Essay Outline/ Rough Draft
Intro:
Issue: Approximately 1 million people worldwide die from HIV/AIDS every year. (HIV) is an incurable, but treatable, infection that attacks the body’s immune system. As a result, the body becomes susceptible to diseases, infections, and some cancers, especially if HIV has progressed to its third stage: (AIDS). HIV/AIDS is treatable today but before 1987, there was no treatment available. When the first cases of HIV/AIDS appeared in 1981 and began the AIDS Epidemic in the United States, hundreds of thousands of people died, particularly marginalized groups such as queer men, immigrants of color, and drug users. HIV/AIDS is still a global health concern but activists have ensured that the lives that were lost before and after its discovery have been memorialized
Introduce Artifacts: One act of commemoration is the AIDS Quilt Memorial. The quilt was conceived by Cleve Jones and the NAMES Project Foundation in 1985 as a means to document, honor, and grieve those who died from AIDS. It now consists of over 50,000 unique panels, each personalized to a lost loved one, and helped to raise over $500,000 towards AIDS research in the late 1980s. What started off as 1920 panels grew into thousands as the NAMES Project Foundation toured across the United States, accepting additional quilt panels from each audience as it traveled. Years later in 1991, Félix Gonzáles-Torres created an art installation called “Untitled” (A Portrait of Ross in L.A.) as an allegorical representation of Ross Laycock, his partner, who died from an AIDS-related illness that same year. It consists of 175lbs of candy wrapped in multi-color cellophane to represent Laycock’s ideal body weight and viewers are encouraged to take pieces to demonstrate Laycock’s weight loss due to his illness.
Thesis: The AIDS Memorial Quilt and “Untitled” (A Portrait of Ross in L.A.) each tackles the loss of loved ones to HIV/AIDS through colorful displays of representative artwork, and whose purposes can both be interpreted through collective memory and visual rhetoric; however, the scale of death and the passage of time between these two artifacts changes how the artists choose to represent loss.
Preview: One is a collaborative fiber art memorial, and the other, is an interactive, edible art installation: both memorials raise awareness about the tragedy of HIV/AIDS, honor lost loved ones through immortalization, and induce empathy from their audiences by portraying loss in a quantifiable display of art.
BP1: (Artifact 1: History, Strategies)
Description: Size in number, size by panel, examples of panels.
History/Context:
- Height of the AIDS Epidemic – 1985
- Assassinations of Harvey Milk and George Moscone years prior – Annual Candle Light Vigil-March
- Cleve Jones learns of the thousands of deaths in San Fransisco during the march and collects placards with the victims’ names on them (looks like a quilt)
- The Formation of the NAMES Project Foundation (a few friends, working off donations, etc.)
- The creation of the AIDS Quilt – it’s display in front of the National Mall
- S. tours and raising money for AIDS research/ support organizations
- Compare and contrast size/number/ where is it now
Strategies: (Public Memory and Visual Rhetoric)
Public Memory: Encourages the audience to empathize with victims and their families, forces people to acknowledge the danger of the AIDS crisis and the need for research, government action, and societal change in attitudes regarding: (homophobia, racism, and drug abuse). Settings: National Mall, White House, Washington D.C., across the U.S. – raises awareness everywhere while repeatedly coming back to be displayed where lawmakers make decisions regarding healthcare, sexual education, and LGBTQ+ rights.
Visual Rhetoric: Each victim is remembered, honored, and grieved by a personalized panel of the quilt – possibly one made by a friend, loved one, or family member (or a NAMES member). Visually quantifies the deaths from HIV/AIDS to make people understand just how many people died. Fiber art design choice is inspired by social movements – connected to the Gay Rights Movement.
BP2: (Artifact 2: Change in Context, Strategies)
Description: 175 lbs of brightly colored cellophane-wrapped candy pieces spilled into a corner. Displayed in the Art Institute of Chicago. One of Gonzales Torres’s many candy-based artworks.
History/Context:
- Give a brief description of Félix Gonzáles-Torres (birth/death(Gonzales Torres also died in 1996 from AIDS), his art career, and his art in connection to his queer identity/activism). Give a brief description of Ross Laycock (birth/death, his involvement with activism, his connection to Félix Gonzáles-Torres).
- “Untitled” was created in 1991, 6 years after the AIDS Quilt Memorial; ART/ treatment has been discovered for about 4 years now. Ross Laycock was diagnosed with AIDS in 1987 the same year treatment was discovered.
Strategies: (Public Memory and Visual Rhetoric)
- Public Memory: Interactive w/ audience, the audience actively participates in the representation of Laycock’s weight loss/ declining health. Refillable – Laycock is provided with everlasting life.
- Setting addition: “Unfinished: Thoughts Left Visible. The exhibition centered on the question of when an artwork is considered finished, and included works which were left incomplete by their makers, as well as those which were intentionally unfinished as a way to embrace unlimited possibilities.”
- Visual Rhetoric: Induces emotion/empathy from its simplistic design which differs from a general audience’s usual experience with self-portraits. Brightly colored – could represent Laycock’s life and zest, or it could also just be eye-catching.
BP3: (Synthesis – What the Comparison Reveals)
Both: Honor/ grieve/ document loved ones who passed from HIV/AIDS. Raise awareness about the impact of HIV/AIDS. Induce empathy and emotion through collective memory and visual rhetoric.
- Intended purposes:
- AIDS Quilt – document a community of loved ones’ lives and deaths and raise awareness/information about the large-scale devastation and dangers of HIV/AIDS + money for research (tours/ money raised).
- “Untitled” – focuses on and honors an individual who passed from HIV/AIDS. Raises awareness by forcing the audience to participate in the subject’s metaphorical weight loss/ suffering.
- Similar but personal vs. communal
- Scale:
- AIDS Quilt – large-scale devastation. (Technically “more devastation” by number, less graphic in concept. Commemorates their life and personhood)
- “Untitled” – a single person’s death and suffering. (Focuses on the intimate details of what AIDS can do to a person’s body and how it kills them. Very graphic and emphasizes death and suffering despite the “refilling” of eternal life)
- Both are very impactful in different ways.
- Medium/Artists:
- Quilt: Community-based. Can be both metaphorical and literal depending on the panel and the person.
- “Untitled”: personal to Félix Gonzáles-Torres and Ross Laycock. Abstract, metaphorical, allegorical.
Conclusion:
- Review Main Points: The Quilt and “Untitled” both tackle the issue of HIV/AIDS in these ways (both memorials raise awareness about the tragedy of HIV/AIDS, honor lost loved ones through immortalization, and induce empathy from their audiences by portraying loss in a quantifiable display of art) but differently: Size/scale of subject, motivation/ purpose, mediums, etc.
- “So what?”: These memorials are important because they recognize marginalized individuals who would not have been honored otherwise because of past social norms. Memorials serve as a means of tracking progress and to build community.
- “Look to the future”: Essentially, HIV/AIDS is still an issue, but there is still rigorous research done and treatment options are becoming more available and widespread.