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	New Museum: Fever: The Art of David Wojnarowicz
		Wojnarowicz's macabre images on supermarket posters, elaborately painted wooden totems, furtive depictions of sexual scenes, bandaged plaster heads, animal forms and skulls wrapped in maps or money, apocalyptic mixed-media installations, and exaggeratedly violent film performances were all emblematic of the highly charged atmosphere of the time.
		Wojnarowicz's interest in creating art from the visual residue of what he called the "pre-invented world" was the main impetus for his turning to photography, writing, and object-making in the last years of his life.
		Wojnarowicz's most lasting achievement may have been to show by concrete example that the artist's unshakeable responsibility is to his own version of the truth, even when it takes on forms and meanings that are extremely difficult to witness.
	www.newmuseum.org /more_exh_d_wojnarowicz.php (1305 words)

	The 2003 CESNUR Conference - David Wojnarowicz (Bauer)
		Wojnarowicz's life and worldview was deeply marked by the fact that, in 1963, the nine year old began to earn money as a prostitute in New York City[18] and continued to do so until the age of 20.
		Not unlike those privileged moments of sexual experience evoked by Wojnarowicz, in which "all sense of living takes a slow quiet dive into mystery and possibilities,"[80] the act of dying unveils a space of inwardness, whose plenitude is liable to reconcile the individual with the ineradicable finitude of his mortality.
		Since Wojnarowicz regards death "as some final moment where all the energy of [the] body will disperse,"[81] the mind of the departing is called to realize this-worldliness as the realm of possibilities in which the body was immersed all along.
	www.cesnur.org /2003/vil2003_bauer1.htm (3366 words)

	QAR: David Wojnarowicz
		David Wojnarowicz is recognized as one of the most potent voices of his generation, and his singular artistic achievements place him firmly within a long-standing American tradition of the artist as visionary, rebel and public figure.
		Wojnarowicz’s signature method of compressing historical time and activity with an accomplished collage technique further intensifies the impact of his work.
		Wojnarowicz was inspired by such Pop Art luminaries as Andy Warhol and Roy Lichtenstein.
	www.queer-arts.org /archive/9902/wojnarowicz/wojnarowicz.html (769 words)

	David Dashiel
		Wojnarowicz was born in 1954, exactly a century after Rimbaud, and died in 1992, living one year longer than Rimbaud, who died in 1891.
		Wojnarowicz brought down to earth what for Rimbaud was a mystical way of ascending to psychic heaven.
		Wojnarowicz lacks the emotional breadth, complexity, and depth of Rimbaud, tending instead to harp on one emotional note—usually rage, as he acknowledges.
	www.queerculturalcenter.org /Pages/DavidW/DW_Kuspit.html (1314 words)

	Désordres - David Wojnarowicz
		DAVID WOJNAROWICZ s’est imposé comme l’un des artistes américains incontournables des années 80.
		C’est parce que l’œuvre créatrice de David Wojnarowicz procède de toute sa vie qu’elle a acquis une pareille puissance.
		Alors que tout semble dit et redit, quelque chose émerge du chaos de David Wojnarowicz qui nous place devant notre responsabilité d’être pour quelque chose dans le cours du mouvement du monde.
	www.editions-desordres.com /auteurs/david_wojnarowicz.php (146 words)

	Whitney Museum Featured Artist: David Wojnarowicz
		Wojnarowicz used the Rimbaud mask to conjure the identity or spirit of the deceased poet, but the overt nature of his masquerade is consistent with a journalistic approach he took with the series.
		Wojnarowicz's contact sheets reveal that he had the mask while he was in Paris, but the trip there and his subsequent return to New York may have influenced his work on this series.
		Wojnarowicz corresponded with friends while he was away, and he was acutely aware that while they continued their lives in New York, he was living his own in a very different environment.
	whitney.org /www/exhibition/feat_woj.jsp (2342 words)

	David Wojnarowicz at P.P.O.W. and Roth Horowitz. - HighBeam Encyclopedia (Site not responding. Last check: )
		The exhibition included two dozen of these late '70s photographs, only a small number of which had been printed by the artist and exhibited or published during his lifetime (the prints for the book were made from contact proofs that have survived).
		The photos are a wordless testimony to the poetry that underpinned Wojnarowicz's entire career, and the importance of the literary to all its forms.
		David Wojnarowicz: Untitled (One Day This Kid...), 1990, photostat, 30 3/4 by 41 inches; at P.P.O.W. One day this kid will get larger.
	www.encyclopedia.com /doc/1G1-131200161.html (771 words)

	D. Wojnarowicz (Site not responding. Last check: )
		Wojnarowicz's life was difficult--from his unhappy childhood and adolescence to periods of homelessness and ostracism, coupled with overwhelming despair and loneliness.
		Wojnarowicz won an injunction, but was scantly compensated, and the NEA withdrew funding for the exhibition catalog where the series was reproduced.
		David Wojnarowicz's creative work stems from his whole life and it is from there that it has acquired such an amazing power.
	www.queertheory.com /histories/w/wojnarowicz_david.htm (870 words)

	Wojnarowicz Release
		The oeuvre of the painter, photographer, and filmmaker David Wojnarowicz, who died of AIDS in 1992, is now recognized as one of the most powerful and complex to have emerged and developed in the East Village in the course of the 1980s.
		Wojnarowicz tries to show the relationship between the apparently incongruous aspect of our culture on both a thematic and formal level.
		Wojnarowicz is recognized by many as the most interesting and powerful of those artists who aimed to develop a counter-cultural art practice in the East Village in the 1980s.
	www.oberlin.edu /news-info/99feb/wojnarowicz_release.html (664 words)

	Article-Fever Art of David Wojnarowicz -New Museum Books, 2- (Site not responding. Last check: )
		Wojnarowicz won an injunction, but was scantly compensated, and the NEA withdrew funding for the exhibition catalog where the series was reproduced.
		Whistler was an American expatriate, Wojnarowicz a stranger in his own land, living "in the shadow of the American dream," as he put it, as a hustler, lover, and multimedia artist until his untimely death from AIDS.
		Wojnarowicz was 24 when he shot most of the Rimbaud in New York series, and the urban situations in which he poses the masked figure represent...
	www.minihttpserver.net /z_book/A_fever_art_of_david_w-0847821447.htm (603 words)

	fever_birthday
		Finally, David Wojnarowicz lived the life of an artist who strove consistently to make a difference through his art, to fuse radical art and radical politics in a way that could not easily be ignored and that compelled (even hostile) attention and response.
		David Wojnarowicz’s art continues to grow in influence, and resonance, ten years past his death despite the fact his art maintains a passionately explicit connection with the specific time(s) and place(s) in which he created it.
		Wojnarowicz refused to be silent; he spoke out and acted up militantly, defiantly, and eloquently – both in and beyond his art – against the indifference, greed, hypocrisy, and brutality of U.S. government sanctioned repression of gay men, lesbians, and people living with HIV and AIDS.
	www.uwec.edu /ranowlan/fever_birthday.html (2907 words)

	American Public Health Association - APHA - Sember editorial - June 2001 AJPH (Site not responding. Last check: )
		Through the text he reveals that this child is the meeting point for a clash of forces as fundamental as the forces of nature, forces "equivalent to the separation of the earth from its axis." This is no less than the conflict between desire and repression.
		By structuring the text as he does--providing a list of abuses punctuated by a final, revelatory sentence supposed to explain why the child is subject to the violence described--Wojnarowicz both evokes and inverts the conservative argument that homosexuality is a threat to the safety of children.
		And horror is certainly Wojnarowicz's focus, the horror of being trapped in a "diseased society." Perhaps our experience of the image will provide us with some foundation for identifying with or empathizing with the nameless "kid" in the piece.
	www.apha.org /journal/editorials/june01/ed3jun01.htm (803 words)

	David Wojnarowicz
		David Wojnarowicz was a painter, photographer, performance artist, and writer whose provocative works made him a well-known figure in the New York East Village art scene of the 1980s.
		Wojnarowicz endured a difficult childhood and struggled to make sense of his homosexuality—subjects that became a central theme in his art.
		During the height of a national controversy in 1989 concerning morality and censorship in the arts—engendered by an exhibition of photographs by Robert Mapplethorpe—Wojnarowicz became embroiled in scandal himself.
	www.npg.si.edu /cexh/artnews/woj.htm (143 words)

	Fever: Art of David Wojnarowicz (Site not responding. Last check: )
		Book Description: David Wojnarowicz, who had lived on the streets of New York since he was thirteen, drew from his experiences on the margins of American society to recreate a passionate world of outsiders-hustlers and hobos, club kids and rednecks.
		After he was diagnosed with AIDS in the late 1980's, Wojnarowicz's art took on a sharply political edge, and from then until his death in 1992, he became entangled in highly public debates about medical research and funding, censorship in the arts, and politically sanctioned homophobia.
		Fever: The Art of David Wojnarowicz is the first book to explore the extraordinary breadth of his work in film, installation, sculpture, photography, performance, and writing, as well as his considerable influence on artists and writers working today.
	isbn.nu /0847821447 (692 words)

	glbtq >> arts >> Wojnarowicz, David (Site not responding. Last check: )
		Wojnarowicz came to maturity as a contemporary artist and writer during a decade when the arts sought increasingly to address issues of gender, race, and ethnicity.
		Wojnarowicz was the first American gay artist to step forward in anger and give expression to his moral outrage.
		Of all the media and formats for which Wojnarowicz is known, the works that combine image and text are the most complex and moving, offering the best summary of his art.
	www.glbtq.com /arts/wojnarowicz_d.html (822 words)

	INHERENTLY PERVERSE, The Last Confession of David Wojnarowicz, by Paul Bravmann (03/25/99)
		In the Shadow of the American Dream: The Diaries of David Wojnarowicz, is patched together from 31 journals, written over the course of 20 years.
		It is immediately obvious that these journals served as a laboratory for Wojnarowicz's high-impact writing style, and that years prior to assuming his role as "the essential '80s East Village artist," famous for multimedia constructions that fused the symbology of capitalism (advertisements, currency) with grainy photographs of blow jobs, he considered himself an author-in-training.
		Wojnarowicz's closet, since sex and death are the overt subjects of his vast artistic record, what we crave turns out to be something much more homely--the assorted nuts and bolts of his biography.
	classy.thestranger.com /1999-03-25/art.html (796 words)

	the films of David Wojnarowicz (Site not responding. Last check: )
		The name of Wojnarowicz’s rock band, ‘3 Teens Kill 4 – No Motive’ actually sums up his relation to film and video quite nicely: typically collaborative, the films are often violent in a delectably juvenile way, and generally leave the viewer mystified.
		Wojnarowicz certainly wasn’t alone in his attempt to comprehend the worst that humanity had to offer.
		What is clear, however, is that Wojnarowicz’s films and videos were tracing an arc - from a literal stunned repose, to a vengeful, gorey hell, they seem to be on the verge of evolving into something even more perceptive and aggressive.
	scotttreleaven.com /infamy/clever/wojnarowicz.html (831 words)

	On the Cover
		Wojnarowicz was one of the most powerfully insightful and influentially challenging artistic commentators upon the cultural politics of the AIDS epidemic in the United States.
		Wojnarowicz refused to be silent; he spoke out and acted up militantly, defiantly, and eloquently — both in and beyond his art — against the indifference, greed, hypocrisy, and brutality of u.s.
		Wojnarowicz fought Jesse Helms and Donald Wildman and all others who tired to turn the epidemic of AIDS into an excuse to justify increased persecution of those already marginalized by racism, sexism, classism, and heterosexism and homophobia.
	www.etext.org /Politics/AlternativeOrange/2/v2n1_otc.html (258 words)

	[No title]
		Wojnarowicz emerged in the late seventies as part of the first wave of East Village artists, including Keith Haring, Kenny Scharf, Jenny Holzer, and Jean-Michel Basquiat--artists who were known for their work on the streets.
		Wojnarowicz gained prominence with the inclusion of his work in the Whitney Biennial in 1985, but enjoyment of his success was short-lived.
		Major support for Fever: The Art of David Wojnarowicz is provided by the Henry Luce Foundation, The Andy Warhol Foundation for the Visual Arts, The Judith Rothschild Foundation and through the William T. Olander Fund at the New Museum.
	www.artincontext.org /exhibition/exhibition_additional.aspx?id=2042 (1470 words)

	Amazon.com: Fever Art of David Wojnarowicz (New Museum Books, 2): Books: Dan Cameron (Site not responding. Last check: )
		Wojnarowicz won an injunction, but was scantly compensated, and the NEA withdrew funding for the exhibition catalog where the series was reproduced.
		Whistler was an American expatriate, Wojnarowicz a stranger in his own land, living "in the shadow of the American dream," as he put it, as a hustler, lover, and multimedia artist until his untimely death from AIDS.
		A painter, photographer, writer, and activist, Wojnarowicz currently is being commemorated with a large-scale retrospective at the New Museum of Contemporary Art in New York, the first since his death from AIDS at the age of 37 in 1992.
	www.amazon.com /Fever-David-Wojnarowicz-Museum-Books/dp/0847821447 (1142 words)

	Amazon.de: Close to the Knives: A Memoir of Disintegration: English Books: David Wojnarowicz (Site not responding. Last check: )
		Wojnarowicz is a controversial contemporary artist who drew national attention when the NEA withdrew a grant for the artist's gallery, Artist's Space, in response to the lacerating essay he wrote about AIDS to accompany the show.
		David Wojnarowicz (pronounced "Wanna-row-its") was what used to be called a Renaissance Man. I use the past tense for two reasons: 1) he died before he could fulfill his potential, and 2) the very notion of a Renaissance, an artistic rebirth subsequently institutionalized, was both hateful to him and utterly appropriate.
		In _Close to the Knives_, Wojnarowicz does it just right: he tells it like it is, without sentimentalizing or self-pity, but gives his controversial subjects, including his unhappy sex life and the agonzing deaths of friends, a sublimity and meaningfulness that puts most other such memoirs in the shade.
	www.amazon.de /Close-Knives-Disintegration-David-Wojnarowicz/dp/0679732276 (957 words)

	David Wojnarowicz at AllExperts
		David Wojnarowicz (September 14, 1954 - July 22, 1992) was a gay painter, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.
		In the 1990's, he fought and was issued an injunction against Donald Wildmon and the American Family Association on the grounds that Wojnarowicz's work been had copied and distorted in violation of the New York Artists' Authorship Rights Act.
		Wojnarowicz died of AIDS on July 22, 1992.
	en.allexperts.com /e/d/da/david_wojnarowicz.htm (392 words)

	Amazon.ca: Brush Fires in the Social Landscapes: Books: David Wojnarowicz (Site not responding. Last check: )
		Flaring with immediacy and unbridled intensity, David Wojnarowicz's work embraces and illuminates the repressed, the unspeakable, and the intolerable.
		David incorporates prose, politics, photography, painting and social criticism in a non-heirachical manner.
		David Wojnarowicz is presented here almost in his total artistic form (only the music playing and the filmmaking are absent).
	www.amazon.ca /Brush-Social-Landscapes-David-Wojnarowicz/dp/0893815675 (365 words)

	David Wojnarowicz: A Definitive History of Five or Six Years on the Lower East Side - Wal-Mart
		In February 1991, the artist David Wojnarowicz (1954-1992) and the philosopher Sylvere Lotringer met in a borrowed East Village apartment to conduct a long-awaited dialogue on Wojnarowicz's work.
		Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of morals crusader Senator Jesse Helms--a notoriety that Wojnarowicz alternately embraced and rejected.
		David was trying, often with heartbreaking eloquence, to define not just his career but its position in time.
	www.walmart.com /catalog/product.gsp?product_id=4962691 (695 words)

	Article-In the Shadow of the American Dream- The Diaries of David Wojnarowicz (Site not responding. Last check: )
		Wojnarowicz's life was difficult--from his unhappy childhood and adolescence to periods of homelessness and ostracism, coupled with overwhelming despair and loneliness.
		We see how Wojnarowicz's art became his salvation--even in the face of AIDS--and his life finally opened and expanded to be able to include other people in ways that never happened before, including a close friendship with photographer Peter Hujar.
		Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of mor...
	www.minihttpserver.net /z_book/A_in_the_shadow_of_the-0802136710.htm (1342 words)

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