Yossi Milo Gallery – June 2018

“Intimacy” at Yossi Milo Gallery, New York

The exhibition will be on view from June 28 through August 24, 2018, at Yossi Milo Gallery, 245 Tenth Avenue (between 24th & 25th St.), New York, NY 10001

Blouin Art Info – June 26, 2018

http://www.blouinartinfo.com/news/story/3118296/intimacy-at-yossi-milo-gallery-new-york

W Magazine – June 2018

David Wojnarowicz Does Not Approve of This Story in W Magazine by Horacio Silva

https://www.wmagazine.com/story/david-wojnarowicz-whitney-museum-exhibition

VOGUE Magazine – May 2018

Loewe Is Celebrating the Art of David Wojnarowicz With a Capsule Collection Benefitting Visual AIDS

https://www.vogue.com/article/loewe-david-wojnarowicz-collection

T Magazine – June 2018

Printed T-Shirts With Purpose

The designer Jonathan Anderson has long cited the photographer Peter Hujar as an inspiration behind his work, at both his own label and the Spanish luxury house Loewe. This month, a selection of Hujar’s work will go on display at Loewe’s Gran Via store in Madrid, along with images by Hujar’s friend and protégé, the artist, filmmaker, writer, and activist David Wojnarowicz.

To coincide with the show, Loewe has released a collection of four limited-edition T-shirts to honor Wojnarowicz, whose deeply personal work about political and social issues relating to the AIDS epidemic, particularly after the death of Hujar, sparked political controversy — and provided inspiration — during the ’80s. Anderson chose four of Wojnarowicz’s works, made between 1982 and 1990 — including the colorful supermarket poster “Jean Genet Masturbating in Metteray Prison” — to turn into vibrant silk-screen prints. Just 400 T-shirts were made using each print, and all proceeds from the project will benefit the Visual AIDS Foundation, which preserves and promotes the work of H.I.V.-positive artists. $99, loewe.com — CATHLEEN O’NEIL


The Guardian – June 2018

New York’s fearless demimonde – in pictures

 

https://www.theguardian.com/artanddesign/gallery/2018/jun/06/peter-hujar-and-david-wojnarowicz-new-yorks-fearless-demimonde-in-pictures

City Journal – March 2018

Shadow and Light

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A Peter Hujar retrospective illuminates the life and work of a major New York City photographer.

March 2, 2018

Arts and Culture

 

https://www.city-journal.org/html/shadow-and-light-15749.html

The New Yorker – February 2018

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The Animals Who Captivated a Legendary Downtown Photographer

by Chris Wiley  February 3, 2018

https://www.newyorker.com/culture/photo-booth/the-animals-who-captivated-a-legendary-downtown-photographer

The New York Times – February 2018

He Made Them Glow: A Maverick’s Portraits Live On

Review by Holland Cotter in the New York Times

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https://www.nytimes.com/2018/02/08/arts/design/peter-hujar-morgan-library-and-museum-review

Hanya Yanagihara on Peter Hujar – July 2016

fraenkelgalleryTHE ARTIST AS A YOUNG MAN: PETER HUJAR: It takes some artists (most, actually) many years to become who they are in the public and critical imagination. But a few know who they are from the start: to look at or read their early works is to realize that you are in the presence of someone who, through sheer artistic conviction, was able to seemingly bypass the early years of imitation and derivation that so many of us must endure in order to become ourselves. I don’t want to get too romantic here—after all, talent is nothing without work. Still, it remains undeniable: Some people are genuinely more gifted than others.//For proof, you need only look at Peter Hujar’s early photographs. Taken between 1956 and 1958, when he was in his early twenties, these works—of children at schools for the developmentally disabled in Florence, Italy and Southbury, CT—are remarkable for their self-assurance and clarity of vision, not to mention the matter-of-factness of their gaze. These first pieces are compositionally busier than Hujar’s spare, elegant later work (their frames cluttered with objects and angles and people), but the eloquent, almost-smoky lighting, gently furred edges, and subtlety of tone and shadows for which he would become known are already fully present. And there is also, here, a sophistication of seeing: Hujar was self-taught and not many years past childhood himself when he made these works; another, lesser artist might have treated his young subjects with an excess of either sentiment or coolness. And yet he does neither—there is instead a sense of preternatural attentiveness, one that allowed him to see in these children what another, from prejudice or arrogance, might not. This is “Girl Getting Dressed” (Florence, 1958). —@hanyayanagihara #peterhujar#howilearnedtoseeEPH_1480