The first collection of writings by a noted artist and activist whose work has focused on the AIDS epidemic. The HIV epidemic animates this collection of essays by a noted artist, writer, and activist. "So total was the burden of illness—mine and others'—that the only viable response, other than to cease making art entirely, was to adjust to the gravity of the predicament by using the crisis as a lens," writes Gregg Bordowitz, a film- and video-maker whose best-known works, Fast Trip Long Drop (1993) and Habit (2001), address AIDS globally and personally. In The AIDS Crisis Is Ridiculous—the title essay is inspired by Charles Ludlam, founder of the Ridiculous Theater Company—Bordowitz follows in the tradition of artist-writers Robert Smithson and Yvonne Rainer by making writing an integral part of an artistic practice. Bordowitz has left his earliest writings for the most part unchanged—to preserve, he says, "both the youthful exuberance and the palpable sense of fear" created by the early days of the AIDS crisis. After these early essays, the writing becomes more experimental, sometimes mixing fiction and fact; included here is a selection of Bordowitz's columns from the journal Documents, "New York Was Yesterday." Finally, in his newest essays he reformulates early themes, and, in "My Postmodernism" (written for Artforum's fortieth anniversary issue) and "More Operative Assumptions" (written especially for this book), he reexamines the underlying ideas of his practice and sums up his theoretical concerns. In his mature work, Bordowitz seeks to join the subjective—the experience of having a disease—and the objective—the fact of the disease as a global problem. He believes that this conjunction is necessary for understanding and fighting the crisis. "If it can be written," he says, "then it can be realized."

An art project that spread AIDS consciousness like a virus, examined by an artist-activist. In the mid-1980s, the Canadian art group General Idea (AA Bronson, Felix Partz, and Jorge Zontal) created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indiana's famous LOVE logo. This launched Imagevirus, a project of paintings, sculptures, videos, posters, and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. The Imagevirus spread like a virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. In this detailed study of the Imagevirus project, artist and writer Gregg Bordowitz analyzes the work from the perspective of his own involvement with activist art initiatives in New York during the 1980s and 1990s. Bordowitz explores the virus as idea, as tactic, and as identity. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately; when homophobia seemed to drive U.S. AIDS policy; and when the exigencies of AIDS activism created a demand for agit-prop and direct action. General Idea adapted their methods to the new situation, using the threat of viral infection and a poetic understanding of language as their model for artistic production and ideological struggle.

A collection of essays that demonstrate how LGBT people played critical roles in local, state, and national politics In the 1970s, queer Americans demanded access not only to health and social services but also to mainstream Democratic and Republican Party politics. The AIDS crisis of the 1980s made the battles for access to welfare, health care, and social services for HIV-positive Americans, many of them gay men, a critically important story in the changing relationship between sexual minorities and the government. The 1980s and 1990s marked a period in which religious right attacks on the civil rights of minorities, including LGBT people, offered opportunities for activists to create campaigns that could mobilize a base in mainstream politics and contribute to the gradual legitimization of sexual minorities in American society. Beyond the Politics of the Closet features essays by historians whose work on LGBT history delves into the decades between the mid-1970s and the millennium, a period in which the relationship between activist networks, the state, capitalism, and political parties became infinitely more complicated. Examining the crucial relationship between sexuality, race, and class, the volume highlights the impact gay rights politics and activism have had on the wider American political landscape since the rights revolutions of the 1960s. The three sections of Beyond the Politics of the Closet conceptualize LGBT politics both chronologically and thematically. The first section highlights the ways in which the immediate post-rights revolution period created new demands on the part of sexual minorities for social services, especially in health care and housing. The second examines the impact of the AIDS crisis on different aspects of national and local LGBT politics. The last section considers how analyzing LGBT politics can reorient our understanding of "the closet" and illuminate the challenges for those seeking to integrate questions of sexual rights into broader political narratives, whether of the left or the right. Contributors: Ian M. Baldwin, Katie Batza, Jonathan Bell, Julio Capó, Jr., Rachel Guberman, Clayton Howard, Kevin Mumford, Dan Royles, Timothy Stewart-Winter

AIDS & Representation explores portraits and self-portraits made in response to the AIDS epidemic in America in the 1980s and 1990s. Addressing the work of artists including Mark Morrisroe, Robert Blanchon and Felix Gonzalez-Torres through the interrelated themes of sickness and mortality, desire and sexual identity, love and loss, Fiona Johnstone shows how the self-representational practices of artists with HIV and AIDS offered a richly imaginative response to the limitations of early AIDS imagery. Johnstone argues that the AIDS epidemic changed the very nature of visual representation and artistic practice, necessitating a radical new approach to conceptualising and visualising the human form. An extended epilogue considers the ongoing art historicization of the epidemic, re-contextualising the book's themes in relation to contemporary photographic works. More than just a historical discussion of the art of the AIDS crisis, AIDS and Representation contributes to an emergent body of scholarship on the visual representation of illness. Expanding the established genre of the autopathography or illness narrative beyond the predominantly textual, this important contribution to art history and health humanities sensitively unpicks the entanglements between aesthetic form and the expression of lived experiences of critical and chronic ill health.

The Culture of AIDS in Africa presents 30 chapters offering a multifaceted, nuanced, and deeply affective portrait of the relationship between HIV/AIDS and the arts in Africa, including source material such as song lyrics and interviews.

Viewing contemporary history from the perspective of the AIDS crisis, Jennifer Brier provides rich, new understandings of the United States' complex social and political trends in the post-1960s era. Brier describes how AIDS workers--in groups as disparate as the gay and lesbian press, AIDS service organizations, private philanthropies, and the State Department--influenced American politics, especially on issues such as gay and lesbian rights, reproductive health, racial justice, and health care policy, even in the face of the expansion of the New Right. Infectious Ideas places recent social, cultural, and political events in a new light, making an important contribution to our understanding of the United States at the end of the twentieth century.

Playwright, actor and director Charles Ludlam (1943–1987) helped to galvanize the Ridiculous style of theater in New York City starting in the 1960s. Decades after his death, his place in the chronicle of American theater has remained constant, but his influence has changed. Although his Ridiculous Theatrical Company shut its doors, the Ludlamesque Ridiculous has continued to thrive and remain a groundbreaking genre, maintaining its relevance and potency by metamorphosing along with changes in the LGBTQ community. Author Sean F. Edgecomb focuses on the neo-Ridiculous artists Charles Busch, Bradford Louryk, and Taylor Mac to trace the connections between Ludlam’s legacy and their performances, using alternative queer models such as kinetic kinship, lateral historiography, and a new approach to camp. Charles Ludlam Lives! demonstrates that the queer legacy of Ludlam is one of distinct transformation—one where artists can reject faithful interpretations in order to move in new interpretive directions.