AIDS Across Media: Intermedial Art and Political Response
The AIDS epidemic constituted an unprecedented moment in modern history, as contagion appeared to be directly linked to sexuality. This association fostered intense discrimination against the gay community and, more broadly, against people living with AIDS. In response to the urgency and severity of...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/ranam, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
| Cyhoeddwyd: |
Recherches anglaises et nord-américaines
2026
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| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | The AIDS epidemic constituted an unprecedented moment in modern history, as contagion appeared to be directly linked to sexuality. This association fostered intense discrimination against the gay community and, more broadly, against people living with AIDS. In response to the urgency and severity of the crisis, artists developed new forms of expression that often combined text and image in order to maximize communicative impact and political effectiveness. One of the most iconic projects was the AIDS Memorial Quilt, which gave the epidemic a powerful material and visual presence by transforming individual loss into a collective, monumental artwork. Artists such as Keith Haring and David Wojnarowicz also became prominent for their intermedial practices, integrating text and imagery to denounce governmental indifference, social stigma, and censorship. At the same time, conservative sectors of society sought to suppress images and manipulate language in order to control public and political responses to the epidemic. This tension became particularly visible in the controversy surrounding Robert Mapplethorpe’s exhibition The Perfect Moment. |
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