Normalization of HIV/AIDS Through Art Essay Assignment paper
Normalization of HIV/AIDS Through Art Essay Assignment paper
The AIDS epidemic was associated with homosexuality due to the initial similar cases among gay males. In particular, it was observed and identified by the immunologist Dr. Michael Gottlieb in the Los Angeles area. Gottlieb began to serve as a faculty member of the David Geffen School of Medicine at UCLA with the Associate Clinical Professor of Medicine position in 1980 and provided a report about AIDS in 1981. In 1982, the New York Times brought up the term “GRID” Gay-Related Immune Deficiency) to identify the disease’s close relationship with the gay community. According to the HIV/AIDS timeline, in 1986, “The U.S. Center for Disease Control (CDC) demonstrates that “AIDS cases are disproportionately affecting African Americans and Latinos.” Specifically, it is noted on the CDC website that “In the period June 1, 1981-September 8, 1986, physicians and health departments in the United States notified CDC of 24,576 patients meeting the AIDS case definition for national reporting. Of these, 6,192 (25%) were black and 3,488 (14%) were Hispanic, whereas these groups represent only 12% and 6%, respectively, of the U.S. population.” Therefore, it is important to provide insights into a minority population’s reaction to the AIDS crisis in this city.Normalization of HIV/AIDS Through Art
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Normalization of HIV/AIDS Through Art Essay Assignment paper
By the time the AIDS crisis arose, there was a huge lack of government support with regards to sufficient funding for medical research for the disease compared to other nationwide plagues. The disease itself was even used as a threatening weapon against the victims because the government consistently considered “extreme measures, including tattooing HIV positive people” to potentially segregate the infected population.Normalization of HIV/AIDS Through Art
Before the AIDS Crisis:
Edmundo “Mundo” Meza was indeed one of the most essential figures in representations of Chicanx and LGBTQ movements. By identifying the uniqueness of Meza’s and other contemporary artists’ artworks in terms of cultural heritage, people are likely to grasp a general overview Mexican American queer artists dealt with prejudices and strived for opportunities of social mobility through artistic representations. Specifically, the artistic reflections on the critical issue of AIDS serve as an effective means to explore both of their ethnicities and sexuality with regards to their marginalized status in the mainstream. He also stirred up a conversation in a huge artists’ network which explores inspiring and innovative art demonstrating ethnic or racial heritage and sexual orientation.
Gronk (Glugio Gronk Nicandro), one of the founders and first members of the politically active performance group Asco and a gay artist, closely worked with Mundo Meza and Robert Legorreta. In the Chicano community theater, they collaborated and produced some intensively aggressive cross-gendered performance art that criticizes patriarchy in society. This theater production is called “Caca-Roaches Have No Friends”, and it delivers explicitly radical information regarding queerness to the relatively conservative general public.
In this performance, Legorreta interpreted a drag character “Cyclona”, who was inspired by Legorreta and Gronk’s flamboyant personal experience of cross-dressing as queer teenagers in East Los Angeles. They challenged the audience and the entire contemporary social norms by presenting sexually provocative and expressive scenes such as stripping. One of the most provoking scenes, as the book Gronk vividly describes, involves the action of Cyclona popping a large balloon and crushing the eggs between shirtless Mundo Meza’s legs, which is an obvious and bold implication of destroying the male genitalia. By rejecting the “conventional (straight, white, middle class) masculinity” with an aggressive approach, they intrigued a wide range of disapproval. In this piece, they refused the common stereotypes that merge the action of cross-dressing and gay identity, “confusing the boundaries defining the singular ‘Chicano’ subject with a radically queer sensibility”. The first and second show was located in Belvedere Park’s outdoor theater and the gymnasium.Normalization of HIV/AIDS Through Art
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