Advertising Poster

c. 1980s

Offset lithograph

17 x 23 inches

Contact gallery for price.

The Club Baths was a chain of gay American bathhouses that operated from the mid-1960s through the 1980s. Founded in 1965 by gay activist and entrepreneur Jack Campbell, the Baths quickly became radical spaces that engendered political discussion, professional alliances, and helped foster the sexual liberation movement of the 1970s. Always the lightning rod for the religious right, venues that catered to acts of sodomy drew quick condemnation. Troy Perry, founder of the Metropolitan Community Church, is reported to have confronted Jack Campbell, stating, “[W]e have a hundred churches and a total of 30,000 members.” Campbell is said to have dryly quipped, “Well, although we only have thirty churches, we have 300,000 members.” In fact, so intertwined with gay male sexual identity is the lash of religious bigotry that friends often stated that they were “going to church” when visiting the Baths.

Most of the bathhouses were closed in the 1980s by city governments due to the accusation that they were contributing to the spread of the microbiological disaster. The facility at 24 First Avenue on NYC’s Lower East Side served as a sexual playground for many neighborhood artists, and is ground zero for the earliest clusters of NYC HIV infections.

G.E.

How to Have Sex in an Epidemic: One Approach

1983

Annotated with holograph notes throughout

Original working copy

11 x 8.5 inches

Contact gallery for price.

Throughout the history of HIV/AIDS, there are many moments that stand out as bold acts of courage that forever changed the course of the epidemic. Safe Sex is certainly at the top of the list. The foundational document of harm reduction, “How to Have Sex in an Epidemic: One Approach,” was the introduction of safe sex into the medical lexicon. The brainchild of Richard Berkowitz, with co-author Michael Callen and medical direction by Dr. Joseph Sonnabend, the text was initially met with ridicule and scorn by the gay community and press. Resistance by the larger queer population to embrace the simple message of safe sexual practices undoubtedly resulted in the loss of countless lives. Both Berkowitz and Callen went on to be signatories and co-collaborators of the Denver Principles, the historic document of patient self empowerment.

G.E.

How to Have Sex in an Epidemic: One Approach

1983

Pamphlet (News from the Front Publications)

Contact gallery for price.

Throughout the history of HIV/AIDS, there are many moments that stand out as bold acts of courage that forever changed the course of the epidemic. Safe Sex is certainly at the top of the list. The foundational document of harm reduction, “How to Have Sex in an Epidemic: One Approach,” was the introduction of safe sex into the medical lexicon. The brainchild of Richard Berkowitz, with co-author Michael Callen and medical direction by Dr. Joseph Sonnabend, the text was initially met with ridicule and scorn by the gay community and press. Resistance by the larger queer population to embrace the simple message of safe sexual practices undoubtedly resulted in the loss of countless lives. Both Berkowitz and Callen went on to be signatories and co-collaborators of the Denver Principles, the historic document of patient self empowerment.

G.E.

Advertising Flyer

1983

Xerox copy

11 x 8.5 inches

Contact gallery for price.

Throughout the history of HIV/AIDS, there are many moments that stand out as bold acts of courage that forever changed the course of the epidemic. Safe Sex is certainly at the top of the list. The foundational document of harm reduction, “How to Have Sex in an Epidemic: One Approach,” was the introduction of safe sex into the medical lexicon. The brainchild of Richard Berkowitz, with co-author Michael Callen and medical direction by Dr. Joseph Sonnabend, the text was initially met with ridicule and scorn by the gay community and press. Resistance by the larger queer population to embrace the simple message of safe sexual practices undoubtedly resulted in the loss of countless lives. Both Berkowitz and Callen went on to be signatories and co-collaborators of the Denver Principles, the historic document of patient self empowerment.

G.E.

Window Display

c. 1976

Newspaper and magazine advertisement mock-up

19.375 x 21.25 inches

Sold.

During the 1980s, burlesque and other adult-themed entertainment were being re-appropriated by downtown artists in their performances and paintings, and then incorporated into art theory inextricably linked to the era. For example, John Sex became an alternative performance artist creating a character partially based on his earlier work as a male stripper. Additionally, the artwork of Jane Dickson drew upon the neon-lit aesthetic of midtown peep shows. And, the pioneering Times Square Show was held in an abandoned massage parlor. Radical spaces such as the Ramrod Theatre and Gaiety Male Burlesk served not only as inspiration for underground artists, but also functioned as hotbeds of radical sexuality, politics, and art. Many of the pieces in “Screaming In The Streets: AIDS, Art, Activism” were created by former sex industry workers such as Richard Berkowitz, Mark Morrisroe, John Sex, and David Wojnarowicz.

The Gaiety Theatre was an establishment that operated in the Hell’s Kitchen neighborhood of Manhattan for over a quarter of a century. The Gaiety offered all-male strippers along with a live DJ, providing inspiration for dance choreography that crossed over into mainstream entertainment. Madonna featured herself and some of the regular Gaiety dancers in her adult-themed coffee table book, Sex. Terence Foster, one of the club’s original dancers, acted as the house DJ from 1979 until his death from AIDS-related complications in 1986. The Gaiety survived many attempts at its closure (including Mayor Guliani’s intense drive to obliterate adult-related venues in the mid-1990s), but ultimately shuttered its doors by 2005.

G.E.

Two Cover Mock-ups

1976

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“Michael’s Thing” was a small 1970s-80s era New York City chapbook style weekly with guides to cabarets, theater, baths, porn theaters, and other recreations around town and on Fire Island. “Michael’s Thing” covered campy entertainment, but there was a heavy emphasis on sex that gave it a certain underground insouciance.

Both mock-ups are related to 1976 Gay Pride as well as the American Bicentennial, where it is widely believed HIV was introduced into the urban gay male community.

These signs reference the early gay radical politics of the Gay Activist Alliance in An Army of Lovers Cannot Lose, along with Warhol fixture Jackie Curtis, cabaret phenom Baby Jane Dexter, and choreographer Alvin Ailey.

G.E.

Slide Show (Artists Space)

1981

Xerox print

17 x 11 inches

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Charlie Ahearn recently discussed his use of the slide show as a medium to curate shows: “I always shot slides because some artists shot their work on slides. There were other artists at the time, like Jack Smith or Nan Goldin, who were using slides as artwork. I would look at the slides and say, ‘Oh, damn. This one’s out of focus’ or ‘I love this image, but it’s too dark.’ It was perfect when I started to think of scratching words or images into the slides. Even though the scratching looks kind of like punk art at the time, I thought the process was very much like hip-hop. You’re taking things that nobody wants and making something new with it, like graffiti on a broken down building. Even the scratch mixing is taking records people haven’t heard in a long time.”

G.E.

Jean-Paul Gaultier Look-Alike Contest

1987

Invitation/mask

Sold.

The worldwide popularity of Jean-Paul Gaultier’s design vision comes partially from the risks he takes—exemplified by the wardrobe he created for Marilyn Manson and for Madonna’s Blond Ambition and Confessions world tours, including her infamous conical bra. In addition, he popularized the use of skirts for men, particularly kilts, and shocked fashion traditionalists by playing with gender roles and body image in his fashion shows.

In addition to fashion design and costume design—the latter including collaborations with film directors Peter Greenaway, Pedro Almodóvar, and Luc Besson—Gaultier has taken a strong public stand in the fight against HIV/AIDS. 1987 saw an early fund raiser with the Jean-Paul Gaultier Look-Alike Contest, featuring downtown performance artist John Sex and punk queen Edwige Belmore at the Palladium. Then in 1992, he raised more than $700,000.00 for amfAR with the Jean-Paul Gaultier in L.A. fashion show, chaired by Madonna and Herb Ritts, and he has also staged fashion shows at other AIDS fundraisers, among them the AIDS Life Association’s Life Ball in Vienna. He was one of the original contributors to Red Hot + Blue, an innovative project that raises funds for AIDS charities, and he has generously donated fashion in support of a wide range of AIDS nonprofits.

In 1987 Gaultier saw Edwige Belmore at Le Palace in Paris and asked her to be in his new show. Edwige later reflected upon this experience: “It was crazy! We were all street kids and we were taking drugs and drinking champagne to calm our nerves before we got on the runway because we were not models. In the show’s finale, I’m wearing high heels, black stockings with a big tuxedo jacket with marabou feather. I was supposed to sing ‘My Way,’ the Sid Vicious version. But I was so gone. I got on the runway and a little close to the edge and the music started, and some god put me back on my balance because I literally had one foot outside the runway.”

G.E.

Parka

1985

Signed and dated, verso

Vintage Cibachrome print

14 x 11 inches

Contact gallery for price.

This is one of two known prints of this image.

It is from a group of thirty Cibachrome photographs which were chosen by the artist in 1985 for a private collector as representative of his most recent work of that time. The series presents an artistic interpretation of his feelings towards the AIDS epidemic and his own struggle with the illness. DeSana’s goal with this body of work was to create an experience for the viewer that recalled his own emotional ups and downs. “If I could do a show that confused people so much, that was so ambiguous that they didn’t know what to think, but they felt sort of sickened by it and also entertained, then for me that would be the moment that we’re going through right now.”

DeSana made these images after contracting AIDS and suffering a spleen removal operation.

Aluminum Foil #4 (Self-Portrait)

1985

Signed, titled, and dated, verso

Vintage Cibachrome print (Unique)

10 x 8 inches

Contact gallery for price.

This photograph is from a group of thirty Cibachrome prints which were chosen by the artist in 1985 for a private collector as representative of his most recent work of that time. The series presents an artistic interpretation of his feelings towards the AIDS epidemic and his own struggle with the illness. DeSana’s goal with this body of work was to create an experience for the viewer that recalled his own emotional ups and downs. “If I could do a show that confused people so much, that was so ambiguous that they didn’t know what to think, but they felt sort of sickened by it and also entertained, then for me that would be the moment that we’re going through right now.”

DeSana made these images after contracting AIDS and suffering a spleen removal operation.

Untitled (Unfixed #1604)

2016

Signed, titled, dated, and numbered, verso

Archival pigment print

40 x 48 inches
(Edition of 5)
$9000.00

30 x 36 inches
(Edition of 5)
$5000.00

20 x 24 inches
(Edition of 10)
$2500.00

Please note that prices increase as editions sell.

Untitled (Unfixed #1649)

2016

Signed, titled, dated, and numbered, verso

Archival pigment print

40 x 48 inches
(Edition of 5)
$9000.00

30 x 36 inches
(Edition of 5)
$5000.00

20 x 24 inches
(Edition of 10)
$2500.00

Please note that prices increase as editions sell.

Unspoken #1522

2016

Signed, titled, dated, and numbered, verso

Type-C print

20 x 24 inches
(Edition of 10)
$2500.00

30 x 36 inches
(Edition of 5)
$5000.00

40 x 48 inches
(Edition of 5)
$9000.00

Please note that prices increase as editions sell.