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If you are a teenager now, it is unlikely that you knew us well. [...] We are characters in a Tony Kushner play, or names on a quilt that rarely gets taken out anymore. We are the ghosts of the remaining older generation.
David Levithan, Two Boys Kissing (London: Electric Monkey, 2014), p. 3.
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Matt Ebert and Ryan Landry, Marta: Portrait of a Teen Activist, 1990, Video.
“She'll never be silent again! I made this movie with my best friend Ryan Landry in the winter of 89-90. We were demonstrating in Atlanta with ACT UP against the CDC and Anti-Sodomy Laws. Two things stand out: we were chased by gun totting southern thugs, and (years later) some kids asked me how I added Marta into a shot with so many homophobes... that's no computer generated effect kiddies. We were there. My inspiration was the moxie of women in the movement, glorious 60's rebellion, and the arduous task of making people smile during a plague. There's that sense we all feel of being an outsider, the powerless hero who changes the world. Only doesn't quite know it yet... what? This is my favorite film about ACT UP (and the activist spirit) because there is a little Marta in every ACT UPer. Marta, herself an enigma, was a great leveler of factions. I am proud of that. I planned a sequel, Marta For Choice, but my girlfriends and fellow filmmakers would have killed me.”
– Matt Ebert <https://vimeo.com/59859368> [accessed 4 November 2018].
The Kiss That Gripped My Heart: Discovering Nan Goldin’s “Gilles and Gotscho”
Donald Moffett, Call the White House, 1990, Ciba transparency on light box.
“In February 2001 artist and AIDS activist Donald Moffett felt compelled to reinstall a public art work he’d initially made in 1990 [...] this time in response to George W.’s intention to close the White House AIDS office within weeks of assuming office.”
– Douglas Crimp, Melancholia and Moralism: Essays on AIDS and Queer Politics (Cambridge, Massachusetts: The MIT Press, 2002), p. 17.
#Repost @heterogeneoushomosexual (@get_repost) ・・・ This was my artist statement back in 2012. It is simultaneously a tribute to my rad queer community that helped give shape to my voice and the urgency that helped to guide our generation. Growing up in the 80s and 90s was a depressive and fear fueled landscape of conservative fuckery and having HIV meant having AIDS. I once remember asking a friend of mine in middle school if she would still be my friend if I ever contracted HIV. For my generation being gay, queer, bent, or homo meant being HIV positive, meant acquiring AIDS, meant being compromised and insufficient, meant death. Thankfully that changed in 1996 with successful antiretroviral therapy. But damage and stigma had already been put into motion and it’s taken a whole new generation of empowered and surviving warriors to dismantle that stigma. It’s a continual battle; survival is much more than breathing. With the introduction of PReP and PeP we’ve broken down doors and have become brave enough to handle one another again. At the end of the day, the real threat is not the virus or the dis-ease. It’s something far more deadly and suffocating and people are still dying. This disease does not discriminate. However, our bodies are far more sacred than any external force that wants us dead or belittled or ripping one another apart. We have the energy of the universe pulsating through us and all this has existed before and just like that galaxies are born. I hope you will join myself and millions today and everyday to honor those whose lives were lost to HIV/AIDS, those who are battling it everyday, and those whose lives have been devoted to caretaking and protesting and making space. Thank you to everyone in my community who is doing the work and continues keep the flame alive. Keep the flame alive! XO - #AIDSart #HIVAIDS #QueerArt #NativeArt #IndigenousArt #WorldAIDSday #DayWithOutArt #AIDSRelatedArt #DemianDineYazhi #ResistanceIsSurvival
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