Friday, March 30, 2012

Broadway Bares



Go behind the scenes of the fairy tale photo shoot for Broadway Bares XXII: Happy Endings.  This year's Broadway Bares will pay tribute to our favorite childhood fairy tales as only the modern-day burlesque show could.

Sunday, June 17, 9:30 pm & Midnight
Roseland Ballroom
239 West 52nd Street, NYC

Broadway Cares/Equity Fights AIDS is one of the nation's leading industry-based HIV/AIDS fundraising and grant-making organizations. We fund the social service work of The Actors Fund and award grants to AIDS service organizations nationwide. With your help, what we do together makes a difference.

Thursday, March 29, 2012

ACT UP's 25th Anniversary Action



Join ACT UP's 25th Anniversary Action on April 25 as ACT UP and OCCUPY join to Tax Wall Street and End AIDS.

The action begins at 11 AM at City Hall, marching to call for a Financial Speculation Tax, also known as Robin Hood Tax.  More info about the tax below. 

Happy Birthday, ACT UP, Wherever You Are


by Larry Kramer

I'm an ungrateful sonofabitch. ACT UP (AIDS Coalition to Unleash Power), which helped save my life, is 25 years old, and I am going to be 77 years old come June, and I should be grateful, right? 

It's difficult to be grateful when the AIDS plague is worse than ever all over the world and the two organizations I helped found to stop it are, if not no more, then in such pathetic shape as to almost be no more. 

It's hard to blame these remnants of former greatness when the gay population of this country continues to be so passive, so apathetic, so shut-the-fuck-up-with-all-your-message-queen-shit.

Every treatment for HIV/AIDS exists because gay activists, almost all from ACT UP, fought like tigers to get them. This should stand as one of the great examples of what the gay population can achieve when they want something badly enough. 

With what have we followed this great triumph? A return to the never-ending complacency on the part of almost all gay people. You think we're making real progress? I don't. Not really. I know you think so, but you're wrong. In the big scheme of things, we still have few rights. We still have no equality. We are not protected sufficiently from discrimination and the world's hate. That's correct: HATE. You only have to arrive at campaign and election time to know how much hate of gay people is out there. And we're back to allowing the straight world to treat us like shit, allowing candidates for the President of the United States -- the highest office in our country -- to say one revolting thing about us after another. Candidates don't dare say anything anti-Semitic out loud. But anyone can say any awful anti-gay thing that they want to. Doesn't this depress you enough to want to stuff their un-Christian words back down their poisonous throats?

Particularly after being given drugs to keep us alive, I find this gay complacency astounding and profoundly depressing. 

We know what we have to do. 

Why don't we once-and-for-all do it? 

And by "we," I mean all of us. 

continure reading HERE

On the Front Lines: Edmund White, Christina Pena & Dr. David Ho




AIDS effects nations, continents and communities, but for people dealing with the disease every day, it's a personal battle they have to fight and come to terms with themselves.

Author Edmund White found out he was HIV positive while living in France in 1985. At that time a positive diagnosis was a virtual death sentence which saw White attend dozens of funerals for friends who succumbed to the disease in the 1980's. He's gone on to found the Gay Men's Health Crisis which is based near his home in New York City. His latest book, "Jack Holmes and his Friend," looks at the dynamics of heterosexual-homosexual friendship set against the backdrop of the AIDS crisis of the 1980's.

Christina Pena has never known life without HIV. She contracted the disease at birth and joins us to share her experience as a 27-year old woman living her life HIV positive. A perspective that she uses to educate children living with HIV/AIDS as a Spokesperson for the Elizabeth Glazer Pediatric Aids Foundation.

Dr. David Ho was a young physician in Los Angeles trying to make a career for himself when he began seeing a mysterious disease effecting gay men. Since then, he has dedicated his career to AIDS research. In 1996 he was TIME magazine's Person of the Year for his work on the pioneering antiretroviral "cocktail" that have made HIV a manageable disease.

Wednesday, March 28, 2012

Visual AIDS Call for Interns!


Archive Lightbox at Visual AIDS 

AIDS is not over. We need your skills!
Summer Internship Opportunities at Visual AIDS

Visual AIDS is now accepting applications for our summer internship positions.

Interns assist with the ongoing operations of Visual AIDS. Interns may be asked to take on specific projects from start to finish, such as working along side the web developer for the digitalization of the Archive Project. In other cases Interns will be working on multiple projects, such as helping with exhibition preparation, and daily administrative duties.

Successful intern applicants will be:
  • -       Passionate about the possibilities that exist between art, social justice and HIV
  • -       Interested in current issues around AIDS Awareness, and a willingness to learn
  • -       Knowledgeable about contemporary art, art history and/or graphic design
  • -       Well organized, self-motivated and able to work on several projects at once
  • -       Attention oriented with good communication skills and the ability to thrive in a busy work environment

Specifically, we are looking for people who have experience in:
  • -       Exhibition and event organizing
  • -       Data entry, and word processing skills
  • -       Web design
  • -       Archiving and/or use of digital database
  • -       Scanning / Photoshop
  • -       Social Media

While the job is not physically demanding some tasks may require using the stairs, and light lifting. Please enquire with any accessibility questions you may have.

Internship is 12 to 20 hours per week.

To apply, send a short cover letter with a resume to info@visualaids.org. In your cover letter please indicate any specific skills, talents, and abilities you may have and include information regarding any previous experience that may inform your time with Visual AIDS.

Application deadline: May 1st
Internship starting date: May 15th (flexible)
Internship ending date: August 1st (flexible)

Interns may receive academic credit and/or work study for their internships, as arranged through their educational institution. Visual AIDS is unable to offer a stipend or other financial compensation beyond reasonable reimbursement for travel.

Feel free to contact us if you have any questions. 

Tuesday, March 27, 2012

Exhibitions by Visual AIDS artist members

Stephen Andrews
X
Paul Petro, Toronto
Closing March 31, 2012

Carlos Vanegas
OPTICAL JOURNAL
March 23 – April 22, 2012

Abron Arts Center Gallery, 466 Grand Street, NYC


Marc Pelletier
back from the front
April 7 - May 3, 2012
Reception: Saturday April 7, from 5-7pm
Cherry Branch Gallery, 25 Main Street, Cherry Valley, NY


Jeremy Landau
Skyline Sentinels
April 18 - June 29, 2012 
Reception: April 27 from 6-8 PM
Warburg Realty / Tribeca, 100 Hudson Street, NYC



SAINTS AND SINNERS
Saturday, March 24, 7-10pm
Visual Aid Gallery, 57 Post St., SF
Seven year wedding cycle performed by Elizabeth Stephens and Annie Sprinkle and the Love Art Laboratory, and Verasphere happenings and Mrs. Vera's Daybook by David Faulk and Michael Johnstone. 






Group Show
Male Erotic Art Exhibit
April 21, 2012 
The Pride Center of New Jersey

 

AIDS Memorial Exhibition



March 27-April 1, 2012
Reception: Tuesday March 27, 6-9 PM

Center for Achitecture
536 Laguardia Place, NYC

Monday, March 26, 2012

"How to Survive a Plague": As ACT UP Turns 25, New Film Chronicles History of AIDS Activism in U.S.

via DemocracyNow



This weekend (March 24, 2012) marks the 25th anniversary of ACT UP — the AIDS Coalition to Unleash Power — an international direct action advocacy group formed by a coalition of activists outraged over the government’s mismanagement of the AIDS crisis. We speak with ACT UP founding member Peter Staley, one of the longest AIDS survivors in the country; and David France, director of the new documentary "How to Survive a Plague," which tells a remarkable history of AIDS activism and how it changed the country. "I’m alive because of that activism," Staley says of the triple drug therapy he was able to take. "This was a major victory this movie tells about getting these therapies. But that was only the beginning of the battle. Now we have these treatments that can keep people alive, and there are still two to three million dying every year. There are more dying now than when we actually got the therapies to save people. So it’s a huge failure of leadership internationally. And it shows a failure of our own healthcare system." [includes rush transcript]

 AMY GOODMAN: This weekend, ACT UP, the AIDS Coalition to Unleash Power, celebrates its 25th anniversary. The international direct action advocacy group was formed by a coalition of activists outraged by the government’s mismanagement of the AIDS crisis. On March 24th, 1987, ACT UP staged its first major action: a "die-in" with hundreds of protesters convening on Wall Street to demand access to experimental drugs and an end to discrimination against HIV-positive people. While most protesters stayed behind police lines, some crossed the barricades and sat in the street to block traffic. In total, 17 members of ACT UP were arrested, charged with disorderly conduct, and later released. The protest was the first in a long line of demonstrations, speeches, die-ins, political funerals, and marches that helped propel the HIV/AIDS crisis into the national spotlight. Over the years, ACT UP played a vital role in securing legislation, medical research and treatments and policies.
Now, a new documentary about ACT UP and the history of the AIDS epidemic is screening Saturday in Manhattan. It’s called How to Survive a Plague. It chronicles the rise of AIDS activism though the lens of those who captured it firsthand. It tells the heart-wrenching yet deeply inspiring story of people organizing, marching, lobbying to curb a plague that vast swaths of society saw as just punishment for allegedly immoral acts. When the film premiered at the Sundance Film Festival in Park City, Utah, I spoke to its director, David France, and Peter Staley, one of the longest AIDS survivors in the country. In the mid-’80s, after being diagnosed, Staley left his job as a bond trader in New York to work as a full-time activist. In 1987, he helped found ACT UP. I began by asking director David France why he made How to Survive a Plague. 

DAVID FRANCE: This is a story that I’ve known for a long time, and it seemed to me that the stories about AIDS have all been about the arrival of the virus and the way the virus impacted the community, and the devastation, really. But the truth about the epidemic, especially those darker days of the epidemic, is that there was a lot of amazing activity that took place, and the community really rallied and made a difference. And that part of the story about the plague had never been told. So, that’s what I wanted to go and try to see if I could wrap my hands around. 

AMY GOODMAN: And it’s really a story about strategy and about activism in the face of death, so it was a life-and-death struggle. Peter, when were you diagnosed? 

PETER STALEY: I found out shortly after Rock Hudson became a major news story, when he disclosed that he was dying of AIDS in the fall of 1985. And the country was in a complete panic that point. Parents were pulling their children out of school. There was a lot of fear. There were no drugs. There were no treatments. So it was a frightening time to find out. 

AMY GOODMAN: And that’s when you were tested? 

PETER STALEY: That’s when I was first tested. They had only isolated the virus about nine months before that, and they quickly developed an assay to test for it. 

AMY GOODMAN: Is it fair to say you’re one of the longest surviving people with AIDS? 

PETER STALEY: There are those that were infected earlier, even before we first started seeing those dying from AIDS. There were some infected in the late ’70s who are still with us today, thanks to the treatments that are out there. But not many got through the ’80s and ’90s, so I feel very lucky. 

AMY GOODMAN: So talk about your journey of activism. You certainly didn’t start as an activist.


Thursday, March 22, 2012

The End Was Near


MCA Chicago’s “This Will Have Been” Revisits the Political Urgency of the 1980s
by Larry Buhl
David Wojnarowicz, Untitled (Buffalo), 1988–89. Collection Museum of Contemporary Art Chicago, gift of Stephen Solovy Art Foundation, © 1988–89 David Wojnarowicz. Photo: Nathan Keay

In the 2010 film Hot Tub Time Machine, one character scoffs at nostalgia for the 1980s: “We had, like, Reagan and AIDS.” The line was meant as a joke, though for many sick and dying Reagan’s lack of response to AIDS was a defining aspect of the period. Another defining aspect: art about AIDS.

Installation view of “This Will Have Been Art, Love & Politics in the 1980s” (with General Idea’s AIDS Wallpaper), MCA Chicago (February 11–June 3, 2012). Photo: Nathan Keay, © MCA Chicago, February 9, 2012

In an exhibition at the Museum of Contemporary Art in Chicago, HIV/AIDS is a dominant theme, both implicitly and explicitly. “This Will Have Been: Art, Love & Politics in the 1980s,” covers the period from 1979 to 1992, when world politics were dominated by Reagan, Gorbachev, and Thatcher, and the body politic struggled with how to actualize the demands for social justice that sprang forth in the sixties and seventies. Early in the eighties, activists/artists and artists/activists began directing their talents toward a new demand: pay attention to a bewildering disease that was beginning to cut down people by exponentially larger numbers.

Donald Moffett, Call the White House, 1990. Courtesy Marianne Boesky Gallery and the artist

The exhibition reminds us that urgency and activism made their mark on the decade, even if the efforts took a different tack than in previous decades. From the anti-nuclear protest in New York’s Central Park to the mass demonstrations by ACT UP and other groups to denounce the government’s slow response to the AIDS crisis, the will to fight on behalf of marginalized voices was strong throughout the 1980s. (read more here)


Wednesday, March 21, 2012

To End AIDS, We Need Justice



Trayvon Martin, a 17-year-old black kid, walking home after visiting a friend of his father’s had on a hoodie, and some skittles and ice-t in his hand. George Zimmerman, a member of the local Neighborhood Watch, thought he looked suspicious and shot Martin dead. Zimmerman has not been charged, granted legal impunity.

Jason Russell, a 33-year-old white guy, was ranting and raving naked in public. The week before he had come under criticism due to his lead role in the controversial social action You Tube video, “KONY 2012”.  Russell has not been charged with anything, and while some are saying his outbreak shows the tell tale signs of drug use, those around Russell are saying it was a result of extreme exhaustion and dehydration. 


It would be great if such thought and consideration being offered to Russell was extended to all people in similar situations. A black or brown man found naked in public, ranting and raving, would be in jail so fast. There would be no talk of exhaustion. A white boy in a hoodie would not be shot dead in the manner Martin was killed.

As the disparity between what happened to Martin and what is happening to Russell show, we live in a country that privileges white bodies, gives them the benefit of the doubt, while black, brown and non-white bodies are held suspect, in disrespect. We see this in our systems, and yes-we see this in ourselves, our friends, our jobs, our churches and within our families. There can be no end to HIV/AIDS, or any other complex social justice issue, until all bodies are respected. We can work to respect ourselves, wait for the day it gets better, but this is not enough: 

Justice is HIV Prevention. 

Below are some interesting articles that have come in the wake of Martin's death: 




Monday, March 19, 2012

Responses to NY Times article: The Living After the Dying



This weekend the New York Times posted, The Living After the Dying, an op ed by Frank Bruni, about ACT UP. While many welcomed ACT UP being written about, some readers did not agree with all it's conclusions. 

Tom Léger, Pretty Queer Editor in Chief posted on their Facebook wall, " Everything in this article is wrong", suggesting that after people read the piece they go and donate to the United in Anger kickstarter page.  

IN response to the Op Ed, artist Dudley Saunders said "(Frank Bruni's New York Times piece) leaves the false impression that ACT UP was only the direct treatment activists (of whom I was one). During ACT UP's heyday, more lives were actually saved by our forcing changes to the definition of AIDS to include more women and by forcing through changes in insurance laws -- and that's just two things off the top of my head. 

David France was not trying to tell a comprehensive story with his film, so I'm disturbed that it's being interpreted that way. This piece unintentionally diminishes ACT UP's legacy and leaves it in the hands of "leaders", when in fact it was groups of very ordinary people who made change happen, and could make change happen today -- if pieces like this did not leave the impression that only "smart boys" can do what we did."

Read the NY Times article here: The Living After the Dying

Real Talk and the Divide: 2 Articles about AIDS in America



Amber Hall, Executive Director at SirusSM Out Q gives her opinion on why we don’t see HIV in the papers every day. Read it here:  SpeakOUT: Real Talk About AIDS in Gay America.


 Discovery Channel looks at the ‘changing landscape’ of HIV in the US. Watch it here, tell us what you think: AMERICA'S DIVIDE 

Wednesday, March 14, 2012

Keith Haring 1978-1982: Early Keith at The Brooklyn Museum

Keith Haring. Untitled, 1982. Courtesy of  and © Keith Haring Foundation. The Brooklyn Museum. (photo © Jaime Rojo)


1978 and 2012 seem closer to one another than ever right now when we look at the blossomed Street Art scene in cities around the world. More than 30 years after Keith Haring moved to New York as an art school kid at the School of Visual Arts, a new generation of art school kids consider it almost a birthright to take their work directly to the street. Right now feels like an excellent time for Brooklyn to spotlight this study of his first four years in the city that blew his mind and inspired him to alter the whole system of how an artist reaches the public. 

Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.

“Raphaela Platow, who was the original curator of this show, went into the archives and pulled out things that had basically just been sitting there, ” explained Tricia Laughlin Bloom, the project curator for the current show as she gave a tour this week before its opening at the Brooklyn Museum Friday.

At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.

Keith Haring. Untitled, 1982. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo

In these years Disco was on a full force collision course with Punk, New Wave, and Rap, and Haring was embracing the nightlife of a college student sampling the downtown scene, exploring his sexuality, and commandeering entire rooms at SVA to mount shows on paper. Some of those “body involvement” painting sessions are documented well here in video; a sort of full immersion painting baptism. While jamming out to music he covers every white surface with thick black symbols and gestural marking, sometimes painting with both hands in a rhythmic automatic study of both the physicality of the process and his own interaction with space and materials.

Not to be missed in person is the 30 piece collection in the final room of actual subway black papers that Haring adorned with his white line drawings, energetically created symbols and characters throughout stations in New York’s train system. The frames and glass protect them for us to appreciate them today in their disarming simplicity, their collection ironically alleged by some to be why the artist discontinued the subway practice. Equally compelling is the projected large slide show of Haring in photos by Tseng Kwong Chi, whom the artist called to shoot almost every time he did an illegal piece in the subway.

Keith Haring. Matrix, 1983. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

With almost half of the pieces here never displayed publicly like this before, the show is a welcome revelation for fans hoping to peel back a little of the hype-like gloss that time and opportunism may have shined his legacy with. Whether it’s his hand-collaged flyers for the indie group shows he curated, his home movies of Klaus Nomi and Joey Arias performing in the living room, or the complete re-installation of a wall from his 1980 show at PS 122, you get the idea that this was an audacious observant art student gulping at the faucet of life in a pulsating dirty city that welcomed him.

“He’s such a thoughtful and complicated figure – at the same time with that really pure impulse of not wanting to alienate people but to bring them in,” says Laughlin Bloom as she describes the young artist she discovered en route. “He’s this combination of fun-loving, and life-loving, and intellectual, accessible – a total populist but not in an insincere way.”

Keith Haring. Still from Lick Fat Boys. April, 1979. Vide0 3 min. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

After 1982, Haring’s entire visual language of characters and symbols would become iconic, international; his work in dialogue with modern art history and everyday people eventually outlasted him to inspire a diverse generation of artists working on the street from Shepard Fairey and Swoon to Stikman and Specter, among many others.

“Haring saw the subway as the ideal platform for showing work – one of the few places to catch New Yorkers off-guard,” says Poster Boy, a Street Artist/collective who is credited/blamed for re-engineering and culture jamming subway posters with a razor in very recent years. Speaking of Haring’s chiding of corporate commercialism in the culture, Poster Boy observes, “For advertisers it’s the perfect opportunity for a commercial break. Haring saw it as a break from commercials.”

Respected for his early interest in busting down barriers in social activism, street art, and illegal art, it’s likely that many on the Street Art scene today will be checking out the pre-buzz Haring on display at this show. At the moment, it feels like one of New York’s adopted hometown heroes is back in Brooklyn.

Keith Haring. Wall papered with reproductions of hand collaged flyers to advertise shows that Keith Haring curated, 1981. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

“Art is for everybody. To think that they-the public- do not appreciate art because they don’t understand it, and to continue to make art that they don’t understand and therefore become alienated from, may mean that the artist is the one who doesn’t understand or appreciate art and is thriving in this “self-proclaimed knowledge of art” that is actually bullshit.”  1978

 - Keith Haring Journals


more details and images HERE