Introduction to HIV/AIDS in the Art Industry
David ‘Danny’ Rubinstein’s panel on block 1955 in the AIDS quilt is unique creation that embodies what he may have loved most and is one of the many victims of HIV/AIDS memorialised in the NAMES project. Other people memorialised on block 1955 worthy of mention are Steve Jacoby and Larry Kert. What was special about David Rubinstein, Steve Jacoby, and Larry Kert was that they were men that were very fond of the arts and more than likely enjoyed theatre due to the representation of A Chorus Line, RENT, and Phantom of the Opera in their respective panels. Like David and the others represented in block 1955 there were many men and women memorialised in quilts throughout the NAMES project who also have some form of appreciated art embroidered to their panel. This quilt block prompts the question as to what was it about the art industry that brought a significant amount of HIV/AIDS victims to become involved?
The world of the arts is complex and because of individuality among humans it is there are many ways to produce and interpret art. Due to how broad the meaning of ‘art’ can be defined it is usually difficult to generalise an interest to one specific culture or personality type. But one unfortunate attribute to the world of arts that is impossible not to be perceived as a collective is those who are victims of HIV/AIDS. Many victims of the virus were isolated withing the world of the arts and were treated as outcasts. The commonplace of the majority of victims of HIV/AIDS in the United States who enjoyed the arts were among men and women apart of communities within Broadway, New York and Hollywood, California.
In this essay I will first explain the purpose of Broadway and Hollywood and what the atmosphere regarding the lifestyle lived among the people who were apart of the communities for a better understanding of them. Then I will provide the demographics of the communities of Broadway and Hollywood and explaining the connection between the demographic and the HIV/AIDS epidemic. Then I will describe the efforts being made within the communities to address HIV/AIDS and who were important figures that helped make the mission possible.
In the conclusion will be a summary of all the sources to prove how they validate my connection of the arts industry to HIV/AIDS and how they brought attention to the epidemic and how victims within the community and the industry interacted with each other and represent them.