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- Creating in Crisis: Making Art in the Age of AIDS, 1994
Creating in Crisis: Making Art in the Age of AIDS, 1994
Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Albert J. Winn centralizes his ethnic heritage as an element that not only shapes but informs the reception of his artwork. He states that, "as a gay man, a jew, a person with AIDS, I am often fragmented and marginalized, sometimes idealized. I am broken into elements that have little relationship to my life.” Although the oral tradition that informs most cataclysmic events as they become inscribed in U.S. history has not yet become an integral component of the AIDS project, Winn recognizes the need for establishing such a tradition. His ongoing autobiographical project, “My life until now,” equal parts outreach project and visual installation, has evolved over seven years to document the emotional, cultural, and sexual vicissitudes of AIDS as he experiences them.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29); written on bottom: 39" x 49".
“Albert J. Winn centralizes his ethnic heritage as an element that not only shapes but informs the reception of his artwork. He states that, "as a gay man, a jew, a person with AIDS, I am often fragmented and marginalized, sometimes idealized. I am broken into elements that have little relationship to my life.” Although the oral tradition that informs most cataclysmic events as they become inscribed in U.S. history has not yet become an integral component of the AIDS project, Winn recognizes the need for establishing such a tradition. His ongoing autobiographical project, “My life until now,” equal parts outreach project and visual installation, has evolved over seven years to document the emotional, cultural, and sexual vicissitudes of AIDS as he experiences them.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreCharles Cave "Condoms" scuptures, each 1" x 8", latex; digitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Charles Cave’s “Condoms” are essentially punning objects clearly created to inject humor into the often mordant dialogue surrounding AIDS. Under the auspices of his own “Latex Research Institute,” Cave has fashioned experimental condoms targeted to 16–36-year-old males. These “Condoms” are capped by visages of Bart Simpson, Batman, and Kermit the Frog, recognizing that like Flintstones vitamins, sometimes you have to appeal to your audience. Embracing irony, while promoting the dialogue of safe sex, Cave defuses the tensions of didactic educational practices by proposing this irreverent solution to counter one of most serious contributors to the spread of HIV: the fact that an alarming number of young males refuse to wear condoms during sex. In unique ways, Cave's prophylactics, and much of the work included in Creating in Crisis, function as outreach and educational tools.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Chris Pekoc’s project “Hands that heal” evolved from an image originally created for a poster to raise funds for the Cleveland Health Issues Task Force. Embracing both craft and fine art processes, his richly patinated, machine-stitched collages of image and text emblematize the outreaching hand of a friend who is presently suffering from AIDS.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Chris Pekoc’s project “Hands that heal” evolved from an image originally created for a poster to raise funds for the Cleveland Health Issues Task Force. Embracing both craft and fine art processes, his richly patinated, machine-stitched collages of image and text emblematize the outreaching hand of a friend who is presently suffering from AIDS.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Corbett Reynolds' “Hope springs eternal” is an elegiac installation/video/performance project that incorporates active and static objects with elements of dance and theater in a repetitive and reflective arrangement to poignantly signify the passing of time.” --description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Corbett Reynolds' “Hope springs eternal” is an elegiac installation/video/performance project that incorporates active and static objects with elements of dance and theater in a repetitive and reflective arrangement to poignantly signify the passing of time.” --description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Corbett Reynolds' “Hope springs eternal” is an elegiac installation/video/performance project that incorporates active and static objects with elements of dance and theater in a repetitive and reflective arrangement to poignantly signify the passing of time.” --description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
Show less
Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Corbett Reynolds' “Hope springs eternal” is an elegiac installation/video/performance project that incorporates active and static objects with elements of dance and theater in a repetitive and reflective arrangement to poignantly signify the passing of time.” --description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
Show less
Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Albert J. Winn centralizes his ethnic heritage as an element that not only shapes but informs the reception of his artwork. He states that, "as a gay man, a jew, a person with AIDS, I am often fragmented and marginalized, sometimes idealized. I am broken into elements that have little relationship to my life.” Although the oral tradition that informs most cataclysmic events as they become inscribed in U.S. history has not yet become an integral component of the AIDS project, Winn recognizes the need for establishing such a tradition. His ongoing autobiographical project, “My life until now,” equal parts outreach project and visual installation, has evolved over seven years to document the emotional, cultural, and sexual vicissitudes of AIDS as he experiences them.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreArtwork by visiting artist, Barb Henry; digitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994. This exhibit was funded in part by a grant from the Community AIDS Partnership Project.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Recognizing that there is no such thing as a guilty victim, Benjamin Jones has inscribed enraged epithets and proper names onto the body of his AIDS angel, to both place blame on the political apathy he blames for their disease, and to memorialize those friends lost to AIDS.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreArtwork by Brett Ferlin and Chris Orlando from Creating in Crisis' university/school collaboration; digitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994. This exhibit was funded in part by a grant from the Community AIDS Partnership Project.
Show less
Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Corbett Reynolds' “Hope springs eternal” is an elegiac installation/video/performance project that incorporates active and static objects with elements of dance and theater in a repetitive and reflective arrangement to poignantly signify the passing of time.” --description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
Show less
Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Dan DiPaolo’s harrowing sketches of his friends’ diseases bodies define the devastation AIDS affects upon once healthy figures.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreArtwork by Jason Pribble from Creating in Crisis' university/school collaboration; digitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994. This exhibit was funded in part by a grant from the Community AIDS Partnership Project.
Show less
Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“As a Latino/Native American artist further codified by his queer identity, Ken Gonzales Day’s “Untitled” work capitalizes upon the problematized relations of North and South America, Native and European Americans, and polymorphous definitions of racial and sexual identity. Identifying with the Berdache tradition in pre-colonial Native American culture (Berdache being the term assigned males in that civilization who functioned in essentially feminine sexual and societal roles without being rejected by their communities), Gonzales Day positions himself as “outside” the perception of hegemonic culture’s stigmatizing gaze. Conflating narrative and assembled constructs, his digitally computerized tableaux utilize fable and memory to metaphorize historical issues of diversity and disease as they pertain to the modern-day AIDS crisis.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreCreating in crisis exhibit photos; digitized photo negatives from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994. This exhibit was funded in part by a grant from the Community AIDS Partnership Project. Exhibit artists: Kim Abeles, Marlene Aron, Charles Cave, Marli Conner, Ken Gonzales-Day, Daniel A. DiPaolo, Frank Green, Mark Howard, Kathy IIg, William Martin Jean, Benjamin Jones, Elliott Linwood, Laura Migliorino, Maria Parasson, Christopher Pekoc, Philip Pirolo, Corbett Reynolds, Tom Ritter, Spiral Arts, Albert J. Winn, Video Against AIDS. Curated by Jeffery D. Grove, Michael Milligan, and Dan Postotnik.
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Show moreMaria Parasson's "you can't get AIDS from tears" mono-print; digitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Functioning as educational interactions, Maria Parasson’s monotypes combine straightforward imagery and factual text to counter some of the simple yet pervasive cultural fallacies regarding how the HIV virus that leads to AIDS is transmitted. Positing the female as subject (an absent identity in much AIDS-related discourse), her captions correct some of the irrational misconceptions concerning aids, stating that: "you can't get aids from tears,” “you can’t get AIDS from a kiss,” and “you can’t get AIDS from a telephone.” While these images appeal in an almost faux-naïve or cartoon-like manner, the messages they promote are serious.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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Show moreDigitized photo negative from the SPACES Archive collection (Spec-Coll-00052) -- Series 6: Audio Visual, 1938-2014 -- Exhibit Slides: A-C, 1980-2006 -- Creating in Crisis: Making Art in the Age of AIDS, 1994 (Box 69, Folder 29).
“Cleveland artist Mark Howard translates the simple process of cut-out stenciling into a complex, baroque pattern entitled “Death.” Attracted by its vibrant color and what appears at first glance to be an overall, almost non-objective patterning, the viewer quickly recognizes the sophisticated interlace of skeletal and heart imagery Howard has constructed to equate issues of life and death.”--description written by Jeffrey D. Grove for the exhibit program for SPACES: Creating in Crisis: Making Art in the Age of AIDS, May 27-July 1, 1994.
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