Art and COVID

In the Disclosures Series, Shan Kelley portrays his personal experience living with HIV through the use of a fine-point needle perforation technique on layers of semi-translucent parchment paper to collectively display text. Broadly, these statements reflect intimate conversations with previous partners to whom he had previously disclosed his status. His work is centered around themes highlighting self-empowerment, liberation, vulnerability, and medicalization surrounding viral transmission.

Within the context of the current COVID-19 pandemic and associated public health response, Disclosures I can be interpreted through the lens of vaccine hesitancy. In particular, the phrase “I don’t want you to be afraid of me” illustrates the sense of overall fear that was frequently associated with the initial approval of COVID-19 vaccines and continues to persist, which has significantly influenced uptake. Common reasons for these feelings of uncertainty include medical mistrust, political ideology, perceived threat of infection, beliefs surrounding infringements on personal liberties and rights, and a seemingly rushed development process; however, vaccine safety has consistently been proven. Overall, acceptance has varied across the United States according to several factors across demographic groups.

Additionally, the fine-point needle perforations further illustrate the route of administration and intramuscular COVID-19 injections while highlighting the importance of the cumulative nature of vaccination. The layering of semi-translucent parchment paper portrays the circulation of misinformation, lack of clarity, and inconsistent communication from governmental leaders regarding the safety and efficacy of vaccination.

Hannah Gould ‘22 and Siena Senn ‘22

The piece entitled Disclosures II, by Shan Kelley, is part of a series of works that depicts the artist’s personal struggles living with HIV. Kelley layered sheets of translucent parchment paper to symbolize the transparency required to disclose one’s status. The punctures in the parchment paper obscure the bolded text, illustrating the hidden identity of HIV positive individuals. This piece features the phrase, “I’M NOT AFRAID OF YOU, I’M AFRAID OF IT.” Taken from the artist’s personal encounter, the words further emphasize the fear and stigma encompassing HIV. The government viewed intravenous drug use and same sex relationships as high-risk behaviors that contributed to viral transmission. Unfortunately, individuals who participated in these behaviors became the target of blame and fear. The use of the words “you” and “it” emphasize the blurry distinction between fear towards a person with HIV and fear towards the virus itself. Due to this gray area, it takes immense courage for someone to disclose their concealed HIV status. Despite these sentiments, Kelley views disclosure as a process of liberation from the psychological burden of living with HIV.

Fear also defines many people’s experience living in the COVID-19 pandemic. In the span of two years, new concerns arose as updated information circulated and pharmaceutical companies developed targeted treatment plans. As depicted in Kelley’s work, the phrase “I am afraid of it” can have various meanings for different people. Some people feared for their own health, while others were more concerned about infecting their friends and family. Over time, scientific studies were conducted to provide insight to the public.

As the COVID-19 virus continues to pose public health concerns, it is important to draw upon past health crises, such as the HIV pandemic, to prevent false information and blame from blurring the relevant scientific information.

                                       Bryan Kirk ‘22 and Nella Tsudis ‘23

In his 1921 etching Night Shadows, Edward Hopper presents the viewer with a suspenseful scene of a lone figure walking along an empty street corner. Hopper has crafted the piece so that a viewer looks down upon the street and the figure from a high vantage point. Only the curved back of the figure can be seen by the viewer, and Hopper’s simple - yet purposeful - exchange of light and shadow invokes a quiet sense of unease and tension in the piece. The birds-eye viewing perspective emphasizes the figure’s solitariness in the open street, and the ominous shadow of the streetlight post that looms ahead of the figure suggests that the figure is about to face an unwelcome and unsettling person or event as he steps forward. The high vantage point permits the viewer to see that the figure is much smaller than his surroundings, and these unique dimensions, paired with dark shadows, conjure a sense of anxiety and mystery that dominates the scene. The shops that line the street are closed, and the viewer wonders why the figure is alone and downtown at this late hour. The elements that Hopper includes in his etching indicate that the piece is meant to tell a story of psychological distress and tension. Hopper once stated that “if you could say it in words, there would be no reason to paint,” and his utilization of simple strokes and alternating patterns of lightness and shadows seem to reveal the complex themes of psychological tension, guilt, and mystery more clearly than any words. The feelings of anxiety, depression, and worry that exude from Hopper’s Night Shadows underscore significant impacts of the COVID-19 pandemic, and the piece invites viewers to consider the mental health consequences of the pandemic more deeply. 

Mary Kaufmann ‘22 and Kiki Fagan ‘22

The COVID-19 pandemic has radically changed everyday life since 2020, affecting many sectors. Healthcare suffered the most consequences from the uncontrolled spread of the virus with people losing their lives or loved ones, and the medical community being unable to react. The lack of specialists who could confidently lead towards the end of the pandemic often caused panic. People’s responses to COVID-19 were numerous and of a wide range, with stress and uncertainty ranking very high.

Nicholas Monro’s piece, Operating Theater, was painted in 1970 and depicts three medical professionals over a human body. The subjects of Monro’s piece have narrowed eyes as if they are pondering a difficult problem. A cloth is draped haphazardly over a surgical dish, evidence that the active medical efforts have passed. The eyeline of two of the medical professionals is directly at the viewer, simulating the feeling of being the patient. Their tilted heads elicit feelings of uncertainty. The third medical professional has averted their gaze implying emotions of sadness, disappointment, and desperation.

Finlay Holston ‘22 and Danai Psaradelli ’22