Peter Hujar S Day

In 1974, Linda Rosenkrantz asked her friend Peter Hujar to write down everything he did on the day of December 18. The following day, Hujar met Rosenkrantz at her apartment on 94th street. She asked him in detail about the happenings of December 18 and tape-recorded their conversation. This book is a full transcript of that exchange, published for the first time since it was recorded 47 years ago.

The Shabbiness of Beauty' is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar's archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City, even as they range out to rural corners of Quebec and Pennsylvania, these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey's self-aware postmodernism against Hujar's humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other's work.--

Peter Hujar was an influential figure of the downtown New York scene of the 1970s and '80s, most well-known for his photographs of male nudes, and his portraits of New York City's artists, musicians, writers, and performers, including Susan Sontag, William S. Burroughs, David Wojnarowicz, and Andy Warhol. Over 160 photographs and illustrations are now gathered in Peter Hujar: Speed of Life. Published alongside a major touring exhibition, this collection presents Hujar's famous portraiture as well as his lesser-known projects.

Opening with David Mancuso’s seminal “Love Saves the Day” Valentine’s party, Tim Lawrence tells the definitive story of American dance music culture in the 1970s—from its subterranean roots in NoHo and Hell’s Kitchen to its gaudy blossoming in midtown Manhattan to its wildfire transmission through America’s suburbs and urban hotspots such as Chicago, Boston, San Francisco, Los Angeles, Newark, and Miami. Tales of nocturnal journeys, radical music making, and polymorphous sexuality flow through the arteries of Love Saves the Day like hot liquid vinyl. They are interspersed with a detailed examination of the era’s most powerful djs, the venues in which they played, and the records they loved to spin—as well as the labels, musicians, vocalists, producers, remixers, party promoters, journalists, and dance crowds that fueled dance music’s tireless engine. Love Saves the Day includes material from over three hundred original interviews with the scene's most influential players, including David Mancuso, Nicky Siano, Tom Moulton, Loleatta Holloway, Giorgio Moroder, Francis Grasso, Frankie Knuckles, and Earl Young. It incorporates more than twenty special dj discographies—listing the favorite records of the most important spinners of the disco decade—and a more general discography cataloging some six hundred releases. Love Saves the Day also contains a unique collection of more than seventy rare photos.

These pictures provide us with a glipse of a New York that has all but disappeared, one populated by the late-night demimonde, curbing cobblestones, and landfills before the coming of Battery Park City. Hujar left behind his own unique record of a worls now lost, in a time before AIDS and a downtown before gentrification.--[Source inconnue].

In addition to being a medical, political, and social crisis, the AIDS epidemic in the United States also led to a crisis of artistic representation. This book reveals the important political and moral role of American photographers in the social discourse on AIDS based on the 1989 New York exhibition, “Witnesses: Against Our Vanishing” curated by photographer Nan Goldin.

A new edition of the cult classic photography book by the legendary Peter Hujar, featuring a foreword by Pulitzer Prize winner Benjamin Moser.

It's a vanished world, and Peter Hujar was right there in it. The Lower East Side between 1972 and 1985 - filled with artists, wannabe artists and hangers-on - was a community of the misbegotten gathered from every town in America and relocated in the mean streets between Broadway and the Bowery. Nothing but their talent, their flamboyance, their rank gender-bending mockery and their arch irony supported them. Some made their names. Many came to grief. A few made art. In those days, the gutted streets of the Lower East Side looked like a war zone. Everyone lived and worked on the extreme outer margins of money and art, penniless and unknown. As a community, Downtown was a counterstatement to the rich New York of the banks, museums, media, corporations ... and the art world itself. That Downtown is forever gone. Time, gentrification, disease and death have taken their toll and turned this vibrant epoch into a chapter of art history. But before it vanished, its extravagant cast sat for Peter Hujar's camera - and is now alive again in front of our eyes. Featured among others: Joe Brainard, William Burroughs, Remy Charlip, Edwin Denby, Divine, Ray Johnson, Fran Lebowitz, Charles Ludlum, Susan Sontag, Paul Thek, John Waters, Robert Wilson, David Wojnarowicz.