June 1 - 30, 2010

Visual AIDS and The Body

look, you see me
Curated by Paul Mpagi Sepuya

Sam Orwen, Lovers, 1982
Embrace, 1997
Gelatin silver print, 12" x 8"

This month, Emily Nepon curates the artwork of Archive Members; Angel Borrero, Michael Borosky, Joe Brainard, Greg Cassin, Michael Golden, Derek Jackson, David King and Preston McGovern

NOTE: Previous exhibitions are also available on the website.

In the Curatorís Statement:

Browsing the Visual AIDS archive, I was drawn to several artists' works that focused on men's representations of women and women's representations of men. Within the archive these were rather rare to come across and I wanted to bring several examples together and think about the connection and roles that each play for and towards each other in a queer or other marginalized positions.

There is documentation of public demonstrations and non-political moments: W. Benjamin Incerti's intimate photograph Untitled (1991), which captures the strength and emotion of two women embracing at an AIDS protest, and Vincent Cianni's photograph Dancing at Johnny's Birthday Party, Berry St., Williamsburg, Brooklyn (1997) of two teenage boys dancing together side-by-side with several boy-girl pairings. Incerti (1951-1993) was a Boston-based activist and photographer who worked to promote AIDS education and government awareness and Cianni is a photographer whose work includes life in pre-gentrified Williamsburg of the 1990s.

In David Wojnarowicz's Untitled from Sex Series (for Marion Scemama) (1988-89), he inserts an image of two women engaged in a sex act into a stock image of the Brooklyn and Manhattan Bridge spans, making the private public, speaking to the personal and political urgency of the AIDS epidemic. The work questions what we look at and what we ignore of gay sex in mass culture, and the relationship between men and women in AIDS activism. And I am intrigued by Loreen Bryant, an older black woman who lives in New York, and her choice of young, white homoerotic subject matter and the matter-of-factness of the drawings she makes like Draws Pulling (2005) and Untitled (Exhaustion) (2005). I wonder what this religious mother and grandmother thinks about the focus on white male body in the promotion of AIDS, sexuality and health.

There are David Abbott's paintings, Rita (1996) and All Girls Together (1992) of gender-ambiguous "women"; Nelson Edwin Rodriguez' photograph Untitled (Self-Portrait) (1994) of himself posed flirtatiously competing with the gaze of the poster-girl staring at us from behind him; and Darrell Jones' drawing Women (1996) of three women modeling popular variations of the time's hair stylings. These charming and un-self-consciously honest works all speak to the queer spell that women cast over men.

Tara Popick's photographs are of anonymous figures: Untitled (1998) of a pregnant woman pulling her partner close as he kisses her belly, and Embrace (1997), a similarly composed image of a nude man looking down at the light touching his hands. There is an unquestioning openness in these images. Popick's work suggests a longing both in her subjects themselves and what she sees in them. In René Capone's drawing Prodigal Lover (2001) what might at first be taken as a young man's struggle (to whom or what has he returned?) may best be left open as we know not whether the lover from the title is the male or female, the sexuality therein, nor the nature of their embrace.

b i o g r a p h y

Paul Mpagi Sepuya is a Brooklyn-based artist working in photography, zines and video projects that have been exhibited in New York, Los Angeles, Basel, Sydney, Toronto, Paris and Berlin. His work has been featured and reviewed in BUTT, Interview, Capricious, Paper and The New York Times, among others. A monograph of his work, Beloved Object and Amorous Subject, Revisited, was published by Envoy Enterprises, New York in 2008.

He was recently featured in the New York City exhibitions 30 Seconds Off an Inch, at the Studio Museum in Harlem, and Compassion, at the Union Theological Seminary, curated by AA Bronson. Sepuya studied photography at NYU's Tisch School of the Arts. He will have an upcoming solo exhibition at Envoy Enterprises in New York City in September-October 2010 and is publishing a collaborative book project with artist Timothy Hull titled The Accidental Egyptian and Occidental Arrangements, out this summer. He was a 2009-2010 LMCC Workspace artist-in-residence and will be a summer artist-in-residence this June at the Center for Photography at Woodstock.

Every month, Visual AIDS invites guest curators, drawn from both the arts and AIDS communities, to select several works from the Frank Moore Archive Project.

Founded in 1988 by arts professionals as a response to the effects of AIDS on the arts community and as a way of organizing artists, arts institutions, and arts audiences towards direct action, Visual AIDS has evolved into an arts organization with a two-pronged mission: 1) Through the Frank Moore Archive Project, the largest slide library of work by artists living with HIV and the estates of artists who have died of AIDS, Visual AIDS historicizes the contributions of visual artists with HIV while supporting their ability to continue making art and furthering their professional careers, 2) In collaboration with museums, galleries, artists, schools, and AIDS service organizations, Visual AIDS produces exhibitions, publications, and events utilizing visual art to spread the message “AIDS IS NOT OVER.”

The Body is now the most frequently visited HIV/AIDS-related site on the Web, according to the Medical Library Association and also the most frequently visited disease-specific site on the Web, according to Hot 100. The Body contains a rich collection of information on topics ranging from HIV prevention, state-of-the-art treatment issues, humor and art. An invaluable resource, The Body is used by clinicians, patients and the general public. Part of The Body's mission is to enable artistic expression to reach the Web, and to join art with other resources needed to help the public comprehend the enormity and devastation of the AIDS pandemic and to experience its human and spiritual dimensions.

Visual AIDS 
526 W. 26th St. # 510, New York, NY 10001
Phone: 212.627.9855  Fax: 212.627.9815

Visual AIDS Gallery

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“Cock size doesn’t matter to me. I didn’t start doing those gigantic cocks until the censors let the magazines publish full frontal nudity. I had to come up with something you couldn’t get in a photograph. So those big cocks are all for the other guys — I’m an ass man myself.” — Tom of Finland