Rosalind Fox Solomon's Portraits in the Time of AIDS, created primarily in New York during 1987 and 1988 with additional photographs taken in Washington D.C. and Seattle, captures the deeply human dimensions of the AIDS crisis at a time characterized by intense fear, stigma, and widespread social ostracization. At the peak of the epidemic, when political denial and public panic dominated responses to AIDS, Solomon turned her lens toward those most impacted, aiming to humanize the illness and dismantle prevailing prejudices.
Influenced by the political silence and lack of government intervention, Solomon responded with empathy, capturing not just the illness itself but also moments of tenderness and human connection that defied societal fears. Her motivation was both personal and ethical, stemming from a desire to contribute meaningfully to society following successful exhibitions of her work.
Artistically, Solomon utilized black-and-white gelatin silver prints, employing a square format and artificial lighting through the use of flash, emphasizing stark contrasts and intimate details. The photographs are composed to bring the viewer into close proximity with the subjects, frequently employing direct eye contact, physical touch, and familial bonds. This aesthetic choice underscores both vulnerability and resilience, conveying complex emotional layers within each portrait. Solomon’s technique also notably involved extensive pre-photographic conversations, a departure from her typical approach of minimal interaction, thereby enhancing the depth and humanity captured in the images.
Critically, Portraits in the Time of AIDS was initially largely misunderstood and underappreciated. Over time, its reception transformed, leading to institutional recognition and establishing the project as a key historical document of the AIDS crisis—one that visualizes social realities, resists stigma, and honors those affected.
