https://contemporaryartumd.artinterp.org/omeka/files/original/b1436c709c053480f71522c0b6466709.jpg 90a485b134f9982636ee904e332622af Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo-weaving, c-prints and thread Physical Dimensions The actual physical size of the original image 48 x 60 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <em>Fear on Their Faces</em> Date A point or period of time associated with an event in the lifecycle of the resource 2011 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.1 Creator An entity primarily responsible for making the resource Hunter Reynolds Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource <em>Fear on Their Faces (page 7)</em> is a work from Hunter Reynolds’s “Survival AIDS” series. Between 1989 and 1993, the artist clipped and archived articles he encountered concerning the LGBTQ community and, in particular, the topic of AIDS. To make this work, Reynolds scanned and enlarged news stories focused on familial relationships among gay children and their heteronormative parents, or children whose parents were dying of AIDS. The artist then wove these clippings together with more personal artefacts: a photograph of the artist as a teenager smiling on the beach with a friend, the lipstick signature of the alter ego Reynolds created as a performance artist, and images he superimposed of his own HIV-positive blood. <br /><br />Large and public in scale, this work offers an intensely personal glimpse into an individual’s efforts at reconciling dissonant experiences of the AIDS pandemic, both as a person living with the disease and as a consumer of mass media that is often characterized by its impersonal and detached reporting.