a&e features

Whitman-Walker’s Liz complex artfully adorned

Pieces chosen to reflect journey of HIV/AIDS patients and survivors

Published

6 years ago

November 27, 2019

As you walk through the tastefully decorated corridors of the now vibrant and colorful Liz, it’s easy to forget she began as the somber and secretive Elizabeth Taylor Medical Center in the early days of the AIDS crisis.

Founded in 1973 as The Gay Men’s VD Clinic operating in the basement of Georgetown Lutheran Church, Whitman-Walker specializes in LGBT health care.

When an initially unknown deadly disease was rapidly killing young gay men across the U.S., including locals, the small clinic’s role forcibly expanded to meet the unexpected demand.

“We’re absolutely on the front lines of this work,” says Don Blanchon, Whitman-Walker Health System CEO. “And that harkens back to the early days of the HIV epidemic. Gay men were impacted by this disease and we didn’t know anything. We didn’t know the science. We didn’t know how to treat it.”

At the height of the crisis in the early ‘90s, Whitman-Walker moved into the property on the corner of 14th and R. The Elizabeth Taylor Medical Center was dedicated in 1993 and was named for the screen legend, a major donor, who attended the ceremony.

The late ELIZABETH TAYLOR with the late JIM GRAHAM (who was then Whitman-Walker’s executive director) at the dedication ceremony for the Elizabeth Taylor Building in 1993. (Washington Blade file photo by Kristi Gasaway)

“When you look back, the volunteers of the late ‘80s and early ‘90s were on the front lines,” says Blanchon, a straight ally. He says the original building looked like a bunker with frosted windows, private counseling rooms and a security guard out front. “It connotes where the epidemic was and how powerful stigma, discrimination and bias were.”

Whitman-Walker remained at the location for about 20 years and slowly watched the stigma ease as new treatments were found and more people were living with HIV instead of dying of AIDS in mass numbers.

However, Blanchon points out discrimination and bias against the community continues. In 2014, Whitman-Walker selected Fivesquares Development as a partner to redesign the old medical center to face new challenges head on and as an out-front representation of a vibrant community of survivors.

Fivesquares brought on renowned architect Annabelle Selldorf to design her first D.C. project, which involved an extensive study of Whitman-Walker and overall Washington history. The result transformed what was once a church basement clinic into a public work of art.

“She hated the name ‘Liz,’ you know,” says Abby Fenton, Whitman-Walker chief external affairs officer of Taylor’s nickname, while showing the Blade a wall of founders’ pictures culminating in one of Taylor. “However, when we explained to her grandchildren that in our community the name was special, they agreed to it and have been very supportive.”

“So the world has moved forward,” Blanchon says, noting the openness of the new design. “The way we approached the new building is the way we approached our mission and programming: This needs to be an affirming and welcoming space for all, especially the LGBTQ community and people living with HIV.”

The new building is filled with soothing images that were either designed from news stories or original works designed for queer people.

“These pieces were designed specifically for Whitman-Walker’s lobby by a queer artist in Baltimore,” Fenton says, motioning toward a row of minimalist paintings in muted earth tones. The pieces are by Rene Trevino and called “Circumference Series: 14th Street, 2019,” acrylic and rhinestones on Mylar.

Fenton says the works were a collaboration between Whitman-Walker staff, patients and the artist resulting in quiet, circular images that capture patient experiences of feeling welcomed and embraced by the clinic.

Moving from the lobby and into the redesigned work area, more than a few of the pixilated, black-and-white images stenciled into the walls were derived from the Washington Blade’s coverage over the years. They gave the new building a sense of living history while infusing it with art.

“We wanted to make sure we captured where Whitman-Walker came from and our past,” Fenton (who’s straight) says, pointing to a donor wall made from Coke bottles and other framed mementos throughout the staff area. “Much of it came from the original building as a reminder of who we are and what we mean to the community.”

Around one corner, a pixelated image of Taylor herself stands watch as a silent reminder of the scores of young men who died during the height of the crisis.

“Art and expression have been a part of Whitman-Walker since its early days,” Blanchon says. “As an outlet against discrimination, bias and stigma (as well as) pain, loss and suffering. (They) are the best ways to release that.”

Today the Liz not only houses Whitman-Walker’s legal services, public benefits and clinical research program but also retail, cultural and residential spaces.

“We are thrilled to reveal five major art installations at LIZ,” wrote Fivesquares Development co-founders Ron Kaplan and Andy Altman in their “Art at LIZ” brochure. “The residential lobby, upper floors and the Belmont Garage at LIZ were designed as canvasses to provide exhibition space for site-specific art.”

Kaplan led the Blade on a residential tour beginning with the tactile works that greet visitors in the lobby.

Two signature pieces created just for the LIZ include Alice Hope’s shimmering transformation of box spring that reaches from the ceiling down into the sitting area and almost begs to be touched with childlike wonder and Toni Ross’s “June 1968,” which is a literal narrow stretch of stone wall that gathers strength as it grows and is punctuated with hidden bits of gold.

“Within the cracks you see the richest part of a project or a person,” Kaplan says of the piece. “These artists were inspired to do things they hadn’t done before for us.”

Both works are unfinished, but clearly exhibit the patience and control of masters of their craft.

As the tour continues, there’s a sense of descending the rabbit hole and into an urban wonderland of rainbows that were twisted at every turn.

“This is my favorite kind of art,” Kaplan says upon entering Almond Zigmund’s “Rainbow Kink,” a site-specific installation in the Belmont Garage of LIZ. “All of this is very much site-responsive. It was created very specifically for its space and to honor that space.”

As you move through the garage, the unusually colored rainbows, anchored by black and energized by shades of orange, yellow and blue, follow like curious imps creeping along walls, crouching in corners and crawling down from the ceiling.

Each one is different and angled with such precision the experience is one of moving through a gallery, yet with an eye toward the future.

As you walk from the garage and up through the well-lit residential areas with their floor-to-ceiling windows, there is the feeling of light, resilience and hope that Blanchon hopes to convey with the project.

“We are gathering around art and culture and discourse because of the connectivity and how important it is to one’s health and wellbeing,” he says. “So every element of the building is about life, vibrancy, hope and aspiration.”

This is most strongly felt on the rooftop with its breathtaking panoramic view that makes you feel 14th and R is the heart of the city. There is a sense of feeling alive and being seen by the world.

“Visibility has always been critical,” Kaplan says. “Progress is not a straight shot … and I think that anything that anyone can do whether it is as grand as creating LIZ so prominently or just introducing yourself to a stranger, I think all of those things matter.”

The tour ends outside near two platforms for rotating art exhibitions. One platform located near a newly installed set of benches, holds a sculpture by British-Nigerian artist Yinka Shonibare CBE.

His work simulates the movement and feel of cultural fabrics as a metaphor for multilayered identities.

“It’s about the fluidity of one’s identity,” Blanchon says. “And dealing with the fact that we identify or see and express ourselves differently in different settings.”

A growing sense of identity and self-awareness among the trans community is the next challenge that Blanchon says Whitman-Walker is ready to take on.

“They have so many needs,” he says. “Similarities exist between the trans community and the HIV epidemic of the early days with discrimination, stigma and bias at the forefront of this war. … There isn’t a whole lot of social science research about what it means to be transgender in America. So, we’re learning as we go.”

But one major break with the past is Whitman-Walker’s decision not to hide in secrecy during this new fight.

“We are thrilled to be back in this location,” Blanchon says. “When people have suppressed who they are, there tends to be physical, spiritual and mental health issues when we are not true to ourselves. And art has been a way to help us through that.”

a&e features

D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

Published

2 days ago

January 30, 2026

Lou Chibbaro Jr.

Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.

The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.

He said the sale price will be disclosed to “those who are interested.”

“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18^th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.

“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”

It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”

“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.

Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.

News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets

In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.

The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.

The sales brochure can be accessed here.

a&e features

Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

Published

3 days ago

January 29, 2026

Susan Hornik

Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.

Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.

That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.

“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”

Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”

For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.

“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”

Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”

He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”

One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.

“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”

For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.

“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”

Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”

This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”

a&e features

MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

Published

1 week ago

January 22, 2026

AJ Sloan

Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?

SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.

For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.

HIV transmissions don’t pause because budgets change.

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.