性奴调教

June 5, 1981, marked the first published descriptions of the disease that would come to be known as acquired immunodeficiency syndrome, or AIDS, a complex of opportunistic infections that take advantage of an immune system weakened by infection with the human immunodeficiency virus, or HIV. . AVERT provides this .

It may be difficult to appreciate just how devastating the impact of HIV/AIDS was upon those infected in the early years. Lack of scientific knowledge about the disease and its causes led to unfounded rumors and consequent discrimination against, and ostracizing of, both HIV+ patients and people in high risk groups, particularly gay men. The epidemic devastated whole communities with predominantly gay residents, yet also led to grassroots activism to address the needs of the ill, to educate those at risk, to fund scientific research, and to influence government policy and public opinion. The initial U.S. government response was distressingly tepid, but has since .

The magazine article referenced by Sokolowski is likely the which appeared in the January 17, 1993, issue of Newsweek. This demonstrates how visual imagery played a major role in helping to break down the fear and misinformation that dogged those with HIV/AIDS.

Sokolowski notes that the arts community has been disproportionately affected by HIV/AIDS, and has responded to the crisis in the most natural way it could, through the creation and presentation of art. works for HIV prevention and AIDS awareness through visual art projects, provides assistance to artists living with HIV/AIDS, and . A similar legacy initiative, the , is now housed in the archives of the New York Public Library.

As Sokolowski mentions later in this segment, in 1989 Visual AIDS initiated , an annual observance each year on World AIDS Day (December 1), for which galleries and museums display (or sometimes remove) works of art, or present other programs to mark the impact of HIV/AIDS on the arts community. MOCRA has participated in many Day With(out) Art observances. Sokolowski mentions other similar arts-related organizations, including .

Pablo Picasso, Portrait of Gertrude Stein, 1905鈥�1906. Oil on canvas. .

Along with her brother Leo, supported and collected the work of Henri Matisse, Georges Braque, Juan Gris, and Pablo Picasso long before their work was generally accepted and acclaimed.

As seen in this , the disease has affected different countries, regions, and tribal groups in various ways, and the response has been equally varied. HIV/AIDS has spread widely and rapidly, and had a severe impact on life expectancy, family structure, and economic growth and development. The dire poverty in much of the continent has also raised serious ethical and practical issues for drug manufacturers and the agencies that provide treatment.

The has provided significant financial resources to combat and treat HIV/AIDS in Africa, although these efforts are beset with contention over issues such as abstinence education, abortion and clean needles for IV drug users.

, including an interview with co-creator Patrick O'Connell, who describes the meetings in May 1991 that led to the ribbon's creation. The inspiration in part came from American , which have been used to signal the welcome home of a released convict by his wife or lover. This symbolism was adapted as a symbol of support first for the U.S. hostages in Tehran in 1979, and for the troops in the first Gulf War in the early 1990s.

Actor Jeremy Irons wore a red ribbon while co-hosting 45th Tony Awards ceremony in 1991, as . Awareness ribbons of various colors have become commonplace sight in the years since, such as pink for breast cancer.

 

To commemorate 20th anniversary of the red ribbon, that can be attached to the red ribbon.

Actress Dame Elizabeth Taylor (1932鈥�2011) was an early and prominent champion for HIV and AIDS programs. She co-founded the in 1985, and established the in 1993.

A jewel-studded ribbon like the won described by Sokolowski was in May 2000.

Sokolowski touches briefly on a turbulent period in the late 1980s and early 1990s when art, morality and politics collided over a variety of issues, including AIDS and the public funding of art. Artist , along with photographer (1946鈥�1989) and others, was a lightning rod for attacks on the public funding of art through the and the . Their chief adversary was (1921鈥�2008) of North Carolina.

For example, in 1990 the over an exhibition of photographs by Mapplethorpe. and the wider cultural context. Scholar Cynthia Koch, writing for the Penn National Commission on Society, Culture and Community, takes a .

Although the 鈥渃ulture wars鈥� have quieted down to a slow simmer, they still boil over from time to time over works that address AIDS, such as the by David Wojnarowicz (1954鈥�1992).

Sokolowski mentions (1911鈥�2004), as well as former mayor (1924鈥�2013) and (1920-2000), both of New York City. Reagan and Koch were both strongly criticized by AIDS activists for their inaction concerning the spreading epidemic. O'Connor had long been an antagonist of the gay and lesbian community in New York鈥攈e fought against non-discrimination laws that included sexual orientation, and opposed condom distribution to reduce the spread of AIDS鈥攚hen he was appointed by Reagan to a presidential commission on AIDS.

Juan Gonz谩lez (1942鈥�1993) was noted for his exquisite magic realist paintings that incorporated art historical references but evoked a state of dreamlike wonder. His work Don't Mourn, Consecrate was first presented in 1987 at New York University's Grey Art Gallery, in street front windows overlooking Washington Square.

Juan Gonz谩lez, Don鈥檛 Mourn, Consecrate, 1987. Installation at Grey Art Gallery , New York University, in 1987. Photo-collage with mixed media. MOCRA collection.

The work subsequently lent its name to MOCRA's exhibition Consecrations: The Spiritual in Art in the Time of AIDS (1994) and was featured in MOCRA at Fifteen: Good Friday (2009), Good Friday: The Suffering Christ in Contemporary Art (2010), and Gratitude (2019).

Gonz谩lez quotes a work by Hans Holbein the Younger, now found in the Kunstmuseum Basel.

Hans Holbein the Younger, The Dead Christ in the Tomb, 1521鈥�1522. Oil and tempera on lime wood. .

Two of the people Sokolowski mentions as taking part in the "AIDS tally" ritual are (1926鈥�2018), one of the earliest scientists to devote herself to AIDS research, and (b.1935), a playwright, author, and LGBT rights activist. His 1985 play won the 2011 Tony Award for best revival.

Sokolowski mentions , an activist/artist collective associated with the AIDS activist group . ACT UP made potent use of arresting visuals, such as "Silence=Death," which took the upside-down pink triangle used by the Nazis to stigmatize homosexuals, and inverted it as a sign of resistance and power.

Gran Fury, Silence=Death, 1987. Color lithograph.

Gran Fury become formalized as a collective in 1988, following a , titled 鈥淟et the Record Show. . .鈥� Beneath a neon Silence=Death logo was a gallery of 鈥淎IDS criminals鈥� including televangelist (1933鈥�2007)鈥攚ho declared 鈥淎IDS is God鈥檚 judgment of a society that does not live by His rules鈥濃�攁nd conservative columnist (1925鈥�2008), who opined that 鈥淓veryone detected with AIDS should be tattooed in the upper forearm, to protect common needle users, and on the buttocks to prevent the victimization of other homosexuals.鈥�

Thomas Sokolowski uses three well-known artworks as examples of 鈥済ood art.鈥�

Michelangelo Buonarotti, 笔颈别迟脿, 1498鈥�1499. Marble. St. Peter's Basilica, Vatican City. Photo by Stanislav Traykov, Niabot (cut out) / CC BY-SA (http://creativecommons.org/licenses/by-sa/3.0/)

The famed 笔颈别迟脿 by Michelangelo (1475鈥�1564), located in St. Peter's Basilica, depicts the dead Jesus, brought down from the Cross and laid on Mary's lap. .

Leonardo da Vinci, The Last Supper, 1495鈥�1498. Tempera on gesso, pitch and mastic. Santa Maria delle Grazie, Milan.

The famous fresco by Leonardo da Vinci (1452鈥�1519) of The Last Supper, located in a refectory in a monastery in Milan, Italy, has endured both bombings and restorations over the centuries. More recently, it played a central (if dubious) role in Dan Brown's novel The Da Vinci Code. .

Guernica, the imposing mural by Pablo Picasso (1881鈥�1973), commemorates the bombing of a Basque town in April 1937 by German forces during the Spanish Civil War. It has become an iconic expression of the horrors of war, especially the suffering imposed on innocent civilians. .

The 1931 depiction of George Washington and his forces crossing the Delaware River by Allen Tucker (1866鈥�1939)鈥斺�攚ill not be easily confused with the much better known 1851 version by Emanuel Leutze (1816鈥�1868), .

See the discussion at 6:46 above for more about the Works Progress Administration (WPA).

(1571鈥�1610) is an artist who continues to command the fascination of contemporary audiences, and the mysteries surrounding his life and death are nearly as compelling as his paintings. Sokolowski is likely referring to the , which is home to Caravaggio鈥檚 highly regarded painting The Calling of St. Matthew.

Several touring exhibitions of objects from the tomb of the Egyptian Pharaoh Tutankhamun (c.1342鈥揷.1325 BCE) have traveled the globe since the 1960s. In particular, The Treasures of Tutankhamun, which toured in the 1970s, and ushered in the era of the modern museum blockbuster.

(1933鈥�2004) is an American novelist, essayist, director, and human rights activist. Illness as Metaphor was published in 1978; a companion volume titled AIDS and its Metaphors appeared in 1988. The two works are now published together鈥�.

is a bacterial disease that primarily effects the lungs, with symptoms including bloody coughs and weight loss. As Sontag explores in her essays, . One perennial example, the 1896 opera , by Giacomo Puccini (1858鈥�1924) was updated a century later in the 1996 Broadway musical by Jonathan Larson (1960鈥�1996), with AIDS assuming the role of tuberculosis.

Thomas Sokolowski organized Precious: An American Cottage Industry of the Eighties in 1985 for New York University鈥檚 . Find the . Read brief discussions of the exhibition in and the .

(b.1948) is known for creating glittering mixed-media constructions that speak directly to issues of sex, class and religion, particularly gay and working-class consciousness as well as theological, philosophical and aesthetic ideas/ideals. An art pioneer in the use of reflective materials, he has influenced subsequent generations of artists鈥攊ncluding Adrian Kellard鈥攚ho have engaged a similar 鈥済litter鈥� aesthetic, exploring themes of glamour, sexual transgression, camp and kitsch, and the relationship between 鈥渉igh鈥� and 鈥渓ow鈥� culture. Lanigan-Schmidt was featured in the retrospective in 2012.

emerged in New York in the mid-20th century as the first American art movement to achieve worldwide influence. The term applies to a broad range of artists and approaches to art. .

The corporal works of mercy are acts by which, in the Christian tradition, a person helps another with physical or material needs. They include feeding the hungry, giving drink to the thirsty, sheltering the homeless, clothing the naked, visiting and ransoming those captive or in prison, visiting the sick, and burying the dead. The corporal works of mercy are complemented by spiritual works of mercy. .

In Judaism, the Hebrew term mitzvah can refer to the divine commandments given in the Torah, or more broadly to moral deeds performed as a religious duty鈥攖hat is, an act of human kindness. .

The 1988 Grey Gallery exhibition of photographs by was titled Portraits in the Time of AIDS. Read a , or this that places the exhibition in its cultural context.

about the 1992-1993 international traveling exhibition From Media to Metaphor: Art About AIDS. Read of the exhibition. .

was shown at the University of Maryland from November 2 to December 23, 1994.

Don't Leave Me This Way: Art in the Age of AIDS was shown at the National Gallery of Australia in 1994. .

MOCRA hosted community-wide Day With(out) Art observances in 1994, 2000, and 2006.

Funerary stele of Licinia Amias, 3rd c. Marble. Baths of Diocletian, Rome.

(螜围螛违危) is Greek for fish, but also has an ancient Christian association as an acronym for I膿sous Christos, Theou Yios, S艒t膿r, which translates into English as "Jesus Christ, Son of God, Savior."

Sokolowski references American artist Jeff Koons (b. 1955) and in particular the series , featuring explicit portrayals of Koons in intimate encounters with his wife, Italian porn star Cicciolina (Ilona Staller). .

Sokolowski also mentions 惭颈肠丑别濒补苍驳别濒辞鈥檚 famous frescoes for the . .

Sokolowski is making an oblique reference to the NEA and NEH funding controversies. See the Listening Guide to the Conversation above at 22:55.

has appeared in many context and media since its creation in 1964.

Gran Fury, Riot, 1988. Oil and dried pigment on canvas. NGBK, West Berlin, West Germany.

The art collective Gran Fury, associated with AIDS Coalition to Unleash Power (ACT-UP), reworked Indiana's image with the word "RIOT." See the Listening Guide to the Conversation above at 23:50, for more about Gran Fury and ACT-UP.

See the Listening Guide to the Conversation above at 23:50, for a discussion of Don't Mourn, Consecrate, by Juan Gonz谩lez.

was shown at the New Museum Sept. 13鈥揇ec. 29, 1991. Sokolowski mentions a .

Sokolowski mentions one of the lasting testaments to the widespread response to AIDS, , sections of which still travel to communities around the country each year. In early 2020, The Quilt and associated archival material were transferred to the stewardship of the National AIDS Memorial in Washington, D.C.

Maya Lin (b.1959) won a competition in 1981 to design the located near the National Mall in Washington, D.C. The Memorial receives around 3 million visitors a year. .

Dorothea Lange, 鈥淎dvertisement for current movie in town. Westley, California. The child is a flood refugee from southeast Missouri,鈥� photographed in April 1939. Collection of the Library of Congress.

The was a Roosevelt administration effort during the Great Depression to address American rural poverty. Its innovative photography program (1935鈥�1944) engaged photographers and writers to document and report on the plight of poor farmers. Images such as those by Dorothea Lange rank among America鈥檚 iconic images. .

In 1993 New York University's Grey Art Gallery presented a solo exhibition by Bill Jacobson (b.1955) titled Interim Figures. .

Hillary Leone (b.1962) and Jennifer Macdonald (b.1958) had a 10-year collaborative relationship creating art that addressed social and political issues such as the AIDS pandemic, censorship, and the marginalization of those viewed as 鈥渙ther.鈥� Their work included objects and installations, including works with braille executed on sandpaper. .

Barbara Kruger, Girl, Don鈥檛 Die for Love, 1992. Offset lithograph. Collection of the Mildred Lane Kemper Art Museum, Washington University in St. Louis.

Barbara Kruger (b.1945) is well known for works emblazoned with bold slogans that carry multiple, sometimes contradictory, meanings. . The work referenced by Sokolowski was shown in a 2005 exhibition at the Mildred Lane Kemper Art Museum titled .

Adrian Kellard, Man of Sorrows, 1989. Latex on wood with wire mesh. MOCRA collection. Photo by Jeffrey Vaughn.

Adrian Kellard was the subject of MOCRA鈥檚 2011 exhibition Adrian Kellard: The Learned Art of Compassion. Learn more about Kellard in MOCRA Voices, Episode 2: Adrian Kellard.

is a bacterial disease that has killed millions of people across the century during various outbreaks. The most notable was in 1347鈥攁n event known as the Black Death鈥攚hich took the lives of one-third of the population of Europe.

A number of writers and artists have drawn parallels between the Black Death and the AIDS pandemic. Among them is Robert Farber, whose Western Blot series juxtaposes the words of medieval victims of the plague and contemporary people living with HIV/AIDS. Robert Farber: A Retrospective, 1985鈥�1995 was shown at MOCRA in 2000.

Robert Farber, Western Blot #19 (detail), 1990. Mixed media on wood panels. Courtesy of the Robert D. Farber Foundation.