Day With(out) Art 25th Anniversary!
+ Commissioned Artist Videos by Rhys Ernst, Glen Fogel, Lyle Ashton Harris, Hi Tiger, Tom Kalin, My Barbarian and Julie Tolentino + Screening Dates & Locations in 35+ Cities Internationally
On 1st December 1989, Visual AIDS organized the first Day With(out) Art—a national day of action and mourning in response to the AIDS crisis. To honor the 25th year of Day With(out) Art, Visual AIDS has commissioned seven artists/collectives—Rhys Ernst, Glen Fogel, Lyle Ashton Harris, Hi Tiger, Tom Kalin, My Barbarian, and Julie Tolentino—to create new short videos to be screened internationally.
Curated By Ivan Acebo-Choy
Art History teaches us that portraiture is the recording of an individual’s appearance and personality. A landscape, furthermore, depicts scenery: grandiose verdant areas, vast or intimate natural refuge on to which individuals affix mythological and divine symbolisms. Nowadays, we can also encounter urban landscapes, images representing the interaction of individuals and their built environments. Yet, a landscape is not a portrait. The individual, Art History may say, is in the scene or the scene surrounds the human.
DAVID WOJNAROWICZ, Untitled (from Sex Series (bridge), 1988-89, gelatin silver print, 14 3/4 x 17 11/16″
Visual AIDS FEATURED GALLERY FOR FEBRUARY 2014
ROBERTO GUSTO, Eastern Bloc, East Village, NYC, 2012, Digital
Dedicated to Mario Montez (1935-2013)
You’re there with a camera. You have a moment to yourself. You’re not on the front line, for once. Wonder manifests itself. You make a photograph of it. You see in metaphors. You press the button.
Look up at monuments melting. Some things take thousands of years to decompose. Other forms last mere seconds. You can’t see most of it anyway because we’re time-based too, and senses have their own parameters. In the grand scheme, you come to appreciate that nothing in your life lasts that long. It’s a nice thought really. We all participate in this splendid plane of existence. But we’re not always being chopped up in the machinery. In those moments between swinging blades, you make notes – you pick up a camera.