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Archiving an EpidemicArt, AIDS, and the Queer Chicanx Avant-Garde$
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Robb Hernández

Print publication date: 2019

Print ISBN-13: 9781479845309

Published to NYU Press Scholarship Online: May 2020

DOI: 10.18574/nyu/9781479845309.001.0001

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PRINTED FROM NYU Press SCHOLARSHIP ONLINE (www.nyu.universitypressscholarship.com). (c) Copyright University of NYU Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NYSO for personal use.date: 27 May 2022

Viral Delay/Viral Display

Viral Delay/Viral Display

The Domestic Para-Sites of Joey Terrill

(p.117) 4 Viral Delay/Viral Display
Archiving an Epidemic

Robb Hernández

NYU Press

No person better defined the collaborative gestalt of queer Chicano art practices than Joey Terrill. As a principal figure in the Escandalosa Circle, he bore witness to his friends’ HIV infection and eventual demise. This chapter examines the queer visual testimonios engendered by his scene paintings and portraits. As it follows his excursions between coasts, it shows him rendering sights of contagion, whether on a Fire Island beach in New York or a hazardous garden in Beverly Hills. Terrill’s retrospectively eyes his HIV transmission in self-analytical portraits tempered by a pathogenic time stamp, creating what is arguably the most consistent visual account of AIDS in American art. The implications of his queer visual testimonios on canvas and paper have profound meaning for collectors rearticulating their domestic environments with traces of Terrill’s retrospective examinations of HIV infection and terminal illness.

Keywords:   Arnie Araica, Cathedral High School, Robert Mapplethorpe, Don Bachardy, Christopher Isherwood, David Hockney, Michael Nava, Self-Help Graphics, para-sites, Fire Island

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