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[[File:A pink triangle against a black backdrop with the words 'Silence=Death' representing an advertisement for The Silence = Death Project used by permission by ACT-UP, The AIDS Coalition To Unleash Power. Wellcome L0052822.jpg|thumb|A pink triangle against a black backdrop with the words 'Silence=Death' representing an advertisement for The Silence = Death Project used by permission by ACT-UP, The AIDS Coalition To Unleash Power. Wellcome L0052822]]
[[File:A pink triangle against a black backdrop with the words 'Silence=Death' representing an advertisement for The Silence = Death Project used by permission by ACT-UP, The AIDS Coalition To Unleash Power. Wellcome L0052822.jpg|thumb|A pink triangle against a black backdrop with the words 'Silence=Death' representing an advertisement for The Silence = Death Project used by permission by ACT-UP, The AIDS Coalition To Unleash Power. Wellcome L0052822]]


'''William "Bill" R. Olander''' (July 14, 1950 - March 18, 1989) was senior curator at the [[New Museum|New Museum of Contemporary Art]] in New York City.<ref name="nytimes">{{cite journal|title=William Olander, 38, Art Curator, Is Dead|journal=The New York Times|date=21 March 1989|url=http://www.nytimes.com/1989/03/21/obituaries/william-olander-38-art-curator-is-dead.html|accessdate=1 August 2017}}</ref>
'''William "Bill" R. Olander''' (July 14, 1950 - March 18, 1989) was senior curator at the [[New Museum|New Museum of Contemporary Art]] in New York City.<ref name="nytimes">{{cite journal|title=William Olander, 38, Art Curator, Is Dead|journal=The New York Times|date=21 March 1989|url=https://www.nytimes.com/1989/03/21/obituaries/william-olander-38-art-curator-is-dead.html|accessdate=1 August 2017}}</ref>


==Early life==
==Early life==
Bill Olander was born in [[Minneapolis]], [[Minnesota]] on July 14, 1950, and moved to [[New York City]] in the 1980s.<ref name="nytimes" />
Bill Olander was born in [[Minneapolis]], [[Minnesota]] on July 14, 1950, and moved to [[New York City]] in the 1980s.<ref name="nytimes" />


Olander attended the [[New York University Institute of Fine Arts]] where in 1983 he obtained an Art History Ph.D. with the thesis "Pour transmettre a la posterite: French Painting and Revolution 1774–1795".<ref name="nytimes" /><ref>{{cite book|last1=Bryson|first1=Norman|last2=Holly|first2=Michael Ann|last3=Moxey|first3=Keith|title=Visual Culture: Images and Interpretations|date=1994|publisher=Wesleyan University Press|page=165|url=https://books.google.it/books?id=Lcq2FK0ALYkC&pg=PA165|accessdate=1 August 2017}}</ref> Even if unpublished, the thesis was considered a reference work:<ref>{{cite book|last1=Wintermute|first1=Alan|last2=Bailey|first2=Colin B.|last3=Olander|first3=William|last4=Eliel|first4=Carol S.|title=1789: French art during the revolution|date=1989|publisher=Colnaghi|page=27|url=https://books.google.it/books?id=D-rpAAAAMAAJ}}</ref> Olander was one of the first to highlight the importance of the 1792 proclamation of ''[[La patrie en danger]]''.<ref>{{cite book|last1=Mainz|first1=Valerie|title=Days of Glory?: Imaging Military Recruitment and the French Revolution|date=2016|publisher=Springer|page=177|url=https://books.google.it/books?id=gyHqDAAAQBAJ&pg=PA177|accessdate=1 August 2017}}</ref>
Olander attended the [[New York University Institute of Fine Arts]] where in 1983 he obtained an Art History Ph.D. with the thesis "Pour transmettre a la posterite: French Painting and Revolution 1774–1795".<ref name="nytimes" /><ref>{{cite book|last1=Bryson|first1=Norman|last2=Holly|first2=Michael Ann|last3=Moxey|first3=Keith|title=Visual Culture: Images and Interpretations|date=1994|publisher=Wesleyan University Press|page=165|url=https://books.google.com/books?id=Lcq2FK0ALYkC&pg=PA165|accessdate=1 August 2017}}</ref> Even if unpublished, the thesis was considered a reference work:<ref>{{cite book|last1=Wintermute|first1=Alan|last2=Bailey|first2=Colin B.|last3=Olander|first3=William|last4=Eliel|first4=Carol S.|title=1789: French art during the revolution|date=1989|publisher=Colnaghi|page=27|url=https://books.google.com/books?id=D-rpAAAAMAAJ}}</ref> Olander was one of the first to highlight the importance of the 1792 proclamation of ''[[La patrie en danger]]''.<ref>{{cite book|last1=Mainz|first1=Valerie|title=Days of Glory?: Imaging Military Recruitment and the French Revolution|date=2016|publisher=Springer|page=177|url=https://books.google.com/books?id=gyHqDAAAQBAJ&pg=PA177|accessdate=1 August 2017}}</ref>


==Career==
==Career==
In 1979 Olander became [[Modern art]] curator at the [[Allen Memorial Art Museum]] run by [[Oberlin College]];<ref>{{cite book|title=Allen Memorial Art Museum Bulletin|date=1979|publisher=Department of Fine Arts of Oberlin College|url=https://books.google.it/books?id=Tv0hAQAAMAAJ|accessdate=1 August 2017}}</ref> from 1983 to 1984 he was a director.<ref name="nytimes" /> In 1980 Olander contributed text to the museum exhibition "From Reinhardt to Christo". In 1981 Olander curated the exhibition "Young Americans" and in 1984 the exhibition "New Voices 4: Women & The Media, New Video".<ref>{{cite book|title=Bulletin, Volumi 44-46|date=1990|publisher=Allen Memorial Art Museum|url=https://books.google.it/books?id=nm_rAAAAMAAJ|accessdate=1 August 2017}}</ref>
In 1979 Olander became [[Modern art]] curator at the [[Allen Memorial Art Museum]] run by [[Oberlin College]];<ref>{{cite book|title=Allen Memorial Art Museum Bulletin|date=1979|publisher=Department of Fine Arts of Oberlin College|url=https://books.google.com/books?id=Tv0hAQAAMAAJ|accessdate=1 August 2017}}</ref> from 1983 to 1984 he was a director.<ref name="nytimes" /> In 1980 Olander contributed text to the museum exhibition "From Reinhardt to Christo". In 1981 Olander curated the exhibition "Young Americans" and in 1984 the exhibition "New Voices 4: Women & The Media, New Video".<ref>{{cite book|title=Bulletin, Volumi 44-46|date=1990|publisher=Allen Memorial Art Museum|url=https://books.google.com/books?id=nm_rAAAAMAAJ|accessdate=1 August 2017}}</ref>


In 1982 Olander contributed an essay to ''Face It: 10 Contemporary Artists'', a catalogue for the exhibition at the [[Contemporary Arts Center]], Cincinnati, and in 1984 he curated the exhibition ''Drawings: After Photography'' and contributed texts to its catalogue.<ref>{{cite book|last1=Grundberg|first1=Andy|title=Crisis of the Real: Writings on Photography, 1974-1989|date=1990|publisher=Aperture|page=106|url=https://books.google.it/books?id=Dt9TAAAAMAAJ|accessdate=1 August 2017}}</ref>
In 1982 Olander contributed an essay to ''Face It: 10 Contemporary Artists'', a catalogue for the exhibition at the [[Contemporary Arts Center]], Cincinnati, and in 1984 he curated the exhibition ''Drawings: After Photography'' and contributed texts to its catalogue.<ref>{{cite book|last1=Grundberg|first1=Andy|title=Crisis of the Real: Writings on Photography, 1974-1989|date=1990|publisher=Aperture|page=106|url=https://books.google.com/books?id=Dt9TAAAAMAAJ|accessdate=1 August 2017}}</ref>


Since 1985 Bill Olander was a curator at the New Museum of Contemporary Art and specialized in performance art and video, especially [[Postmodern art|post-modernism]] language and theoretical issues.<ref name="nytimes" />
Since 1985 Bill Olander was a curator at the New Museum of Contemporary Art and specialized in performance art and video, especially [[Postmodern art|post-modernism]] language and theoretical issues.<ref name="nytimes" />


In 1985 Olander curated the exhibition "The Art of Memory/The Loss of History": Olander worried that the exhibitions in general were not political enough to motivate audiences to action.<ref>{{cite book|last1=McCarthy|first1=David|title=American Artists Against War, 1935 2010|date=2015|publisher=Univ of California Press|page=215|url=https://books.google.it/books?id=2bElDQAAQBAJ&pg=PA215|accessdate=1 August 2017}}</ref><ref name="nytimes" /> Olander's most famous exhibition is the 1986 "Homo Video: Where are We Now, a program of Video Tapes by Gay Men and Lesbians", including video which responded to the spreading of the AIDS virus. However both Lesbian and Gay artists and photographers were disappointed by the exhibition and Olander referred to it "as a stunning failure with regard to homosexuality".<ref name="visualaids"/><ref>{{cite book|last1=Boffin|first1=Tessa|last2=Fraser|first2=Jean|title=Stolen Glances: Lesbians Take Photographs|date=1991|publisher=Pandora|page=10|url=https://books.google.it/books?id=aC8EAQAAIAAJ|accessdate=1 August 2017}}</ref>
In 1985 Olander curated the exhibition "The Art of Memory/The Loss of History": Olander worried that the exhibitions in general were not political enough to motivate audiences to action.<ref>{{cite book|last1=McCarthy|first1=David|title=American Artists Against War, 1935 2010|date=2015|publisher=Univ of California Press|page=215|url=https://books.google.com/books?id=2bElDQAAQBAJ&pg=PA215|accessdate=1 August 2017}}</ref><ref name="nytimes" /> Olander's most famous exhibition is the 1986 "Homo Video: Where are We Now, a program of Video Tapes by Gay Men and Lesbians", including video which responded to the spreading of the AIDS virus. However both Lesbian and Gay artists and photographers were disappointed by the exhibition and Olander referred to it "as a stunning failure with regard to homosexuality".<ref name="visualaids"/><ref>{{cite book|last1=Boffin|first1=Tessa|last2=Fraser|first2=Jean|title=Stolen Glances: Lesbians Take Photographs|date=1991|publisher=Pandora|page=10|url=https://books.google.com/books?id=aC8EAQAAIAAJ|accessdate=1 August 2017}}</ref>


Always in 1987 he curated exhibition at the New Museum, ''On View at the New Museum. "The Window on Broadway by Act Up."'', which included the ACT UP installation, "Let the Record Show...", a workspace "Social Studies: Recent Work on Video and Film" and paintings by [[Charles Clough (artist)|Charles Clough]] and Mimi Thompson.<ref>{{cite web|title=Brochure for On View at the New Museum. "The Window on Broadway by Act Up."|url=http://archive.newmuseum.org/index.php/Detail/Object/Show/object_id/7910|website=New Museum|accessdate=1 August 2017}}</ref> Another 1987 exhibition was "FAKE", analyzing the postmodernist artists' utilization of “the fake” or “the counterfeit” to construct a discourse of authenticity.<ref>{{cite book|last1=Chen|first1=L.|title=Writing Chinese: Reshaping Chinese Cultural Identity|date=2006|publisher=Springer|page=17|url=https://books.google.it/books?id=afHIAAAAQBAJ&pg=PA17|accessdate=1 August 2017}}</ref>
Always in 1987 he curated exhibition at the New Museum, ''On View at the New Museum. "The Window on Broadway by Act Up."'', which included the ACT UP installation, "Let the Record Show...", a workspace "Social Studies: Recent Work on Video and Film" and paintings by [[Charles Clough (artist)|Charles Clough]] and Mimi Thompson.<ref>{{cite web|title=Brochure for On View at the New Museum. "The Window on Broadway by Act Up."|url=http://archive.newmuseum.org/index.php/Detail/Object/Show/object_id/7910|website=New Museum|accessdate=1 August 2017}}</ref> Another 1987 exhibition was "FAKE", analyzing the postmodernist artists' utilization of “the fake” or “the counterfeit” to construct a discourse of authenticity.<ref>{{cite book|last1=Chen|first1=L.|title=Writing Chinese: Reshaping Chinese Cultural Identity|date=2006|publisher=Springer|page=17|url=https://books.google.com/books?id=afHIAAAAQBAJ&pg=PA17|accessdate=1 August 2017}}</ref>


In 1988 Olander contributed the essay ''An Artistic Agenda'' to ''LACE ([[Los Angeles Contemporary Exhibitions]]), 10 yrs. documented'', <ref>{{cite book|last1=Moss|first1=Karen|last2=Pritikin|first2=Renny|last3=Olander|first3=William|title=LACE, 10 yrs. documented|date=1988|publisher=LACE|page=16|url=https://books.google.it/books?id=NkxKAQAAIAAJ|accessdate=1 August 2017}}</ref> and to ''One Plus or Minus One'', with Lucy Lippard.
In 1988 Olander contributed the essay ''An Artistic Agenda'' to ''LACE ([[Los Angeles Contemporary Exhibitions]]), 10 yrs. documented'', <ref>{{cite book|last1=Moss|first1=Karen|last2=Pritikin|first2=Renny|last3=Olander|first3=William|title=LACE, 10 yrs. documented|date=1988|publisher=LACE|page=16|url=https://books.google.com/books?id=NkxKAQAAIAAJ|accessdate=1 August 2017}}</ref> and to ''One Plus or Minus One'', with Lucy Lippard.


Both ''Discourses: Conversations in Post Modern Art and Culture'', of which Olander was coeditor with Russell Ferguson, Marcia Tucker and Karen Fiss, and ''Discussions in contemporary culture'', to which Olander contributed two essays, were published posthumously in 1990.<ref>{{cite book|last1=Jung|first1=Hwa Yol|title=Transversal Rationality and Intercultural Texts: Essays in Phenomenology and Comparative Philosophy|date=2011|publisher=Ohio University Press|page=340|url=https://books.google.it/books?id=PgX93lW347sC&pg=PA340|accessdate=1 August 2017}}</ref><ref>{{cite book|last1=Dia Art Foundation|title=Discussions in contemporary culture, Edizione 5|date=1990|publisher=Bay Press|url=https://books.google.it/books?id=bnExAQAAIAAJ|accessdate=1 August 2017}}</ref>
Both ''Discourses: Conversations in Post Modern Art and Culture'', of which Olander was coeditor with Russell Ferguson, Marcia Tucker and Karen Fiss, and ''Discussions in contemporary culture'', to which Olander contributed two essays, were published posthumously in 1990.<ref>{{cite book|last1=Jung|first1=Hwa Yol|title=Transversal Rationality and Intercultural Texts: Essays in Phenomenology and Comparative Philosophy|date=2011|publisher=Ohio University Press|page=340|url=https://books.google.com/books?id=PgX93lW347sC&pg=PA340|accessdate=1 August 2017}}</ref><ref>{{cite book|last1=Dia Art Foundation|title=Discussions in contemporary culture, Edizione 5|date=1990|publisher=Bay Press|url=https://books.google.com/books?id=bnExAQAAIAAJ|accessdate=1 August 2017}}</ref>


==''Let the Record Show''==
==''Let the Record Show''==
[[File:Jacques-Louis David - Marat assassinated - Google Art Project 2.jpg|thumb|The Death of Marat by Jacques-Louis David]]
[[File:Jacques-Louis David - Marat assassinated - Google Art Project 2.jpg|thumb|The Death of Marat by Jacques-Louis David]]


In 1987 he invited the [[ACT UP|AIDS Coalition to Unleash Power (ACT UP)]] group to present an installation for the museum's window facing Broadway at the cross with Prince Street. The installation, created by the art collective [[Gran Fury]], was a collage of statistics and information on AIDS and the way they were presented wanted to express the general indifference of the public opinion to the staggering numbers of AIDS victims.<ref name="nytimes" /> "The majority of the sitters are shown alone [...] they have no identities other than as victims of AIDS", Olander.<ref>{{cite book|last1=Stanton|first1=Domna C.|title=Discourses of Sexuality: From Aristotle to AIDS|date=1992|publisher=University of Michigan Press|page=373|url=https://books.google.it/books?id=X1bfmzQyraYC&pg=PA373|accessdate=1 August 2017}}</ref> Olander invited ACT UP after an anonymous poster (a pink triangle on a black background with the phrase, [[Silence=Death Project|Silence = Death]]) started to appear throughout Manhattan.<ref name="Ault">{{cite book|last1=Ault|first1=Julie|title=Art Matters: How the Culture Wars Changed America|date=1999|publisher=NYU Press|page=102|url=https://books.google.it/books?id=cDKvwboqyccC&pg=PA102|accessdate=1 August 2017}}</ref> "Let the Record Show" (1987) is now an iconic installation at the New Museum.<ref name="visualaids"/> Olander compared the installation "Let the Record Show..." to [[Jacques-Louis David]]'s ''[[The Death of Marat]]''.<ref name="Ault" />
In 1987 he invited the [[ACT UP|AIDS Coalition to Unleash Power (ACT UP)]] group to present an installation for the museum's window facing Broadway at the cross with Prince Street. The installation, created by the art collective [[Gran Fury]], was a collage of statistics and information on AIDS and the way they were presented wanted to express the general indifference of the public opinion to the staggering numbers of AIDS victims.<ref name="nytimes" /> "The majority of the sitters are shown alone [...] they have no identities other than as victims of AIDS", Olander.<ref>{{cite book|last1=Stanton|first1=Domna C.|title=Discourses of Sexuality: From Aristotle to AIDS|date=1992|publisher=University of Michigan Press|page=373|url=https://books.google.com/books?id=X1bfmzQyraYC&pg=PA373|accessdate=1 August 2017}}</ref> Olander invited ACT UP after an anonymous poster (a pink triangle on a black background with the phrase, [[Silence=Death Project|Silence = Death]]) started to appear throughout Manhattan.<ref name="Ault">{{cite book|last1=Ault|first1=Julie|title=Art Matters: How the Culture Wars Changed America|date=1999|publisher=NYU Press|page=102|url=https://books.google.com/books?id=cDKvwboqyccC&pg=PA102|accessdate=1 August 2017}}</ref> "Let the Record Show" (1987) is now an iconic installation at the New Museum.<ref name="visualaids"/> Olander compared the installation "Let the Record Show..." to [[Jacques-Louis David]]'s ''[[The Death of Marat]]''.<ref name="Ault" />


Olander's name on the [[NAMES Project AIDS Memorial Quilt]] reads: "Let the record show that there are many in the community of art and artists who choose not to be silent in the 1980s".<ref name="visualaids">{{cite web|last1=Kerr|first1=Ted|title=Remembering William Olander|url=https://www.visualaids.org/blog/detail/remembering-william-olander|website=THE VISUAL AIDS BLOG|accessdate=1 August 2017}}</ref>
Olander's name on the [[NAMES Project AIDS Memorial Quilt]] reads: "Let the record show that there are many in the community of art and artists who choose not to be silent in the 1980s".<ref name="visualaids">{{cite web|last1=Kerr|first1=Ted|title=Remembering William Olander|url=https://www.visualaids.org/blog/detail/remembering-william-olander|website=THE VISUAL AIDS BLOG|accessdate=1 August 2017}}</ref>


==Visual AIDS==
==Visual AIDS==
In 1988, William Olander, together with [[Robert Atkins (curator)|Robert Atkins]] (writer/curator), [[Thomas Sokolowski]] (former Director of [[The Andy Warhol Museum]]), Gary Garrels (Chief Curator at [[San Francisco Museum of Modern Art]]) and [[Patrick O'Connell (executive director)|Patrick O'Connell]] (Visual AIDS's executive director) created Visual AIDS. Olander, Atkins, Sokolowski and Garrels, all gay men, knew each other from volunteering at [[Gay Men's Health Crisis]], ACTed UP, Art Against AIDS, and therefore decided to find a way to give visibility to artwork about AIDS and to fight the stigmatization of people with AIDS in the press.<ref>{{cite web|last1=Robert|first1=Atkins|title=Visual AIDS Timeline|url=https://www.visualaids.org/history#year-1988|website=Visual AIDS|accessdate=1 August 2017}}</ref><ref>{{cite book|last1=Junge|first1=Sophie|title=Art about AIDS: Nan Goldin's Exhibition Witnesses: Against Our Vanishing|date=2016|publisher=Walter de Gruyter GmbH & Co KG|page=116|url=https://books.google.it/books?id=dAJEDQAAQBAJ&pg=PA116|accessdate=1 August 2017}}</ref>
In 1988, William Olander, together with [[Robert Atkins (curator)|Robert Atkins]] (writer/curator), [[Thomas Sokolowski]] (former Director of [[The Andy Warhol Museum]]), Gary Garrels (Chief Curator at [[San Francisco Museum of Modern Art]]) and [[Patrick O'Connell (executive director)|Patrick O'Connell]] (Visual AIDS's executive director) created Visual AIDS. Olander, Atkins, Sokolowski and Garrels, all gay men, knew each other from volunteering at [[Gay Men's Health Crisis]], ACTed UP, Art Against AIDS, and therefore decided to find a way to give visibility to artwork about AIDS and to fight the stigmatization of people with AIDS in the press.<ref>{{cite web|last1=Robert|first1=Atkins|title=Visual AIDS Timeline|url=https://www.visualaids.org/history#year-1988|website=Visual AIDS|accessdate=1 August 2017}}</ref><ref>{{cite book|last1=Junge|first1=Sophie|title=Art about AIDS: Nan Goldin's Exhibition Witnesses: Against Our Vanishing|date=2016|publisher=Walter de Gruyter GmbH & Co KG|page=116|url=https://books.google.com/books?id=dAJEDQAAQBAJ&pg=PA116|accessdate=1 August 2017}}</ref>


Every year Visual AIDS presents the "Bill Olander Award" to art workers or artists living with HIV.<ref name="visualaids"/>
Every year Visual AIDS presents the "Bill Olander Award" to art workers or artists living with HIV.<ref name="visualaids"/>

Revision as of 17:13, 18 September 2017

A pink triangle against a black backdrop with the words 'Silence=Death' representing an advertisement for The Silence = Death Project used by permission by ACT-UP, The AIDS Coalition To Unleash Power. Wellcome L0052822

William "Bill" R. Olander (July 14, 1950 - March 18, 1989) was senior curator at the New Museum of Contemporary Art in New York City.[1]

Early life

Bill Olander was born in Minneapolis, Minnesota on July 14, 1950, and moved to New York City in the 1980s.[1]

Olander attended the New York University Institute of Fine Arts where in 1983 he obtained an Art History Ph.D. with the thesis "Pour transmettre a la posterite: French Painting and Revolution 1774–1795".[1][2] Even if unpublished, the thesis was considered a reference work:[3] Olander was one of the first to highlight the importance of the 1792 proclamation of La patrie en danger.[4]

Career

In 1979 Olander became Modern art curator at the Allen Memorial Art Museum run by Oberlin College;[5] from 1983 to 1984 he was a director.[1] In 1980 Olander contributed text to the museum exhibition "From Reinhardt to Christo". In 1981 Olander curated the exhibition "Young Americans" and in 1984 the exhibition "New Voices 4: Women & The Media, New Video".[6]

In 1982 Olander contributed an essay to Face It: 10 Contemporary Artists, a catalogue for the exhibition at the Contemporary Arts Center, Cincinnati, and in 1984 he curated the exhibition Drawings: After Photography and contributed texts to its catalogue.[7]

Since 1985 Bill Olander was a curator at the New Museum of Contemporary Art and specialized in performance art and video, especially post-modernism language and theoretical issues.[1]

In 1985 Olander curated the exhibition "The Art of Memory/The Loss of History": Olander worried that the exhibitions in general were not political enough to motivate audiences to action.[8][1] Olander's most famous exhibition is the 1986 "Homo Video: Where are We Now, a program of Video Tapes by Gay Men and Lesbians", including video which responded to the spreading of the AIDS virus. However both Lesbian and Gay artists and photographers were disappointed by the exhibition and Olander referred to it "as a stunning failure with regard to homosexuality".[9][10]

Always in 1987 he curated exhibition at the New Museum, On View at the New Museum. "The Window on Broadway by Act Up.", which included the ACT UP installation, "Let the Record Show...", a workspace "Social Studies: Recent Work on Video and Film" and paintings by Charles Clough and Mimi Thompson.[11] Another 1987 exhibition was "FAKE", analyzing the postmodernist artists' utilization of “the fake” or “the counterfeit” to construct a discourse of authenticity.[12]

In 1988 Olander contributed the essay An Artistic Agenda to LACE (Los Angeles Contemporary Exhibitions), 10 yrs. documented, [13] and to One Plus or Minus One, with Lucy Lippard.

Both Discourses: Conversations in Post Modern Art and Culture, of which Olander was coeditor with Russell Ferguson, Marcia Tucker and Karen Fiss, and Discussions in contemporary culture, to which Olander contributed two essays, were published posthumously in 1990.[14][15]

Let the Record Show

The Death of Marat by Jacques-Louis David

In 1987 he invited the AIDS Coalition to Unleash Power (ACT UP) group to present an installation for the museum's window facing Broadway at the cross with Prince Street. The installation, created by the art collective Gran Fury, was a collage of statistics and information on AIDS and the way they were presented wanted to express the general indifference of the public opinion to the staggering numbers of AIDS victims.[1] "The majority of the sitters are shown alone [...] they have no identities other than as victims of AIDS", Olander.[16] Olander invited ACT UP after an anonymous poster (a pink triangle on a black background with the phrase, Silence = Death) started to appear throughout Manhattan.[17] "Let the Record Show" (1987) is now an iconic installation at the New Museum.[9] Olander compared the installation "Let the Record Show..." to Jacques-Louis David's The Death of Marat.[17]

Olander's name on the NAMES Project AIDS Memorial Quilt reads: "Let the record show that there are many in the community of art and artists who choose not to be silent in the 1980s".[9]

Visual AIDS

In 1988, William Olander, together with Robert Atkins (writer/curator), Thomas Sokolowski (former Director of The Andy Warhol Museum), Gary Garrels (Chief Curator at San Francisco Museum of Modern Art) and Patrick O'Connell (Visual AIDS's executive director) created Visual AIDS. Olander, Atkins, Sokolowski and Garrels, all gay men, knew each other from volunteering at Gay Men's Health Crisis, ACTed UP, Art Against AIDS, and therefore decided to find a way to give visibility to artwork about AIDS and to fight the stigmatization of people with AIDS in the press.[18][19]

Every year Visual AIDS presents the "Bill Olander Award" to art workers or artists living with HIV.[9]

Personal life and death

Olander's longtime companion was Christopher Cox. When Olander's obituary ran in the New York Times, initially Cox's name was omitted, only to be corrected later. Cox is known for his collaboration within The Violet Quill.[1]

Bill Olander died of on March 18, 1989 from causes related to HIV/AIDS. He is buried at Lakewood Cemetery, Minneapolis, Plot: Section 34 Row 11B Grave 7. Cox died 18 months later, on September 7, 1990.[1][9]

References

  1. ^ a b c d e f g h i "William Olander, 38, Art Curator, Is Dead". The New York Times. 21 March 1989. Retrieved 1 August 2017.
  2. ^ Bryson, Norman; Holly, Michael Ann; Moxey, Keith (1994). Visual Culture: Images and Interpretations. Wesleyan University Press. p. 165. Retrieved 1 August 2017.
  3. ^ Wintermute, Alan; Bailey, Colin B.; Olander, William; Eliel, Carol S. (1989). 1789: French art during the revolution. Colnaghi. p. 27.
  4. ^ Mainz, Valerie (2016). Days of Glory?: Imaging Military Recruitment and the French Revolution. Springer. p. 177. Retrieved 1 August 2017.
  5. ^ Allen Memorial Art Museum Bulletin. Department of Fine Arts of Oberlin College. 1979. Retrieved 1 August 2017.
  6. ^ Bulletin, Volumi 44-46. Allen Memorial Art Museum. 1990. Retrieved 1 August 2017.
  7. ^ Grundberg, Andy (1990). Crisis of the Real: Writings on Photography, 1974-1989. Aperture. p. 106. Retrieved 1 August 2017.
  8. ^ McCarthy, David (2015). American Artists Against War, 1935 2010. Univ of California Press. p. 215. Retrieved 1 August 2017.
  9. ^ a b c d e Kerr, Ted. "Remembering William Olander". THE VISUAL AIDS BLOG. Retrieved 1 August 2017.
  10. ^ Boffin, Tessa; Fraser, Jean (1991). Stolen Glances: Lesbians Take Photographs. Pandora. p. 10. Retrieved 1 August 2017.
  11. ^ "Brochure for On View at the New Museum. "The Window on Broadway by Act Up."". New Museum. Retrieved 1 August 2017.
  12. ^ Chen, L. (2006). Writing Chinese: Reshaping Chinese Cultural Identity. Springer. p. 17. Retrieved 1 August 2017.
  13. ^ Moss, Karen; Pritikin, Renny; Olander, William (1988). LACE, 10 yrs. documented. LACE. p. 16. Retrieved 1 August 2017.
  14. ^ Jung, Hwa Yol (2011). Transversal Rationality and Intercultural Texts: Essays in Phenomenology and Comparative Philosophy. Ohio University Press. p. 340. Retrieved 1 August 2017.
  15. ^ Dia Art Foundation (1990). Discussions in contemporary culture, Edizione 5. Bay Press. Retrieved 1 August 2017.
  16. ^ Stanton, Domna C. (1992). Discourses of Sexuality: From Aristotle to AIDS. University of Michigan Press. p. 373. Retrieved 1 August 2017.
  17. ^ a b Ault, Julie (1999). Art Matters: How the Culture Wars Changed America. NYU Press. p. 102. Retrieved 1 August 2017.
  18. ^ Robert, Atkins. "Visual AIDS Timeline". Visual AIDS. Retrieved 1 August 2017.
  19. ^ Junge, Sophie (2016). Art about AIDS: Nan Goldin's Exhibition Witnesses: Against Our Vanishing. Walter de Gruyter GmbH & Co KG. p. 116. Retrieved 1 August 2017.
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