because we got Don't Ask, Don't Tell, for example. But there was this sense that maybe we could pull back from fighting the powers-that-be in the way that we had to during the Reagan and the first Bush years.

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What do you think are the remaining problems?
The vast majority of people who are HIV-infected don't know that they're infected, so they don't get treated until it's too late or very late in the game. There are still enormous hurdles with regard to prevention. There are still many, many people in this country, for example, who would vote for an abstinence-only message, the Republican message. It's extremely difficult to go against attitudes toward sexuality and to get out an enlightened, progressive message about transmission with regard to sex and IV drug use. Moralistic attitudes are an enormous detriment to preventing disease.

I think now it's global, and the central issue is money. It boils down to that. Medications are insanely expensive, since health care in this country and many other places is still for-profit. People who can't afford them die. It's that simple. As long as people who develop the medications have to make profits for their shareholders, people will die. That was the issue from the very beginning too, in a way. A for-profit health care system is lethal to people who need expensive medication.

It's the same issue of Occupy Wall Street. It's that the wealth in the entire world, not just in this county, is concentrated in the hands of very, very, very few people. And then there are 99 percent or more globally who are extremely poor, many of whom don't get health care.

I sort of feel like, it would be really great if I had thousands of copies of AIDS Demo Graphics and could put them on the hands of people in Occupy Wall Street now, so they could take lessons from that and build on them. I've noticed that a lot of the messages are really great, but they're scrawled on cardboards and a lot of the signs are scruffy. I think they tend to accord with The New York Times' desire to characterize Occupy Wall Street as a bunch of hippies who don't know what they're doing. And, of course, that's not true. Occupy, I think, is a major event in the history of the moment. I think it's going to keep moving.

Images displayed were published in Douglas Crimp's AIDS Demo Graphics.