{"id":5733,"date":"1995-02-18T10:20:00","date_gmt":"1995-02-18T09:20:00","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&#038;p=5733"},"modified":"2021-12-08T12:04:54","modified_gmt":"2021-12-08T11:04:54","slug":"peter-hujar-eine-anmut-von-leben-und-tod-fotografien-von-1963-1985","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/peter-hujar-eine-anmut-von-leben-und-tod-fotografien-von-1963-1985\/","title":{"rendered":"Peter Hujar. Eine Anmut von Leben und Tod. Fotografien von 1963\u20131985"},"content":{"rendered":"\n<div class=\"wp-container-1 wp-block-group alignfull has-gray-background-color has-background\">\n<div class=\"wp-block-columns\">\n<div class=\"wp-block-column\" style=\"flex-basis:66.66%\">\n<h2>Info<\/h2>\n\n\n\n<p>Peter Hujar war born in Trenton, New Jersey, in 1934, the son of Ukrainian immigrants. At the age of twelve he moved to Manhattan with his mother, and on gradua\u00adting from the High School of Art and Design he became an assistant to Richard Avedon. Until the early 1970s he worked as a commer\u00adcial photo\u00adgra\u00adpher for adver\u00adti\u00adsing agencies and fashion magazines (Harper\u2019s Bazaar).<\/p>\n\n\n\n<!--more-->\n\n\n\n<p>Then he turned his back on the adver\u00adti\u00adsing world. Constructed realities, which use formal trickery to convert nature into artifice, did not interest Hujar; his concern was with the motif pure and simple. He was swimming against an artistic mainstream that in the 1970s sought to alter conven\u00adtional modes of seeing and percep\u00adtion by using experi\u00admental forms of expres\u00adsion, and conse\u00adquently abandoned tradi\u00adtional materials, spaces, dimen\u00adsions, and bounda\u00adries. The photo\u00adgraphers of the day worked not in indivi\u00addual images but in series, operating with distor\u00adtion, impre\u00adcision, color depla\u00adce\u00adment, and a variety of supports. Above all, thier work spread itself across large surfaces. Hujar remained an artistic outsider, one who refused to conform to the Zeitgeist.<\/p>\n\n\n\n<p>In this sense his mostly recti\u00adli\u00adnear,&nbsp; black-and-white prints, and the simple, clear, rigorous contruc\u00adtion of his images, often takten in a bare studio with a minimum of props, make a clear counter\u00adstate\u00adment. There is a classical feel to his work. In formal terms, it recalls the Existen\u00adtia\u00adlist photo\u00adgraphy of the 1950s, though its content is very different: it deals with Hujar\u2019s personal world, the world of homose\u00adxuals and transvestites.<\/p>\n\n\n\n<p>In contrast to the syste\u00admatic, struc\u00adtu\u00adra\u00adlist-oriented research and presen\u00adta\u00adtion that typified 1970s art, Hujar was only ever interested in what stood or sat or lay or grew or leapt in front of his own eyes: the human being, the horse, the shoe, water. The melan\u00adcholy of the moment the funda\u00admen\u00adtals of existence, emerge in his work through emptiness: the emptiness of time, of tedium, of death. Hujar never posed his shots. He photo\u00adgra\u00adphed only what the subjects were prepared to show him, in the way they wanted to show it. There is always an intensely intimate look on his work, and it is never voryeuristic.<\/p>\n\n\n\n<p>Hujar gave hist first book of photo\u00adgraphs, published in 1976, the program\u00admatic titel Portraits in Life and Death: its images are of dying artist friends in New York and of decom\u00adposed cadavers in the catacombs of Palermo. He set out to describe the vulnera\u00adbi\u00adlity and transi\u00adence of human beings, with no heroics. Another theme of equal impor\u00adt\u00adance was the presen\u00adta\u00adtion of sexuality and nakedness as each of us know them; never alien, but everyday, with no erotic clich\u00e9s. He made no appeal to secret fantasies, as Helmut Newton did; nor did he set out, like Robert Mapplethorpe, to make nakedness into an aesthetic statement \u2013 even in his shots of erect penises. This approach, his distaste for the \u201cart business\u201d, and his public engage\u00adment of homose\u00adxua\u00adlity, are probably the reasons why Hujar has hitherto remained compa\u00adra\u00adtively little known. It is only now, when the age of invention and experi\u00adment with the museum seems to be at an end \u2013 and it is, above all, as a counter\u00advai\u00adling force to the flood of images that threatens to swamp us \u2013 that we are learning to value the rapt stillness of his photographs.<\/p>\n\n\n\n<p>Peter Hujar\u2019s first European exhibi\u00adtion was organized by Jean-Chris\u00adtophe Ammann and the artist for the Kunst\u00admu\u00adseum. Basel, in 1981; the Wolfsburg exhibi\u00adtion, which comprises nearly 150 works, is the first retro\u00adspec\u00adtive presen\u00adta\u00adtion of his photo\u00adgra\u00adphic pieces in Germany. It has already been shown at the Stedelijk Museum, Amsterdam, and the Fotomu\u00adseum, Winterthur.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Info Peter Hujar war born in Trenton, New Jersey, in 1934, the son of Ukrainian immigrants. At the age of twelve he moved to Manhattan with his mother, and on gradua\u00adting from the High School of Art and Design he became an assistant to Richard Avedon. Until the early 1970s he worked as a commercial&nbsp;[\u2026]<\/p>\n","protected":false},"featured_media":0,"menu_order":0,"template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"","exhibition_title":"Peter Hujar","exhibition_subtitle":"Eine Anmut von Leben und Tod. Fotografien von 1963-1985","exhibition_alternative_text":"","exhibition_start_date":"1995-02-18T10:47:00","exhibition_end_date":"1995-04-23T10:47:00","exhibition_gallery":"","exhibition_poster":0},"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Peter Hujar. Eine Anmut von Leben und Tod. Fotografien von 1963-1985 - Kunstmuseum Wolfsburg<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.kunstmuseum.de\/en\/exhibition\/peter-hujar-eine-anmut-von-leben-und-tod-fotografien-von-1963-1985\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Peter Hujar. Eine Anmut von Leben und Tod. 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