Tag Archives: peter hujar


WEIGHT OF THE EARTH—THE TAPE JOURNALS OF DAVID WOJNAROWICZ is a collection of “audio journals that document Wojnarowicz’s turbulent attempts to understand his anxieties and passions, tracking his thoughts as they develop in real time.”*

Artforum editor David Velasco has written an introduction for book, out now from Semiotext(e).

WEIGHT OF THE EARTH—THE TAPE JOURNALS OF DAVID WOJNAROWICZ, edited by Lisa Darms and David O’Neill (South Pasadena, CA: Semiotext(e), 2018).*

Top: Andreas SterzingDavid Wojnarowicz and Peter Hujar at an opening at Civilian Warfare Gallery in the East Village, 1983.

Above: David Wojnarowicz, Jean Genet Masturbating in Metteray Prison, 1983.

Below: Wojnarowicz.


50Richardson, Terry

John Waters, whose newest book is Make Trouble, is in town this weekend for a public conversation.


JOHN WATERS, Saturday, June 2, at 8 pm.

LUCKMAN FINE ARTS COMPLEX, Cal State L.A., 5151 State University Drive, Los Angeles.


Above: Terry Richardson, John Waters and Johnny Knoxville.

Below: Peter Hujar, John Waters (I), 1975.

© Peter Hujar Archive, courtesy Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco.

Image result for john waters fran lebowitz





Vince Aletti—collector, photography critic, and Peter Hujar’s East Village neighbor and friend—will join David Wojnarowicz biographer Cynthia Carr, author Jonathan D. Katz, and Hujar model and printing lab co-founder Gary Schneider for a conversation about Hujar, in conjunction with the Morgan exhibition of the photographer’s work.


PETER HUJARLIFE AND TIMES, Saturday, April 7, at 2 pm.



MORGAN LIBRARY AND MUSEUM, 225 Madison Avenue, at 36th Street, New York City.


See: anothermag.com/vince-aletti-on-peter-hujar

And: lens.blogs.nytimes.com/peter-hujar-gay-lower-east-side

Above: Peter HujarDiana Vreeland (II), 1975. © Estate of Peter Hujar, courtesy of Maureen Paley, London, and Pace/MacGill GalleryNew York

Below: Peter HujarDavid Wojnarowicz, 1981. © Estate of Peter Hujar, courtesy of Maureen Paley, London, and Pace/MacGill Gallery, New York.

David Wojnarowicz, 1981




The Morgan Library and Museum presents a new exhibition of 140 works by Peter Hujar, the great photographer of Lower Manhattan.

The PETER HUJAR—SPEED OF LIFE catalogue includes the first fully researched chronology, exhibition history, and bibliography to be published on Hujar.



MORGAN LIBRARY AND MUSEUM, 225 Madison Avenue, at 36th Street, New York City.


See Holland Cotternytimes.com/peter-hujar-morgan-library-and-museum

See Sarah Nicole Prickett and Nan GoldinGary Indiana, Dev Hynes, Vince Aletti, etc. on Hujar:


Peter Hujar.

Above: Self-Potrait Jumping (1), 1974.

Below: Daniel Schock, 1981.

Both images: © Peter Hujar Archive, courtesy Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco.

daniel schock by peter hujar




“Two generations before, let’s say the Beats—Ginsberg, Burroughs, Corso—they were still around and it was such a hard thing for writers to follow….It wasn’t until the generation of Cookie Mueller, David Trinidad, Tim Dlugos, and Dennis Cooper who really got on to something new….They broke away. They were relating to Frank O’Hara…[a] very urban contemporary, Apollinaire sort of thing tied in with the painters.” — Raymond Foye*

It’s easy to say that EDGEWISE: A PICTURE OF COOKIE MUELLER, by Chloé Griffin, is a twenty-first century Edie. They’re both oral histories of a New York underground, and there are some surface similarities between Edie Sedgwick and Mueller. Supernovas, especially when they’re women, tend to get lumped together. But Mueller was a better actress than Sedgwick, and—in everything from dieting to drug-taking—more disciplined.

And she could write. (Gary Indiana was her strongest early advocate.) High Times, the East Village Eye, Cuz, and Details published her art reviews and advice columns. Mueller’s first book—How to Get Rid of Pimples—was published by Anne Turyn‘s Top Stories, and Mueller co-wrote the play Drugs with the late Glenn O’Brien.

We’re lucky to have Mueller’s words and the memories of her friends in Chloé Griffin’s EDGEWISE. If traces of Warhol’s Sixties still blow through Manhattan, Mueller’s late Seventies avant-garde has dissolved into finer dust.

For those too young to know or remember, EDGEWISE is a voyeur’s dream, and an introduction to a world to be discovered—the stories and plays and photographs and music and films of David Armstrong, Bette Gordon, Sara Driver, Michael Oblowitz, Penny Arcade, Richard Hell, Eric Mitchell, Rachid Kerdouche, Lynne Tillman, Peter Hujar, Michel Auder, Amos Poe, and Cookie Mueller.

“Nobody could possibly be as solidly grounded in Bohemian glamour as she was. Just one of a kind, it was all her own. She was too cool to be competitive.” — Kate Simon*

Chloé Griffin, EDGEWISE: A PICTURE OF COOKIE MUELLER (Berlin: b_books Verlag, 2014).

WALKING THROUGH CLEAR WATER IN A POOL PAINTED BLACK, by Cookie Mueller, kicked off Semiotext(e)’s Native Agents series in 1990.

*Foye and Simon quotes from EDGEWISE. In 1984, Foye and Francesco Clemente founded Hanuman Books, and published Mueller, Trinidad, Allen Ginsberg, Eileen Myles, Herbert Huncke, and John Ashbery.

See EDIE: AN AMERICAN BIOGRAPHY, by Jean Stein and George Plimpton (New York: Alfred A. Knopf, 1982). A year after publishing West of Eden (2016), her oral biography on five prominent Los Angeles families (including her own), Stein jumped to her death from her 10 Gracie Square apartment in New York City.

From top: Cookie Mueller, photograph by Nan Goldin, 1985; book cover image courtesy of b_books Verlag.; Mueller and singer Sharon Niesp dancing in the Back Room, Provincetown, 1976, photograph by Goldin. Mueller photographs courtesy of Nan Goldin and Matthew Marks Gallery.