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Gran Fury
Gran Fury was an activist/artist collective consisting of 11 members who spawned from ACT UP (AIDS Coalition to Unleash Power) in 1988. The members of the group included Richard Elovich, Avram Finkelstein, Amy Heard, Tom Kalin, John Lindell, Loring McAlpin, Marlene McCarty, Donald Moffett, Michael Nesline, Mark Simpson and Robert Vazquez. The name "Gran Fury" references both the Plymouth Gran Fury, the specific car model used by the New York Police Department for their police cars, and their anger about the government's response, or lack thereof, to the AIDS pandemic. During their active years in New York between 1987-1995, Gran Fury used the cityscape as an exhibition space to raise awareness and urgency of the AIDS epidemic. Before the conception of social media, the collective's appropriation of mass-media language and use of various material including: posters, stickers, T-shirts, billboards and postcards, simultaneously produced provocative, stylish and satirical public projects. Gran Fury's combination of bold graphic design, guerilla dissemination tactics, public intervention, and art institutional support to communicate the urgency of the AIDS epidemic in the light of a pacifist Reagan government. Gran Fury acted as ACT UP's unofficial propaganda ministry, creating work that used the same strategies as advertising to reach a wider audience.
Action, not art, was the aim of the collective.
== Methods ==
Gran Fury started out with poster sniping (illegal wheat-pasting of posters on vacant signage) and Xeroxed flyers. These were inspired by an ACT UP aesthetic and due to their limited funds. A year later their tactics changed when they wanted to reach a larger audience. The public interventions of Gran Fury's site-specific work on buses, bus stops, billboards was eventually legitimized by an article published by Douglas Crimp in the AIDS issue of October in Winter of 1987. Crimp made an argument that connected Gran Fury's AIDS activism work within the context of art. The result of the October article led to a kind of institutional exposure that may not have occurred otherwise where they "...went from T-shirts and posters to billboards and international exhibitions" such as the Venice Biennale in 1990.〔 As Gran Fury became well-known within the AIDS activist and art world spheres their projects began to be funded by Museums, AIDS organizations and Biennales. Gran Fury moved to become more like an ad campaign, along with producing issues for magazines that would address AIDS.〔Fury, Gran. "Gran Fury Talks to Douglas Crimp." ARTFORUM (n.d.): n. pag.Http://www.actupny.org/. Http://www.artforum.com/inprint/id=4466, 2003. Web. Nov.-Dec. 2015.〕 Their tendency to work with bold content and large-scale posters was one of their trademarks, and assisted in delivering an urgent and important message in a loud way.
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