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Examiner reviews Nan Goldin: Nine Self–portraits, and Peter Hujar: Love & Lust


The Examiner art critic, Greg Flood, reviews Nan Goldin: Nine Self–Portraits and Peter Hujar: Love & Lust. 

In our current, ever connected world, what we find acceptable to reveal to the outside world has changed dramatically. Much of what was considered too intimate to reveal to society in the past, photographically or otherwise, has now been put forth for any and all to see. –Greg Flood

From the Examiner online article by Greg Flood published on 1 February 2014.
For more information on the exhibits, please visit our exhibitions page.

KQED reviews Peter Hujar: Love & Lust and Nan Goldin: Nine Self–portraits


Peter Hujar, a New York based photographer, explores the individual personality’s of his portrait subjects and New York street life.

Peter Hujar knows that portraits in life are always, also, portraits in death. I am moved by the purity and delicacy of his intentions. If a free human being can afford to think nothing less than death, then these memento mori can exorcise morbidity as they evoke its sweet poetry and panic. –Susan Sontag

From the KQED Arts online posting by Glen Helfand on 29 Jan 2014.
To learn more about Hujar’s work, please visit his artist page.

An Evening with Nan Goldin and Vince Aletti: Remembering Peter Hujar

On January 8th, Fraenkel Gallery hosted a dialogue about the work of Peter Hujar, on the occasion of the exhibition Love & Lust. On hand were Vince Aletti, respected photography critic for The New Yorker, and Nan Goldin, whose 1980s work The Ballad of Sexual Dependency, produced a sea-change in the photographic medium. Both were intimate friends of Hujar’s. The evening was moderated by Jeffrey Fraenkel.

Goldin’s exhibition Nine Self-Portraits runs concurrently with Love & Lust.
Purchase the exhibition catalogue for Love & Lust here.


Video: Vince Aletti on Peter Hujar’s Love & Lust

Vince Aletti, photography critic for The New Yorker, and friend of Peter Hujar, reflects on his relationship with the artist.

Peter was equally interested in people, men and women, people of all ages, he was incredibly open kind of across the board, and there were no restrictions in terms of his interests and people. –Vince Aletti

To learn more about Hujar’s work, please visit his artist page 

Photograph Magazine Reviews “Love & Lust”


Peter Hujar’s Love & Lust is reviewed by Glen Helfand of Photograph Magazine. Helfand argues that, though the exhibit features more “lustful” works, Hujar’s sensitivity towards his subjects allows him to capture humanizing portraits of his sitters.

Intimacy is the hallmark of the late Peter Hujar’s photographs, a quality that stems from his identity as well as his membership in a New York subculture of the 1970s and 80s. –Glen Helfand

From the Photograph Magazine online posting by Glen Helfand on 23 January 2014.
To learn more about Hujar’s work, please visit his artist page.

Art Practical Reviews “Love & Lust”

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Danica Willard Sachs, of Art Practical, asserts that Hujar’s creativity is on full display as he pushes the boundaries of photography, resulting in portraits full of personality and style.

Hujar’s nude portray their sexuality as a simple, natural fact of being alive. –John Morace

From the Art Practical online posting by Danica Willard Sachs on 20 January 2014.
To learn more about Hujar’s work, please visit his artist page.

SF Chronicle Reviews Peter Hujar’s “Love & Lust”

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The San Francisco Chronicle reviews our exhibit Peter Hujar: Love & Lust. 

It was Hujar’s charisma and empathy, in fact – his ability to connect with his subjects and engender their trust – that made possible his remarkable body of photographs. –Edward Guthmann

From the San Francisco Chronicle online posting by Edward Guthmann on 17 January 2014.
To learn more information about Hujar’s work, please visit his artist page.


Richard B. Woodward Reviews “Love & Lust”


Noted art critic Richard B. Woodward reviews our most recent publication, Peter Hujar: Love & Lust, published in conjunction with an exhibition of the same name.

This secret history [of the male nude in fine art photography ] can be detected in the pages of Love & Lust…Done mainly in a studio setting between 1967 and 1986, as gay culture in New York was emerging from decades of repression, Hujar’s portraits relied on that community as participants as well as potential consumers. –Richard B. Woodward

From the Collector Daily online posting by Richard B. Woodward on 9 January 2014.
For more information on Love & Lust, please visit our publications page.

Peter Hujar at Paris Photo 2013

Judith Benhamou-Huet, curator and author of The Worth of Art, discusses Paris Photo 2013.  The fair is one of the best places to find works of America’s most talented photographers, and Peter Hujar, she insists, is one of those gifted artists.

One of the great, underestimated, quite forgotten talent is Peter Hujar… –Judith Benhamou-Huet 

From Blouin ArtInfo online posting by Judith Benhamou-Huet and Eric Gonon on 15 November 2013.
To learn more about Hujar’s work, please visit his artist page.


From the Archives: Emily Colucci on David Wojnarowicz’s artistic representation of Peter Hujar

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In Emily Colucci’s essay “Some Sort of Grace,” she talks about David Wojnarowicz’s artistic representation of Peter Hujar throughout the stages of his death of AIDS. He documented the end of their relationship with photographs, film, and personal journals.

Wojnarowicz, who made a career out of depicting moments that were silenced by hegemonic and heteronormative society, such as his queer sexuality and childhood abuse, asserts a public statement of his private loss of Peter Hujar, who he calls “a teacher of sorts for me, a brother, a father.” As a public and political statement, Wojnarowicz’s use of the images of Hujar dead renders a different perspective on the AIDS crisis, which has diminished in public discourse in recent years. –Emily Colucci

From the Anamesa online posting by Emily Colucci in 2010.
To learn more about Hujar’s work, please visit his artist page.

The Outsiders: Antony Hegarty pays tribute to Peter Hujar

Photographer Peter Hujar spent his career capturing powerful portraits of personalities famous and unknown. Many of his works revolve around an innate sense of mortality and fleeting time which reflects in his careful, personal treatment of his subjects.

He took pictures of outsiders from an insider’s perspective. The experience of extreme alienation and private soulfulness is what Hujar seems to have shared with his subjects, and elevated in his portraits of them. –Antony Hegarty

From The Guardian online posting by Antony Hegarty on 30 November 2007.
To learn more about Hujar’s work, please visit his artist page.