Ron Athey - NEA Controversy

NEA Controversy

In 1994, Athey became the target of controversy over the use of federal funds to support art work with visible gay content. In a performance of an excerpt from Four Scenes in a Harsh Life at the Walker Art Center in Minneapolis, Athey made cuts in co-performer Divinity Fudge's back, placed strips of absorbent paper towel on the cuts and then, using a pulley, hoisted the blood-stained cloths into the air. Local art critic Mary Abbe (who had not witnessed the performance) wrote a sensationalizing story about the performance which appeared on the front page of Minneapolis Star-Tribune. That story was picked up the Associated Press and quickly made national headlines. Widespread anxiety about AIDS created a perfect storm as critics and lawmakers including Jesse Helms falsely described his performances as exposing audience members to HIV-infected blood.

Although this 1994 performance was supported only indirectly (via the Walker Center) by $150 from National Endowment for the Arts, Athey's name was frequently invoked in criticism of the NEA. Athey was not alone - performance artists Tim Miller, John Fleck, Karen Finley, and Holly Hughes would become the NEA Four as they fought a case regarding funding for their work before the Supreme Court. Unlike these other artists, Athey has never applied for federal funds to support his work. Nevertheless, in many ways the controversy of this incident continues to shape public perception of his work.