Together.
Two prints hang side by side in a small gallery room. They either greet you as you walk in—the first rotation along the wall—or they fall into the blind spot abyss of the doorway.
Initially, the prints seem connected only by their subject matter. Two depictions of AIDS in the Block Museum’s exhibition “Keep the Shadow, Ere the Substance Fade: Mourning during the AIDS Crisis.” But over time you realize they are in constant conversation with one another—in a silent partnership balancing scales rather than creating something too heavy. Imagined by the same artist, the prints are two products of an experience. Parsed out for clarity, the different manifestations speak to the personal and impersonal sides of the AIDS pandemic.
Separate.
The first print Emerging Infectious Diseases (1999) has thick bold lines holding in washes of bright red and pops of an icy blue over a bright white backdrop. The colors bring life into the largely black and white exhibition and assert itself despite the proximity to the door—eliciting an interested gaze through its saturation alone. A single man to the right of the frame breaks the stark color scheme with his sickly skin tinged yellow by Hepatitis C. His disease is declared in all capital letters “HCV” on his headboard, his hands in loose prayer, his yellow face washed in faint blue and red.
As featured in other exhibition artworks, the print’s red recalls blood with powerful severity. However, the red is not only for wounds and fatalities. It’s barely on the patients at all. Rather, red colors the doctors’ faces, signaling a distinctly human issue—a connectedness, an empathy, a risk. The red could mean vitality or infection, nerves or humility, life or death. The unconventional use of the color only adds to the mysteries of the disease and the uncomfortableness with the unknown. While the print situates AIDS among other infectious diseases, no veil is lifted, no questions are answered.
Next to Emerging Infectious Diseases hangs Eric Avery’s second print, Life Cycle of H.I.V. (1999) The long rectangular print is a weathered beige stamped in opaque black ink. The color of the paper has an archival effect, one that evokes the sense of discovery inherent in a historical artifact rather than a piece of contemporary art. Avery channels a linguistic power, supported by the graphic novel look of his print. Bold illustrations of biological models and urban landscapes challenge all notions of scale and chronology. Negative space is rare, often infiltrated by dashes and lines contouring for a sense of depth in the flattest possible form.
The narrative element of the print is full of chutes and ladders. An announcement of “ENTRY” appears to be an explicit starting point, but once your eye completes the consumption you are led into a choose-your-own-adventure journey of tangled facts and figures. The maze is accented by the power of choice. If you choose to stick with only words, you lose the tiny lab-coated man—perhaps Avery himself since he was a medical doctor—with arms outstretched in guidance to the next form, or in surrender, or in glee. If you choose to follow the graphics alone, you undermine the clinicalness of Avery’s cyclical representation. Avery leaves Easter egg after Easter egg in each moment of his print only adding to the subjectivity of the piece’s impression and overall disorientation.
Together.
While both prints contextualize the disease in imaginative depth, their true emotional resonance is not in their depictions but instead in their compositions. There is a winding path of scale and story in the prints, a constant amount of zooming in and out required for a proper digestion of the pieces. An abundance of purposeful angles and curves do not merely form shapes, but act as the flippers of a pinball machine rapidly directing the eye from target to target, occasionally resting on an indecipherable symbol or image you are urged to confront. The cycle illustrated in Life Cycle of H.I.V. is not a clean cycle from a text book, it’s barely cyclical at all by sight alone. Emerging Infectious Diseases is not one hospital scene but a representation of all rooms of all wings in all hospitals. Nothing is certain, nothing is simple, nothing is easy about Avery’s compositions.
Separate.
Sometimes when looking at Emerging Infectious Diseases your eyes land on the stylized corpse of a woman as she is being zipped into a body bag. Both of the assisting nurses stare emotionless into your eyes out of the print, their pupils only suggested by shadows. They are red and wrinkled ironically becoming caricatures of “ill.” Sometimes your eyes zig zag and land on the one of the nurses’ scrub tops. Its bright red flowers’ round and organic shapes are a life form. The one sign of unthreatened life, outnumbered by the looming crows in the patients’ room and hospital windows, but more noticeable, more beautiful, more powerful.
The journey of Life Cycle of H.I.V. settles your gaze on the recipe for the HIV cocktail dosages or loses you in the detailed landscaping of the frame. Turrets and arches contrast the dark distressed bricks in the foreground detaching any specificity the viewer might search for. There is no reason to include a setting for the linguistic, scientific illustration yet Avery included them all. Tiny bodies in the landscape are erased without enough contrast or jump out in their black matte-ness reminding the viewer of the flat crows in Emerging Infectious Diseases. Sometimes your eyes settle on the artist’s handwriting toward the edge of the paper.
Together.
Eric Avery’s print compositions travel through all dimensions, planes, and facets of H.I.V. and AIDS. As the prints unfurl, Avery forces the viewer to confront the personified disease or the impersonal deaths mainly through their own wealth of experience and knowledge. As saturated with shapes, colors, words, diagrams, and symbols the prints may be, Avery still manages to leave a tiny pocket for the viewer to fill—completing the piece through their impressions, through what they notice. In the harmony of color and lines in Emerging Infectious Diseases or Life Cycle of H.I.V ‘s warm dissonant splays of black ink and aged paper, Avery creates a puzzling moment of meditation. In the time of urgent research, frantic searching, and ever generating questions, Avery successfully creates a welcoming complexity. The experience of being still rather than being lost.
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The essay “The Prints of Eric Avery and the Meditation of the Overwhelming” explores the artworks of Eric Avery exhibited in the Block Museum’s “Keep the Shadow, Ere the Substance Fade: Mourning during the AIDS Crisis” exhibition. The author takes us on a journey through two prints, “Emerging Infectious Diseases” and “Life Cycle of H.I.V.,” highlighting their individual characteristics and their interconnectedness.
The first print, “Emerging Infectious Diseases,” captivates the viewer with its bold colors and powerful imagery. It depicts a man afflicted with Hepatitis C alongside doctors whose faces are colored in red, symbolizing both vitality and the risk involved in dealing with infectious diseases. The use of unconventional colors adds to the enigmatic nature of the artwork, reflecting the mysteries surrounding the AIDS pandemic. This print raises questions but doesn’t provide clear answers, leaving the viewer to contemplate the complexities of the disease.
The second print, “Life Cycle of H.I.V.,” stands next to the first one, creating a dialogue between the two. The print features a weathered beige background with intricate black ink illustrations, resembling a historical artifact. It combines biological models and urban landscapes, challenging the viewer’s perception of scale and chronology. The print presents a maze-like narrative, offering choices between following the words or the graphics. Each element within the print carries significance, adding to the overall disorientation and subjectivity of the piece.
While both prints individually delve into the depth of the AIDS crisis, their true impact lies in their compositions. The intricate details, angles, and curves guide the viewer’s gaze, prompting them to zoom in and out, experiencing a range of emotions. The prints don’t provide easy interpretations; instead, they offer a complex and thought-provoking visual experience.
The essay highlights specific details within the prints, such as the contrasting images of life and death, the stylized depiction of nurses, and the inclusion of symbolic elements like crows and landscapes. These details evoke various emotions and invite the viewer to interpret and engage with the artwork on a personal level.
Overall, Eric Avery’s print compositions explore different dimensions of HIV and AIDS. They encourage viewers to confront the disease and its impact while leaving room for individual interpretation and reflection. Through a harmonious blend of colors, lines, and symbols, Avery creates a space for meditation amidst the overwhelming nature of the AIDS crisis.
The essay effectively captures the essence of Avery’s prints and the emotional journey they offer to the viewers. It invites readers to appreciate the complexity of the artworks and the opportunity for stillness and contemplation they provide in the face of a daunting subject matter.
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