Friday, August 31, 2012

Upcoming Exhibitions and Events

John Neff
at Golden Gallery
September 5 - October 28, 2012
Reception:  Wednesday, September 5, 6 - 9pm
120 Elizabeth, Ground Floor, New York, NY
Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment.
Visit: Golden Gallery


In the Flesh reading: HOMOTEXTUAL #2
Friday September 7, 2012, 7pm 
The Way Station
683 Washington Ave. Brooklyn, NY
Featuring Sarah Schulman, TL Cowan, Ruben Davis
Hurricane Isaac, Mitt Romney's fake tan, the naturally melancholic end of summer, death of feminist visionaries, Tampa, and random shooting sprees getting you down?
Us too. Pull it up with In the Flesh! More info at: HOMOTEXTUAL #2



Kembra Pfahler at Participant Inc
Fuck Island
September 9 - October 14, 2012
Opening Reception: Sunday, September 9, 7-9pm 
253 East Houston Street, NYC 
For more information visit Participant Inc


National Association of People with AIDS presents: 
National Gay Men's HIV/AIDS Awareness Day 
September 22 28, 2012
View website for full schedule of events

Tuesday, August 28, 2012

Artist Opportunities


Choreographer Donald Byrd rehearses in Adams Studio
Need space and time to work on a project?
Apply for the MacDowell Colony.

The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to eight weeks. There are no residency fees. More info: APPLY

Tom of Finland, Untitled (Detail), 1978, Marker on paper,
Tom of Finland wants you to sell your erotic art!
West Hollywood- Los Angeles, Erotic Art Fair Weekend September 28-30, 2012
The Weekend provides a unique opportunity for artists from around the world to display and sell their erotic work to the public.
Every medium is welcomed — painting, drawing, sculpture, photography, mixed media and digital work. The Foundation’s staff curates the Fair to ensure a variety of styles and media and strives to include work representing all genders and sexual orientations. More info: Visit here.

William H. Johnson, c. 1918
Are you an early career Africain American artist working in painting, photography, sculpture, printmaking, installation, and/or new genre? Apply for  the 2012 William H. Johnson Prize.
Deadline is September 28. The 2012 William H. Johnson Prize is 25,000 USD and the winner will be announced later in the year.

The William H. Johnson Foundation for the Arts is a nonprofit, tax-exempt organization that seeks to encourage African American artists early in their careers through its annual award. The award is named after William H. Johnson, an African American artist born in Florence, South Carolina in 1901 who although acknowledged as the most talented artist in his class of 1926, was passed over for a traveling scholarship, most likely because of his race. Rather than see Johnson struggle in the United States, his teacher, Charles Hawthorne, gave Johnson 1000 USD so that Johnson could travel to Europe. This act of faith and generosity was pivotal in Johnson's life, for it provided the seed from which his career flourished. Apply online at www.whjohnsongrant.org 

Plans for DAY WITH(out) ART 2012?


film still from UNITED IN ANGER. 2011, 93 minutes
 Screen UNITED IN ANGER: A History of ACT UP in your community. Contact Ted at tkerr@visualaids.org.
Day Without Art (DWA) began on December 1st 1989 as the national day of action and mourning in response to the AIDS crisis. Since then, Day With(out) Art has grown into a collaborative project in which museums, galleries, art centers, AIDS Service Organizations, libraries, high schools and colleges present HIV related programming to remind the world that AIDS IS NOT OVER.
What are you doing for Day With(out) Art 2012? 
For 2012, Visual AIDS is proud to announce we distributing UNITED IN ANGER: A History of ACT UP from filmmaker Jim Hubbard.
The 93-minute 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.
With distribution comes programming ideas, and marketing support to ensure you have a successful screening. For more information about the film and director Jim Hubbard, check out POZ.com
This is the third year in a row Visual AIDS has distributed a film for Day With(out) Art. Last year we screened UNTITLED with over 60 screening partners across North America.
Join us this year!

Monday, August 27, 2012

Beyond AIDS 2012: Joy Spencer

We Can End AIDS March, 2012, Visual AIDS

Beyond AIDS 2012: Looking to extend the synapsis snapping and conversation convening, Visual AIDS will be posting images, guest posts, and link round ups stemming from 2012 to keep the best of the conference circulating. If you have something to share, email us at info@visualaids.org

For two years I waited. As the countdown dwindled from months, into weeks and finally days, I meticulously planned out how I would maximize the Global Village at the XIX International AIDS Conference 2012 in Washington DC.  The unveiling of the AIDS quilt, the Human Red Ribbon, the United in Anger film screening and the We Can End AIDS mobilization march were just a few of the events I marked down. In the meantime I devoured every article I could to keep up with the latest developments in HIV research. The Thailand trials, the Berlin Patient and Truvada’s late breaking FDA approval for prevention, dropped me right at the conference doorsteps ready to learn more. But most of all ready to march and fight for change.

I knew it was going to be an inspiring conference but nothing prepared me for what I experienced. It was a homecoming of sorts. First it was familiar faces. From among thousands of delegates from all over the world I reconnected with former colleagues who I had marched and worked with on various HIV medicines and stigma issues in the past.

Second, I was reminded of that stirring in my belly from when I first became involved. One of the things that still moves me about AIDS 2012 is how many times I heard or saw printed on banners or in newspapers, the words “vaccine”, “cure” or “end of AIDS”.  Hushed tones around such ambitious goals in previous years have given way to bolder calls for renewed focus.  The mood was positive, and infectious. I was back, ready to fight, and not alone.

This renewed focus was evident during the We Can End AIDS Mobilization.  I was overwhelmed as we marched through downtown DC. I thought about the millions already dead.  Whenever our Human Rights & Harm Reduction branch got too quiet I shouted,
“This is not a quiet march!
People who should be here are dead!”
And I meant it. We need to fight the fatigue that let us drop back into silence. We have lost too many voices. 

Weeks later I think about this as I realize I left AIDS 2012 not really invigorated, but challenged. After arriving late and nearly melting into a puddle of tears because I thought I wouldn’t get to see it, I managed to squeeze into a packed screening of United in Anger: A History of ACT UP. What I saw has reinvigorated my commitment to HIV activism and made the deficities we are dealing with more pronounced. No image was more powerful than that of ACT UP members scattering ashes of their loved ones over the White House lawn.  Scenes of a Times Square filled the screen, the bodies fighting injustice, complacency and misplaced priorities, were a jolt to my system.

still from UNITED IN ANGER: A History of ACT UP, director Jim Hubbard
In comparison, our march the day before seemed conciliatory, an amateur’s dress rehearsal. Our White House tribute of ribbons, pill bottles and syringes to symbolize the solutions we know can turn the tide of the epidemic now seems more like a nudge than an outcry. A gallant effort as we regroup. For all our passion, when stacked against 1990s era ACT UP–men and women fighting for their lives—we seem timid and barely angry. This is what I am left with. For all the progress we have made we have a long way to go.  Treatment action and access is a blessing but sometimes it makes people forget that today people are still dying of HIV/AIDS.  Today, just as it was needed in the 90’s, we need to “ACT UP, Fight Back, Fight AIDS”. 

Despite all the optimism I feel about research to develop a vaccine and find a cure, I know the fight to end AIDS is far from over. 

By day Joy Spencer is project director of the Digital Food Marketing & Youth initiative at the Center for Digital Democracy.  There she works to raise awareness about the new age of digital advertising where the lines between entertainment and advertising are completely blurred.  The project seeks to unmask the influence of  immersive advertising techniques in promoting unhealthy food choices among children and teens.  By night and on weekends Joy is a passionate HIV activist and educator.  As co-chair of the Metropolitan Washington Public Health Association Health Disparities committee she works to provide HIV education in the district of Columbia as well as plan and facilitate community anti-stigma workshops.  

To play UNITED IN ANGER: A History of ACT UP in your community contact Ted Kerr at tkerr@visualaids.org or call 212 627 9855. 

Thursday, August 23, 2012

Stuff Smart: Condom pack party at Visual AIDS

Back to School means condom requests from college and university campuses! Help the future PLAY SMART!

Join us at Visual AIDS on Friday September 7th 2-5pm for a condom kit stuffing party. We will supply the condoms, lube, and PLAY SMART trading cards featuring the work of Amos Mac, Iván Monforte, Richard Renaldi and Christopher Schulz. We will also have refreshments!

Here is more info on PLAY SMART: http://www.thebody.com/visualaids/current/broadsides2012_cards.html

Email Ted at tkerr@visualaids.org for more info.

Monday, August 20, 2012

Resources for Women living with HIV


WILLOW stands for Women Involved in Life Learning from Other Women, and it is a peer based program in which adult women come together and share information about living with HIV. 

The program is open to women living with HIV who have known about their status for at least 6 months. 

The next WILLOW cycle is
Tuesday, September 11, 2012
11am to 3pm 
Family Resource Center
100 Pennsylvania Avenue
Brooklyn, NY

WILLOW will cover such topics as Gender Pride, Social Support, Healthy Relationships, Condom Use and Coping Skills. 

For more information about WILLOW contact Dominque Mayers at dammers@pfth.org. 

Porn, Poetry and Spunk

Bob Shane and Roy Garrett


It is easy to get titillated by the thought of a porn star. But often after an encounter one is left disappointed.

Not so with Roy Garrett.

For beyond his performance and sexual skills, Garrett was also a poet. In economical bursts he explored what it was to feel love, community, and like a piece of meat.

Garrett, who often performed with his boyfriend Bob Shane in movies, passed away in 1992 due to complicates related to AIDS. His work though lives on.

Spunk, an arts magazine published by artist Aaron Tilford features the work of Garrett as well as an interview with Garrett's friend, Robert W. Richards.

To learn more about Garrett, and read his work, pick up a copy of Spunk

Included in the latest edition of Spunk is also a story by Carlos Aponte, and artwork from Zachari Logan and Chuck Nitzberg.

Ai Weiwei and the ongoing influence of AIDS

AIDS protest, 1989

From 1981 to 1993 artist Ai Weiwei lived in New York. He studied at Parsons School of Design and at the Art Students League of New York. During this time he made photographs and sculptures about the world around him. Issues of poverty, gentrification, influence and class made there way into his art.

As is highlighted in the new documentary Ai Weiwei: Never Sorry, his work was also influenced by HIV/AIDS.

His first solo exhibition in New York City was entitled Old Shoes Safe Sex (Ethan Cohen Gallery) and included work about the then emerging crisis. His photographic work from the time contain images from ACT UP demonstrations. His sculptures speak to the anxiety the virus was creating in people. 

Now famous the world over for his blend of activism and artistry, it is interesting to note the fundamental role HIV/AIDS and the action it engendered had on him as he was coming into his own as an artist. 

Safe Sex, 1986

Monday, August 13, 2012

New Jersey Woman Confronting the Crisis



Call for Abstracts: 
Confronting the Crisis 2012
Women and HIV Conference 
presented by New Jersey Women and AIDS Network (NJWAN)

November 1- 2, 2012
Rutgers University Student Center
126 College Avenue, New Brunswick, NJ

NJWAN is accepting abstracts for the workshop sessions for Confronting the Crisis 2012: Women and HIV. 

NJWAN is the only female specific AIDS service organization in the state and one of the first in the nation. Founded in May 1988, it is a non-profit, tax exempt organization. For more information and how to apply contact Zeena Hazuri: zhazuri (at) njwan.org


Intern at Visual AIDS!

Run Unicorn, 2011,  Rene Capone

Like working with a team?
Curious about the role art can play in creating social change?
Good at Photoshop and copyediting?
Smart with social media?
Logistically minded?

Consider interning at Visual AIDS this year. We are looking for short term, long term, credit, and not-for-credit interns as we work on the following projects:
  • Launch of the new Visual AIDS website, including the digitalization of the Archive Project
  • Postcards from the Edge winter benefit
  • Day With(out) Art, December 1st
  • Lead up to the 25th anniversary of Visual AIDS
  • And much more!
Play a role in this exciting time.
Learn new skills.
Meet people from the worlds of art, HIV/AIDS, and activism.
Get a close look at the inner workings of a busy art/AIDS organization with a long history and an exciting future.

Visual AIDS offers:
  • 8-16 hours a week
  • Travel Stipend
  • Flexible hours
  • Fun and open working environment
  • Close proximity to galleries and the highline
  • Access to HIV/AIDS, and art information and history.
Email a C.V. and a letter outlining your related skills and passions to Ted at tkerr@visualAIDS.org

Visual AIDS utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy, because AIDS is not over.

Battle Ground: Archive Member Paul Chisholm's solo show




Paul Chisholm’s solo show Battleground, features an array of work that focus on the duplicities of meaning embedded within the codes and gestures that characterize daily life and refers to ideas of the social versus the individual. 

The artist frequently makes reference to the military conflict currently taking place throughout the Middle East and inserts accents of popular culture, from the First World, in order to expose the vast contrast that exists between the lived realities of those who fight to survive versus those who live a supposedly comfortable life. 


ESPAI D’ART WAKA, Palma, Mallorca presents: 
BATTLE GROUND
Paul Chisholm
September 8th – September 28th, 2012 

Learn more about Paul's work here: paulchisholm.com



Eric Rhein: NY Mag's Space of the Week

Archive member Eric Rhein has an artist’s profile featured in the on line publication of New York Magazine this month.

Visit NYMAG.com to see more of Eric and his work. 

Thursday, August 9, 2012

Richard Sawdon Smith - The Anatomical Man


The Anatomical Man

August 10 - September 1, 2012

Hertzbergstrasse 27, 
Neukölln, 12055 Berlin, Germany


Sawdon Smith has been exploring representations of HIV/AIDs through his work for the last 18 years. His work shifts easily between documentary and tableau.

The Anatomical Man is a persona created by Sawdon Smith; it is his tattooed alter ego. The artist is interested in the many identities and bodies that an individual can present to the world “we are not necessarily the same person we are with our parents as we are with our gay lover, this is not the same body of my 18 year youth, however much I wish it was.”

“Like many other HIV + people life can often be divided in to pre- and post-diagnosis so fundamental is the shift in perception of ourselves”.

“Now I look at my life pre- and post-tattoo as it has created another fundamental shift not only in my perception of self, almost as much as the HIV diagnosis but how others perceive me as well”.
 

Sawdon Smith's work is also featured in this month's web gallery, BLOODBROTHERS


Wednesday, August 8, 2012

Beyond AIDS 2012: L.J. Roberts

The Queer Houses of Brooklyn in the Three Towns of Breukelen, Boswyck, and Midwout during the 41st Year of the Stonewall Era, 2011 (based on the drawing by Daniel Rosza Lang/Levitsky, illustrations by Buzz Slutzky)
poly-fill, acrylic, rayon, Lurex, wool, polyester, cotton, lamé, sequins, blended fabricsone-inch pins: metal, plastic, paper

Beyond AIDS 2012: Looking to extend the synapsis snapping and communiting convening, Visual AIDS will be posting images, guest posts, and link round ups stemming from 2012 to keep the best of the conference circulating. If you have something to share, email us at info@visualaids.org

While in Washington for AIDS 2012 we got a chance to see Brooklyn based artist L.J. Roberts’ work at the Renwick’s 40 Under 40: Craft Futures exhibition. It is a huge and soft work that absorbs the eye and draws you in.  As one of the organizers of last winter’s NOT OVER: You, Me, Us and AIDS, which Visual AIDS supported, Roberts is part of a growing movement of young artists, activists, academics, and involved citizens that braid both HIV/AIDS history and urgency into their work.  Currently Roberts is working on a large piece inspired by Ira Sach’s short film Last AddressBelow is Robert’s statement about the work at the Renwick. 

The Queer Houses of Brooklyn In The Three Towns of Breukelen, Boswyck, and Midwout During the 41st Year of the Stonewall Era is documentation of a contemporary moment of a thriving, activist, political, and creative community that practices resilience and resistance through collaboration and cooperative co-existence, kinship, and love.

Based on the drawing by Daniel Rosza Lang/Levitsky, and with illustrations by Buzz Slutzky, the knitted, quilted and stitched map of these queer collective houses, each with their own characteristic name and symbol, references and subverts the iconography of coats-of-arms and heraldic devices usually associated with royalty, corporations and the state. The work honors queer, feminist, and trans histories such as the Stonewall Riots, activist movements such as ACT UP and Queer Nation, the potent imagery of the artist collective Gran Fury, and the collective grief and perseverance of the AIDS Quilt, which included thousands of participants from across the world.  In a way that is meant to evoke both the formal and radical, this work celebrates the existence of chosen and deliberate queer families built on a fierce spirit of love, sex, collective liberation, and gender, sexual, and self-determination.

The map is a living and active archival memento of radical Do-It-Yourself/Do-It-Together/Punk Craft practice and spirit that includes one-inch pins printed with the name of each house and its representative illustration, free for any viewer to take.

For more information on Roberts visit: L.J. Roberts


Tuesday, August 7, 2012

FETE SERIES: Jon Nalley

Jon Nalley
Jon Nalley's valuable photo documentation of political and gay life in New York City, spanning decades will be on view as part of Uncanny Works' FETE SERIES.

While his works are important historical documents, for Jon, the process is also a way of living in the world. Through his event photography as Social + Diarist Jon is able to engage in the world in a meaningful way that helps to address loss, and isolation that many of us feel. 

Join Jon at the opening on August 8th at the gallery from 6-8pm. 

Jon Nalley 
Fete Series
August 8-14, 2012

Michael Mut Gallery
97 Avenue C

Opening August 8th, 2012
6-8pm

Read Jon's beautiful reflection on how he became a photographer at UNCANNY WORKS

Friday, August 3, 2012

AIDS 2012: Photos!

from the streets of DC! 
We have posted our photos from AIDS 2012 on our flickr page. 
We have divided them up: 

Aldrin Valdez and Nelson Santos at the march 

Untitled screening in the Global Village MSM GF Networking Zone

The Last Panel for the AIDS Memorial Quilt

United in Anger director Jim Hubbard


See You Later Amy!

Artist Geoffrey Hendricks hugs Amy Sadao 
Thank you everyone who wrote Amy nice notes, phoned and came to our Farewell Amy Party! It was a wonderful evening of community and love in appreciation of 11 great years! 

View more photos on our FLICKR page
Cake! 



Thursday, August 2, 2012

ReMixed Messages: Media, Images, Closing Reception

aids: Made in USA, J.Morrison
Available online now, this weekend's Washington Post includes a lengthy article by Philip Kennicott about the current culture that AIDS engenders. He writes about both UNITED IN ANGER: A History of ACT UP and Remixed Messages, both events Visual AIDS took to DC for AIDS 2012. 


About Remixed Messages, Kennicott writes: "Whether or not the artists had AIDS in mind, they seem to be grappling with a set of AIDS-inflected moral truths: That intimacy is full of both grace and danger; that great traumas punctuate life irrevocably and make time less elusive; that the suffering which defines us cannot, should not, must not be cast off, even if that were possible.Read the rest of the article Washington Post


For those in the DC area, visit Fathom Gallery tonight for the closing reception between 6-8pm with remarks by artist Tim Tate, and Don Blanchon, Executive Director of Whitman-Walker Health. Fathom is at 1333 14th St. NW. 


For those outside of the DC area who wish to see the show, and have Facebook, view installation shots on the Visual AIDS Facebook page: Remixed Messages


Installation Shot courtesy of Transformer


Wednesday, August 1, 2012

Toxic Beauty: The Art of Frank Moore

Lullaby II, 1997, oil on canvas,

Visual AIDS is pleased to announce 
Toxic Beauty: The Art of Frank Moore
September 6 - December 8, 2012,
New York University’s Grey Art Gallery and Fales Library
Curated by Susan Harris with Lynn Gumpert


The exhibition features approximately 35 major paintings and over 50 gouaches, prints, and drawings, as well as numerous sketchbooks, films, maquettes, source materials, and ephemera. It is the most comprehensive presentation to date of work by this remarkable artist whose life was cut short by AIDS.

Moore is best known for his figurative and highly detailed large-scale paintings filled with fantastic and symbolic images. His paintings allude to American culture and presciently address ecological concerns and the dangers of genetically modified foods. Often autobiographical, many of the paintings also reference Moore’s personal life and his HIV-positive status.

In addition to creating his paintings and works on paper, he collaborated on performances, dance productions, and films. Moore was also an activist: he was a founding member of Visual AIDS, where he played a crucial role in the creation of the Red Ribbon. He also helped develop the Archive Project, which endeavors to document and preserve works created by HIV+ artists.

Exhibition Catalogue: 
Toxic Beauty: The Art of Frank Moore is accompanied by an illustrated catalogue with essays by Susan Harris, renowned critic Klaus Kertess, and artist/activist Gregg Bordowitz. The catalogue will also include excerpts from Moore’s own writings. Both the exhibition and catalogue will highlight previously unpublished archival material—such as sketchbooks and documents—culled from the vast Frank Moore Papers, totaling 44 linear feet, housed at NYU’s Fales Library. 

For more information visit Grey Art Gallery NYU. Check back here for upcoming programming information associated with the exhibition. 

BLOODBROTHERS curated by David Serotte

"Listening to Each Other," 2006, Albert J. Winn (with Richard Sawdon Smith)
gelatin silver print, 14" x 14"
 


Visual AIDS is proud to present the online web gallery BLOODBROTHERS, curated by David Serotte and featuring the artwork of Albert J. Winn and Richard Sawdon Smith 

Curator's Statement: 
Both members of the Frank Moore Archive Project, Albert J. Winn and Richard Sawdon Smith were introduced to one another through Visual AIDS. Recognizing that the artists' photographic self-portraits shared a number of similarities, Winn and Sawdon Smith quickly established a connection. Though both men focus the camera on themselves to address their experiences with HIV/AIDS, each artist comes from different national, cultural and generational backgrounds. With Winn living in Los Angeles and Sawdon Smith based in London, the two artists visited each other's homes, and there they executed several projects together. It is fitting that the results of this artistic alliance find a home in the very institution that made them possible. This web gallery provides an examination of how Winn and Sawdon Smith's solo works visually and thematically rhyme, as well as how their individual efforts inform their collaborative work, and vice versa. (read more)

About the Curator:
David Serotte is an independent curator living and working in New York City. He received his B.A. in Art History from Skidmore College. He has worked for The New Museum, Artists Space, Tacoma Art Museum and The Tang Museum. Recently, he served as a curatorial assistant for Jonathan Katz's upcoming exhibition Art, AIDS, America. He is a Baltimore native and a proud member of the Legendary House of Revlon. 

Each month, Visual AIDS invites guest curators, drawn from both the arts and AIDS communities, to select several works from the Frank Moore Archive Project.  The Archive Project is both a service to HIV+ artists, while preserving a visual record of their work, and a public resource, to teach about AIDS art activism and the lasting importance of HIV+ visual artists.  Membership in The Archive Project is free and open to all professional visual artists living with HIV/AIDS and the estates of artists who have died from AIDS. 

The Weight of Sweat and Tears

by Nelson Santos


On a steamy Tuesday afternoon, July 24th, Amy Sadao, Ted Kerr and I visited The AIDS Quilt on the National Mall in DC. At 11 AM, there was a scattered crowd, many quietly reflecting on the panels, some children running about asking why the blankets where on the floor and a few tourist posing at the unexpected attraction. 


I had seen individual panels of the quilt objectively hanging in museums and churches over the years, but this was different.  This was the first time I had seen so many of them, laid out on the ground, under the elements.  (The last time the Quilt was displayed on the National Mall in Washington, D.C., was in 1987, and it included 1,920 panels). In the past, I often thought of the quilt as a touching, but somewhat benign symbol - easier to digest than the graphic posters Gran Fury or shouting of ACT UP, but laying on the cold dirt, each panel about the size of a grave, one after another was a reminder that silence still equals death. 

The effects of time was also a reminder of how long we have been at battle.  Some of the images are beginning to fade or crumble, and though the skinny ties and worn speedos, so lovely sewn on, may remind us of another decade, they also embody each loss with the immediate recognition of what's missing - bodies.  Loving bodies that sweat, cried, danced, played, hugged, fought, marched and lived.

These were some of the thoughts in my head as Amy began to read the names of artists and friends we have loss.  Not just of names people who died years ago, but also friends who passed away months ago, like Barton Lidice Benes and Robert Miles Parker.  The names breaking the silence. 

In this overwhelming moment, it begins to rain.  The volunteer staff shout out for help to fold the quilts.  No one hesitated.  We all ran to a quilt, and folded the panel in half, then quarters and again until they were in small bundles.  I was immediately taken by the weight of the quilts, the urgency of the matter and how quickly we all worked together - partnering with friends or someone we just meet.  We ran from one quilt to another, leaving our things behind, until all the panels were folded.  Hot and drenched in sweat, we were then asked to move the panels to the side, where the piles would be covered in plastic.  For many, this now became an individual mission.  The easiest way to carry these panels (the weighed of a limp body) was to reach down and wrap your arms around the quilt, holding it tight against your sweating body, then carrying it over to the side and gently laying it to rest.  Your DNA now part of the of sweat and tears of friends, strangers, and love ones who came before you.

A reminder that we are still in this together.