Four Works on the Topic of AIDS

Inspired by the last and now incredibly notorious item on a list I read today, I decide to post photos of four artworks dealing with the subject of AIDS. I wish this idea had come to me during a relevant time, like World AIDS Day, but anytime is a good time to discuss the subject. When I was about three, my uncle Jimmy, an artist, died of AIDS. I didn't know about this until high school. While I didn't really know him well since I was so young, I own some of his old art books and sketch pencils, so I hope that if I one day get more noticed in the art world, I can dedicate some of that success to a possible artistic gene in the family. :)

Here are the works:

1. "Fire in my Belly" - David Wojnarowicz (1987) [Va-nah-row-vitch (took me a while to get that correctly.)]

This photo is a still from a video that, once relatively unknown to the public at large, was suddenly launched into the spotlight by angsty, parochial politicians striving to put their foot down on "extravagant" arts funding, while still playing Santa Claus with other industries. The piece was banned by the Smithsonian, which caused an uproar and was later purchased by MoMA. Read more about the controversy and the work here.

The video can be seen on YouTube. (Seriously, what did we do before it?) It's a very moving and well put together film. It's a shame some people get stuck on one image and can't let go of their narrow mindedness. The film is far less exploitative of Christ imagery than Mel Gibson's Passion. But, of course, Wojnarowicz was gay and Gibson is a Catholic, so you know who the politicians will side with.

2. "AIDS" - General Idea (the sculpture version was done in 1987, not certain about the paintings.)

The Canadian artist collective General Idea made up of artists Felix Partz, Jorge Zontal, and AA Bronson worked together from 1969-1994. In the 1980s during the rise of the AIDS crisis, they appropriated Robert Indiana's famous LOVE work and used it to raise awareness on the issue of AIDS. More of these great conceptual works can be seen here. Sadly, both Partz and Zontal died of AIDS in 1994. Bronson continues to exhibit work. Check out his website.


3. "Ignorance = Fear" Keith Haring (1989)


Keith Haring began his career as a graffiti artist in NYC. His images like Radiant Baby and the figures featuring action lines are instantly recognizable and custom-made for activist intepretations. The pink triangle image comes from the badge gay men were forced to wear during the Holocaust. Haring is certainly the most well-known artist on this list and well-worth looking into as his work is such a predominant force in the art world and the world of media studies.


4. "Untitled" (Portrait of Ross in L.A.) Felix Gonzalez-Torres (1991)



I first learned about this work in the book "The $12 Million Stuffed Shark" by art economist Don Thompson. While Thompson did a lot of great research and I have learned a lot so far (I'm a bit over halfway done with reading it) he doesn't really get it when it comes to the value of contemporary art. He's too preoccupied with the art market when really he should understand that prices are irrelevant to the value (cultural, artistic, historical, individual, etc) of the work.

With this piece, Gonzalez-Torres, a Cuban artist like my uncle, sought to create an abstracted portrait of his friend who was suffering from AIDS. At first glance, the piece recalls "Fat Corner" by Joseph Beuys and gnawed chocolate and lard pieces of Janine Antoni, but the "portrait" nature of the work recalls Dan Flavin's neon tubing portraits and Frank Stella's minimalist portrait of Carl Andre. There is a rich history evoked in this work, and while fat and chocolate have deeply ingrained connotations, the colorful candies create a beautiful mosaic for such a troubling subject. It treats a heavy topic with an aesthetically pleasing hand. The candy, which weighed in total 175 lbs, the weight of Gonzalez-Torres' partner Ross Laycock (d. 1991) was meant to be consumed by visitors, illustrating a continuous participatory art event that metaphorically expressed the wasting away of the body due to AIDS. Once fully consumed, the pile is replaced, symbolic of continuous life and the struggle to carry on in the face of adversity. It's rare to see a moving work constructed of things we typically overlook, like junk food, which is one reason this piece is so fantastic. Gonzalez-Torres himself died of AIDS in 1996. See some of his other works here.

Sol LeWitt Numbers His Process

"What you see is what you get."

Sol LeWitt "Sentences on Conceptual Art" (1968)

This is from UbuWeb, a great resource on the avant-garde, I really can't recommend it enough.

In the above link, the father of conceptual art lays out the guidelines for his oeuvre.

Here's a great snippet, #8:

"When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations."

Paintings about Painting

From the left: 'Untitled 1957' - Robert Ryman
Casein and graphite on primed and sized unstretched cotton canvas on manila paper folder on glass on plywood. 9 5/8 x 8 3/8 inches.

'What is Painting' - John Baldessari (1966-1968)
Synthetic polymer paint on canvas 67 3/4 x 56 3/4 inches.

Synthesis
These are paintings about painting which make no solid outside references. They reference themselves,one in form and technique, the other in form and technique.
Different mediums, but the same medium.
Painted lettering upon a canvas; painted canvas.
Strikingly different, but holistically similar.
Both ruggedly modern, wearily self-aware, and a bit posh.

Office irony

Ryman's piece partially uses what we would consider office supplies, pencils and a manila folder.His materials barely hint, he deliberately didn’t title his pieces or, if he did, he would title them a brand of paint or pencil.No outside cues here, what you see is what you get.
Baldessari's is just words, like an office Rolodex, but quotable words like the sign-off at the end of an email.The message is delivered to you, like a phone call or an email, but beyond that, it slinks with it's back against the wall - snarling at its cheekiness and winking at passerby when they aren’t looking.
At least, that’s what I’d be doing.

More about 'What is Painting'

'What is Painting' – is written in all in caps like cue cards, presumably read by the artist, or the critic that comes after.

The words are self-explanatory.In fact, Baldessari was trying to give the public what they already know. It's just words, but they are painted on a canvas. Is it a painting? Of course it is.
The canvas itself was not stretched or primed by Baldessari, the words were painted by a professional sign painter, not the artist, and the text wasn't original - it was found.
The message the painting gives seems like common knowledge, but ironically so, because undoubtedly people will question whether the work is a painting and thus, whether it is art.
They questioned it when it was created and they'll still question it, even though it hangs in MoMa, one of the most well-known art museums in the world.
Baldessari said he always marveled at the audacity and/or ignorance of people who claim to say what a painting is.

Verdict?

Both paintings want to make the public scream - what is this about?
But they already have the answer. The answer is: you’re looking at it.