No Bios
May 11, 2023 - June 24, 2023
Curated by Isis Awad for Visual AIDS
in partnership with EFA Project Space
Artists
Jerome Caja (1958–1995)
Chloe Dzubilo (1960–2011)
Stevie Cisneros Hanley
Reverend Joyce McDonald
Sofia Moreno
Pamela Sneed
Tabboo!
D’Angelo Lovell Williams
No Bios showcases artists whose practice is deeply personal and biographical in nature, while resisting the art world’s tendency to reduce artists to their identity markers. Drawing in part from the Visual AIDS archive and artist registry, curator Isis Awad brings together a group of queer and trans artists of color, artists who are living and thriving with HIV, and artists who have been lost to AIDS-related illnesses. In contrast to the somber, tragic, and alarmist overtones that often frame representations of marginalized identities—especially those intertwined with HIV and AIDS—No Bios presents mischievously playful and beautifully mundane artworks that speak to a determination to exist beyond mere survival.
The exhibition features new and historic works by three generations of artists: Jerome Caja (1958–1995), Chloe Dzubilo (1960–2011), Stevie Cisneros Hanley, Reverend Joyce McDonald, Sofia Moreno, Pamela Sneed, Tabboo!, and D’Angelo Lovell Williams.
“This exhibition has nothing and everything to do with HIV,” says curator Isis Awad. “Some of the artists in the show live with HIV, some of them don’t. Some of them are still with us, and some of them aren’t. This is not an attempt to make sense of anything, or theorize a human’s relationship with a virus. What ties the artists in this show together is an unrelenting desire to make art against all odds; art that does not capitalize on its makers’ marginalized identities.”
No Bios is presented as part of Visual AIDS’ annual exhibition program, which centers the organization’s expansive and living archive of artwork by HIV-positive artists. Each summer, Visual AIDS invites guest curators to organize thematic exhibitions that bring works represented in the archive into conversation with other contemporary artists.
Visual AIDS is still the only contemporary arts organization fully committed to supporting HIV-positive artists and starting dialogues about the ongoing AIDS crisis through contemporary art projects. Since 1988, the organization has been at the forefront of AIDS culture, creating the iconic Red Ribbon and initiating Day Without Art, which helped establish World AIDS Day as an international event. Through exhibitions, publications, activist broadsheets, and public events, Visual AIDS continues to engage communities across the art world and the HIV movement, supporting the contributions of HIV-positive artists and preserving the legacy of the AIDS activist movement.
Acknowledgments
Visual AIDS exhibitions are supported by a multiyear grant from the Andy Warhol Foundation for the Visual Arts, as well as general operating grants from the Lambent Foundation, the Marta Heflin Foundation, and the New York State Council on the Arts.
Exhibition Photography by Julia Gillard
EVENTS
Thursday, May 11, 6-8 PM
Opening Reception
Thursday, May 25, 6-8 PM
Catalog Launch and Reading by Pamela Sneed and special guest Tivali Thomas
Saturday, June 17, 2 PM
Artist and Curator Walkthrough
Jerome Caja, Have a Bearry Nice Day, n.d., Nail polish on printed metal plate on fabric in plastic frame, 13.5" x 11.5"
Collection Anthony Cianciolo, photo courtesy of The Jerome Project
Chloe Dzubilo, Untitled (Operation Normal), ca. 2010. Paint marker on Operation Silly Skill game. Courtesy of the Estate of Chloe Dzubilo.
Stevie Cisneros Hanley, Pantyhose Cowboy, 2021. Acrylic, ink, and chalk pastel on paper, 49 x 38 inches.
Installation shot of No Bios
Image description: White gallery with white pedestals. Wall text and information and a purple and brown watercolor portrait are on the right wall. There is a virtine, a brown and white portrait, and a pink stuffed bunny inside a glass case sits on a white pedestal. In the foreground, two brown and black sculptures sit on white pedestals.
Pamela Sneed, Poet Essex Hemphill, 2022. Watercolor on paper, 9 x 12 inches.
Jerome Caja, Bunny with Snakes, ca. 1995. Stuffed toy bunny parts, clear plastic heart container, two rubber snakes, 9 ½ x 6 ¼ x 3 inches. Courtesy of the Jerome Caja Repository, gift of Paule Anglim.
Image description:
A hung watercolor painting depicts a man smiling with glasses, brown skin, and an orange shirt. To the right, a pink plush bunny with a pink bow has a clear plastic heart with green snakes in place of its torso. The bunny is inside a glass case on top of a white pedestal.
From left to right:
Jerome Caja, Landscape (Rhododendron Dell in Golden Gate Park), ca. 1995. Makeup (eye pencil) on flocked paper, mounted on smashed plastic motor oil can, 9 x 5 ½ x 1 ½ inches. Courtesy of the Jerome Caja Repository, gift of Paule Anglim.
Are Lady of Good Plumbing, ca. 1995. Gouache, enamel, and correction fluid on torn paper, mounted inside plastic ornate frame with ceramic turd, 10 ½ x 9 x 1 ½ inches. Collection of Jeffrey Schug.
Hair Box, ca. 1995. Nail polish on pistachio shell, glued to a matchbox with Jerome’s real hair and his synthetic “Cher” wig hair, 7 x 5 ½ x ½ inches. Courtesy of the Jerome Caja Repository, gift of Anna van der Meulen.
Have a Bearry Nice Day, ca. 1995. Nail polish on metal print, mounted inside ornate plastic frame, 13 ½ x 11 ½ x 1 inches. Courtesy of the Jerome Caja Repository, gift of Paule Anglim.
Sacred Heart Pot Holder, ca. 1995. Nail polish and glitter on burnt potholder, safety-pinned to red velvet pillow stuffed with Jerome’s hair, mounted inside plastic ornate frame, 12 ¾ x 10 ¾ x 1 ¾ inches. Courtesy of the Jerome Caja Repository, gift of Paule Anglim.
Image description: Objects of different sizes are inside of a vitrine. On the far left is a yellow motor oil can with a landscape painted on its center. To the right is an illustration of a woman using a plunger with a plastic turd inside of a gold ornate frame. To the right is a small painting on a matchbox of a person with real and fake hair glued to the top. To the right is a painting in an ornate silver frame of two brown bears in BDSM gear with a rainbow and sun behind them. To the right is a painting of a red heart and spiked green vines on a purple glitter background painted on a pot holder in front of red velvet.
Installation shot of No Bios
Image description: Various pedestals and paintings in different colors and sizes fill the gallery.
From left to right:
Stevie Cisneros Hanley, Pantyhose Cowboy, 2021. Acrylic, ink, and chalk pastel on paper, 49 x 38 inches.
Reverend Joyce McDonald, Prayer of Hope, 1999. Air dry clay, paper, acrylic, Mod Podge, 11 × 7 × 7 1/2 inches. Courtesy of Gordon Robichaux, New York.
Reverend Joyce McDonald, Rooted in Strength, c. 2000. Terracotta and glass beads, 11 × 9 × 4 inches. Courtesy of Gordon Robichaux, New York.
D’Angelo Lovell Williams, Fire Moon Inertia, 2022. Colored pencil and graphite on Stonehenge paper, 35 ½ x 28 inches. Courtesy of the artist, the lumber room, and Higher Pictures.
D’Angelo Lovell Williams, The Way Our Blood Beats, 2021. Pigment print, 31 ½ x 46 ½ inches. Courtesy of the artist, the lumber room, and Higher Pictures.
D’Angelo Lovell Williams, Fade Synthesis, 2021. Pigment print, 46 ½ x 31 ½ inches. Courtesy of the artist, the lumber room, and Higher Pictures.
Image description: Paintings, photographs, and a pedestal with sculptures in different colors and sizes line the gallery.
D’Angelo Lovell Williams, Miss Mississippi, 2022. Video, 4:23 min. Courtesy of the artist, the lumber room, and Higher Pictures.
D’Angelo Lovell Williams, The Way Our Blood Beats, 2021. Pigment print, 31 ½ x 46 ½ inches. Courtesy of the artist, the lumber room, and Higher Pictures.
Image description: A white bench faces a projection, and a photograph hangs on the wall to the right. The projection shows a figure in a field of wheat against a blue sky. The photo shows two people laying down and embracing on a green and brown grassy field.
From left to right:
Stevie Cisneros Hanley, San Diego Temple, 2022. Gouache, acrylic, enamel, carbon soot, and spray, paint on archival paper, 50 x 34 inches.
Stevie Cisneros Hanley, Pantyhose Cowboy, 2021. Acrylic, ink, and chalk pastel on paper, 49 x 38 inches.
Reverend Joyce McDonald, Prayer of Hope, 1999. Air dry clay, paper, acrylic, Mod Podge, 11 × 7 × 7 1/2 inches. Courtesy of Gordon Robichaux, New York.
Reverend Joyce McDonald, Rooted in Strength, c. 2000. Terracotta and glass beads, 11 × 9 × 4 inches. Courtesy of Gordon Robichaux, New York.
Paintings and a pedestal with sculptures in different colors and sizes line the gallery.
Front:
Reverend Joyce McDonald, Untitled, 2020. Air dry clay, fabric, acrylic, found objects, 6 ¼ x 6 x 6 ½ inches. Courtesy of Gordon Robichaux, New York.
Right, on wall:
Stevie Cisneros Hanley, San Diego Temple, 2022. Gouache, acrylic, enamel, carbon soot, and spray, paint on archival paper, 50 x 34 inches.
Back, from left to right:
Chloe Dzubilo, Untitled (T-bird), 2010. Feathers, shells, beads, paper, glue, wig cap, 17 x 9 x 4 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (If I had a dollar for every time someone ask me what was between my legs… I would be as wealthy as Jane Holzer), 2009. Safety pin, paper, ink, shell, beads (brass, glass, plastic), thread, 10 x 2 ½ x 1 ½ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (Salvation to Dust Mites), 2009. Feather, brass beads, earring clasp, thread, 16 x 2 ½ x 1 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (She’s Got Balls/Injustice Stylez), 2009. Ribbon, card stock, brass beads, metal bit, ink, thread, 12 x 2 ¾ x 1 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (Human Behavior in All Its Messy Behavior), 2009. Newspaper, pearls, ribbon, plastic birds with felt and feathers, thread, 13 x 3 ½ x 2 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (Faith/America’s Promise), 2009. Ribbon, newspaper, beads (brass, plastic, pearl), photocopy, ink, safety pin, feather, plastic bird with felt and feather, thread, 18 x 4 x 1 ½ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Longing for Green, 2009. Ink on paper, 24 x 16 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Summer Tree, 2010. Ink on paper, 24 x 18 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled, 2010. Paint on canvas, 24 x 17 ¾ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (Operation Normal), ca. 2010. Paint marker on Operation Silly Skill game, 15 ½ x 9 x 1 ¾ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Image description: Paintings, pedestals with sculptures, green prints, and hanging sculptures in different colors and sizes fill the gallery.
From left to right:
Sofia Moreno, Mascota, 2022. Mixed media on paper, 12 x 9 inches.
Autorretrato con Muñecas, 2023. Color pencil on paper, 19 x 27 ½ inches.
Autorretrato Montando, 2023. Color pencil on paper, 19 x 27 ½ inches.
Self-portrait with Collector, 2023. Color pencil on paper, 14 x 11 inches.
Pamela Sneed, Poet Assotto Saint, 2022. Watercolor on paper, 9 x 12 inches.
Image description: White gallery walls with 5 framed works on paper in different colors.
Installation view of No Bios
Image description: Paintings and pedestals with sculptures in different colors and sizes fill the gallery.
Installation view of No Bios
Image description: Paintings, pedestals with sculptures, green prints, and hanging sculptures in different colors and sizes fill the gallery.
Chloe Dzubilo, Untitled (Human Behavior in All Its Messy Behavior), 2009. Newspaper, pearls, ribbon, plastic birds with felt and feathers, thread, 13 x 3 ½ x 2 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (Faith/America’s Promise), 2009. Ribbon, newspaper, beads (brass, plastic, pearl), photocopy, ink, safety pin, feather, plastic bird with felt and feather, thread, 18 x 4 x 1 ½ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled (If I had a dollar for every time someone ask me what was between my legs… I would be as wealthy as Jane Holzer), 2009. Safety pin, paper, ink, shell, beads (brass, glass, plastic), thread, 10 x 2 ½ x 1 ½ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Longing for Green, 2009. Ink on paper, 24 x 16 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Summer Tree, 2010. Ink on paper, 24 x 18 inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Untitled, 2010. Paint on canvas, 24 x 17 ¾ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Image description: 3 sculptures with string, feathers, and cut paper hang from string on the left.
Chloe Dzubilo, Untitled (Operation Normal), ca. 2010. Paint marker on Operation Silly Skill game, 15 ½ x 9 x 1 ¾ inches. Courtesy of the Estate of Chloe Dzubilo and Participant, Inc.
Tabboo!, Le Chapeau Noir, 2019. Acrylic on canvas, 60 x 50 inches. Courtesy of Karma, New York
Tabboo!, Self-Portrait, 2021. Acrylic on canvas, 20 x 20 inches. Courtesy of Gordon Robichaux, New York
Image description: On the left, a modified game of Operation. On the right, two portraits of masculine figures with dark skin against colorful backgrounds.
Event Photos by Visual AIDS
