Risky Beeswax: Artistic Responses to the Biopolitics of HIV/AIDS

In my dissertation, I examine risk in relation to HIV/AIDS and queer art and sex; and the problem that industrial mitigations of risk pose to sexually active queer men living with HIV, the kinds of sex they want, and the people they fuck in the era of AIDS industry. I explore this problem through four themes that emerged during my interviews with artists whose practices respond to AIDS and/or queer sex: 1) risking the personal; 2) (radical, ludic, and risky) sexual ecologies; 3) AIDS, its intersections and risky representations; and 4) the role of risk in art and artistic practice. I also use methods of participant comprehension, sensory ethnography, participant sensing, and artistic practice. The role of the interviews in helping me select the themes shaped my theoretical conversation and the three interventions that comprise my dissertation: audio, video, and written. Industrial mitigations of risk fetishize HIV status and HIV criminalization in ways that stigmatize queer and HIV-positive sexual practices, communities, and cultures. Riskas idea and practiceis multidimensional and has been important in HIV/AIDS art/activism since long before AIDS industrialization. I talk about biopolitics and respond to disciplinary- and bio-power through Foucaults concept of pastoral power and his politics of aesthetic self-creation. I understand (and use) risk as a response to hetero- and homo-normative codes, laws, and imperatives. As a ludic counternarrative to homonormativity, I explore constellations of risky sexual and artistic practices as sites of self-creation through the concept of a dynamic continuum of risk that documents, across four decades of AIDS, the outlaw risky sex practices (anonymous, bathhouses, cruising, public sex) that have thrived in every era. I use this concept as a way to understand a collection of practices that argue against industrial mitigations of risk and the normative and gentrifying impacts these mitigations produce: communities of banality and compliance. Through examination and material production of art that responds to risk in AIDS and queer creative and sexual practices, I conclude that practices and processes of making and responding to art create an escape from the precarity of sexual marginalization, homonormativity, and gentrification