Lacking any attempts to deepen or broaden conversations about Hujar’s work, Cruising Utopia at Pace Gallery feels more like a store than an exhibition.
Hujar wrote that his portrait subjects were “those who push themselves to any extreme” and those who “cling to the freedom to be themselves.”
Intimacy at Yossi Milo Gallery unites a diverse assembly of artists tracing the outline of affection from the 1980s to present day.
Hujar’s photographs document the effervescent creative spirit that pulsed through the East Village as the AIDS crisis unfolded.
A multimedia exhibit at Museum of the City of New York looks back at the domesticity of the AIDS crisis.
Recent books by Tim Lawrence and Douglas Crimp underline the close relationship between the New York art scene of the 1970s and ’80s and that most unjustly maligned of musical movements, disco.
In the comparatively safe, sleek, and expensive New York City of today, nostalgia for the crime-ridden, scummy, and cheap New York City of the 1970s is as strong as ever.
Walking through In the Studio: Photographs, a three-part show organized by Peter Galassi, former Chief Curator of Photography at New York’s Museum of Modern Art, and spread over several floors of the Gagosian empire on Madison Avenue, the underlying themes of accumulation, storage, labeling, and just plain looking remind us how artists often surround themselves with visual repertories.
Before pride parades, Stonewall, the It Gets Better Project, and “Born This Way,” a circle of friends, lovers and artists unabashedly embodied and represented their own homosexuality. This group coalesced around Paul Thek, expressing their identity during a deeply conservative era, as seen in the important and enlightening exhibition Paul Thek and His Circle in the 1950s at the Leslie-Lohman Museum of Gay and Lesbian Art.
While at The Piers: Art and Sex along the New York Waterfront at the Leslie-Lohman Museum of Gay and Lesbian Art, one question kept popping up in my mind: What is with this obsessive nostalgia for the decaying, destroyed and often depressing New York of the past, particularly as connected to the emerging gay subculture and downtown art scene of the 1970s and ’80s?
While at the landmark exhibition Hide/Seek: Difference and Desire in American Portraiture at the Brooklyn Museum, I realized I had to start my review with a statement that will look simple and quite possibly stupid: Hide/Seek is more than David Wojnarowicz’s “A Fire In My Belly.”