Visual
AIDS and The Body
present:
American Noir: Into a Dark Past
Curated by Robert Atkins
RICHARD SAWDON SMITH
Listening to Myself: Closed, 2002,
C-type print, 24" x 20"{.
NOTE: Previous exhibitions are also available
on the website.
Until it went online, the Visual AIDS artist registry
was a mystery to me. I never consulted it before moving from New York
to California in 2002. But since then I have followed with great interest
the monthly web shows culled from it. And since the registry recently
went online I’ve poked around in it, invariably drawn to the work
of friends, most of them deceased, and usually with pleasure.
The registry accords the curator of these monthly web
shows enormous freedom. When I organized (with Thomas Sokolowski) what
may have been the first international traveling museum show devoted
to AIDS art in 1990 (From Media to Metaphor: Art About AIDS)
we were challenged to confront many (unspoken) criteria involving the
diversity of both the artists and art exhibited. Only a few major exhibitions
devoted to AIDS-art have been mounted since, so the challenges (and
unspoken criteria) remain pretty much the same, although the social
and cultural contexts have dramatically changed.
Visual AIDS’s virtual exhibitions are less complicated.
The ease and frequency with which they are mounted makes them casual
and personal, idiosyncratic and amenable to experimentation. In literary
terms, curators have selected approaches that range from the philosophical
essay or the political tract, to the character sketch or tone poem.
I began by simply browsing artists and artworks represented in the registry,
again returning mostly to works by friends. I make no claims to have
looked at images by each of the represented artists, nor do I make apologies
for not doing so. In fact, I find it difficult to look at images of
works without at least having experienced—in the “flesh”,
as it were—other works by the same artist. Art, after all, is
a complex form of knowledge that is highly dependent on our embodied,
right and left brain, experiences of it. (But, contradictorily, this
didn’t stop me from choosing for the final image in my web show,
a work whose maker I was not only unfamiliar with, but the dimensions
of which were only described as “[shoe] size 10”.)
As I looked at the works I’d chosen, it was obvious
that one distinct part of my sensibility had come into play—a
part I’ll call American noir. I borrow this term from film—as
in film noir--of course, which refers to a genre of hardboiled
American crime dramas of the 1940s and 50s shot in a German Expressionist-derived
style of black-and-white cinematography. (Key examples include the films
adapted from Raymond Chandler’s novels such as The Big Sleep,
Farewell My Lovely and The Long Goodbeye.) They are simultaneously—and
paradoxically—highly subjective but emotionally removed. Typically
described as “stylized (melo)dramas that emphasize cynical attitudes
and sexual motivations,” they are above all else—and this
is unusual in visual art—highly narrative.
Like the blues, noir isn’t typical art
historical language. Is it insufficiently formal? Too theatrical? Ironically,
art criticism during the film noir era of Abstract Expressionism was
dominated not by art historians but by poets whose language was redolent
with sensibility. With this in mind, let me evoke the American noir
sensibility through the contemporary notion of key words (here grouped
for poetic effect): Contorted Narrative Alienation / Distant Blue
Darkness / Dramatic Adjectival Allure / Visceral Black & Blue Bruises
/ Pleasureless Expressionist Stiletto / Awkward Lone Gothic / Unforgiven
Repressed Revulsion / Strangled Outsider Vernacular. Into the dark,
indeed.
The prototypical film noir archetype is the detective
or private investigator so often at its heart. To recount my own exhibition-related
sleuthing, for more than two decades I’ve looked for additional
works by the wonderful artist John Sapp, who was included in the long-ago
Media to Metaphor exhibition I helped organize, but who must
have died around that time. (There are currently no images of his work
in the online registry.) When discussing my ideas for this web show
with the always-helpful Visual AIDS staff, I was directed to a couple
of artists, including one, Nancer LeMoins, whose work I’ve selected
as the show’s final image. It’s called Woman on Shoe
1, and it’s an intriguingly metaphorical photo-image of a
woman’s face printed on the sole of a man’s show. Perhaps
you’ve heard the term gum shoe? (If you haven’t,
it means detective.) In the world of American noir, every picture
has a story attached.
In the Curator’s Statement:
American
Noir: Into a Dark Past
B i o g r a p h y
Robert Atkins is an art historian and writer.
A former columnist for the Village Voice, he is the author of
several books, the most recent being Censoring Culture: Contemporary
Threats to Free Expression with Svetlana Mintcheva). He is
a co-founder of Visual AIDS, the co-curator ( with Tom Sokolowski)
of From Media to Metaphor: Art About AIDS, the first
international traveling museum show of its kind, and the producing-editor
of Artery: The AIDS Arts Forum, a unique online resource devoted
to the intersection of AIDS and the arts.
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. |