7 x 6 x 4.5 cm
AIDS Ring by General Idea is a cast metal ring, which takes as its basis Robert Indiana’s iconic “LOVE” design, appropriating its pop aesthetic, and totalizing, simplistic universal messaging to instead emphasize the severity of the AIDS epidemic that occurred in the 1970s. This visual detournement of Indiana’s sculpture into the form of a ring is an indictment of pop art’s apolitical nature, as well as of its increasingly commodified status. General Idea instead proposes that art’s expansive platform for messaging be used to spread awareness and create accountability for political negligence of the AIDS epidemic. The work equates Indiana’s universal message of love, with the devastating affects of the AIDS epidemic; this is just one of the many iterations of the AIDS image that the collective mobilized across a wide array of objects to generate extensive exposure for their message.
The Canadian artist collective General Idea (Felix Partz, Jorge Zontal and AA Bronson), active from 1967-1993, was an instrumental source of early conceptual art through their multidisciplinary practice. Their work often uses conceptual art to critically explore issues such as the myth of the artist, mass media, the body and identity, gender and sexual repression, and the HIV/AIDS epidemic, and in the process, advancing activism. Their AIDS body of work is what they are best known for ; a series of mass-market visualities and practices that drew widespread public attention to the epidemic. The trio often employed humorous approaches that still retained toothy critiques through the production of self-mythology, amongst other strategies. Patz and Zontal died of HIV related illnesses in 1994.
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...