Written by Intern on March 8th, 2016
My name is Jeremy Klemin, today is my first in-office day as an Editorial Fellow at the ICI. I did my undergraduate degree in Sociology and Comparative World Literature, and just recently finished my Master’s degree in Comparative World Literature during the summer. In the Fall, I was an Editorial intern at PEN America in New York.
I’ll be working primarily on the ongoing project entitled Barthes’ Myopia, which will focus primarily on French semiotician, theorist, and philosopher Roland Barthes and his famous work Camera Lucida (La Chambre claire in the original French). I’ll be doing a myriad of both conventional and unconventional research, from photo-hunting to why Barthes’ strange and at times very personal essay has endured for so long. I have both a personal and academic interest in photography (my undergraduate thesis was on photography), so I’m really excited to devote some time and brainpower solely to Barthes.
Written by Intern on August 14th, 2015
This Summer I’ve been working on the AIDS Chronicles at the ICI; reading New York Times pages, scanning for articles and then obscuring them with layers of paint. This process has become less and less a mechanical action for me as I gain familiarity with the contents and form of the pages. The process begins by cutting a stack of plastic sheets to paint on throughout three painting stages. I comb through a month’s worth of the cover pages for articles on AIDS, HIV and Ebola, marking datelines and obituaries. Then I paint the backs and fronts of the pages with a protective gel coat, followed by black gesso (at first just outlining the key pieces of information on the front of the page), and finally cover the pages in red paint. These layers result in a skin-like texture and dark, blood-red coloring. I have never felt very politically conscious or invested in the news. Yet, while looking for articles on HIV and AIDS, a scrutiny of the other articles on each cover page has brought me closer to the current events of those times in a broader context.
Written by Intern on June 22nd, 2015
My name is Alfredo Aguayo; I am the new intern here at ICI, and today is my first day. I am excited to be working with many of the different objectives within the facility.
A little about me: I graduated from CSULA with a BA in anthropology. I love studying cultures, languages and archaeology. My main focus at the moment, however, is art. I am drawn to abstract art and automatism. I usually create paintings and sculptures using many different materials such as acrylic paint, oil paint, photography, cardboard, wood, plants, cement, metal, glass and so on (there is no limit).
Currently I am working on incorporating anthropology into my own artwork. Which, is why I am excited to be working here this summer. I hope to learn a lot and to contribute even more! Stay tuned for further post.
Written by Intern on June 22nd, 2015
My name is Lizzy, I will be a junior at Bard College in Annandale-On-Hudson, New York, this Fall. I am a Studio Art Major and am making pieces using the laser cutter at school in combination with the printing press and more traditional printmaking processes. This Summer I will be working here at the Institute of Cultural Inquiry as an AIDS Chronicles Intern! This will be my first time working closely on a project of such depth; the AIDS Chronicles have been in the making for over twenty years.
In addition to working at the ICI I have an internship with Libertine, a fashion label and clothing line by Johnson Hartig. I will mainly be helping with preparations for New York Fashion Week.
In the spare time I’m hoping to catch up on some fiction reading this Summer. I’m making my way through Everyday is for the Thief by Teju Cole, Invisible Cities by Italo Calvino and Dave Eggar’s You Shall Know Our Velocity! so far.
More to follow on my work at ICI!
Written by institute on November 4th, 2014
A very special welcome to VIR Jamie Knight who will be digging into the ICI’s extensive ‘AIDS archive’ of documents and ephemera created during our 20+ years of AIDS activism. I will be very curious to see how he uses this material to unpack, as he terms it, our… cultural amnesia created by decades of “wounded attachments.”
It’s been over 2 decades since I was invited to give my ‘response’ to the AIDS pandemic and its impact on the field of art history. The black hole at the center of my ‘assessment’ (pictured above) represents a deep and painful feeling of loss that has not abated over the years. In fact, the feelings it elicits seem even more stinging today. When I look at this image-text, after many years of deep storage, the large and imposing ‘black sun’ in its center is unable to hold any weight against the small dedication in the lower right corner. Those two words were added, no doubt, as a personal postscript; their small size reminds us of the etiquette surrounding public displays of private grief. Today, we know that with AIDS, all grief is public and political. By 1995, that visual whisper would become the opening salvo to the clarion call of all our AIDS activism.
for Rory … we’ll keep repeating your name
Our AIDS activism was born out of a raw, numbing grief, was weaned on disillusionment, and eventually became codified into a few long-term projects that were, and are still, fueled by a kind of melancholic compulsion-to-repeat.
I look forward to finding out.