Peter Hujar’s poignant photography captured life, death, sexuality and the New York City scene of the 1960s and 1970s. His patience as a photographer led to honest portraits and unfiltered images of the world outside his East Village apartment—however, it was only after his death that his work became widely known and admired.
Peter Hujar was born in 1934 and raised on a farm in New Jersey—his family were Ukrainian immigrants to the USA following the Second World War. His father absconded and his mother was not a brilliant example of parenting, leaving him to be brought up by his grandparents and finally moving him to New York City during his teens. However, he left home the night she through a bottle at his head.
With an interest in photography, in 1953 he enrolled in New York City’s School of Industrial Art—his teacher, Daisy Aldan, encouraged him to become a commercial photography apprentice, later working on fashion shoots with Richard Avedon. Alongside commercial photography, he pursued an artistic career, visiting Italy twice—notably in 1963, when he photographed the catacombs in Palermo. In the mid-1960s, he met Andy Warhol and posed for Warhol’s Screen Tests series. In 1967, he quit his commercial photography job to create his own artwork, becoming an influential gay rights activist, shooting the iconic Come Out!! image for the Gay Liberation Front. In 1973, he moved into a studio in the East Village where he worked and lived until his death in 1987 from complications related to Aids. During his lifetime, his work was hardly noticed, overshadowed by contemporaries including Robert Mapplethorpe.
Peter Hujar’s commercial photography work gave him daily access to a darkroom, where he was able to experiment with technique and the different ways his images could communicate information. His black-and-white, square-format works captured his view of life from the East Village: friends, lovers, cityscapes, animals, New York City nightlife and gay culture. As his practice evolved, so did his darkroom techniques, moving from high contrast to a concentration on tonality, shading and detail.
Yes, Hujar’s Candy Darling on her Deathbed (1973) was the cover image for Antony and the Johnsons’ 2005 Mercury-Music-Prize-winning album I am a Bird Now—this was a key moment in the posthumous recognition of Hujar’s practice.
Yes, there is. The 2025 movie Peter Hujar’s Day is based on a transcript of an interview Hujar gave to his friend, the writer Linda Rosenkrantz, in 1974. Rosenkrantz was planning a book about her artist friends’ daily activities, although this never materialised. However, the transcript of her interview with Hujar was found years later and made into a film starring Ben Whishaw and Rebecca Hall. Hujar discusses a normal working day, featuring everything from getting Chinese food to being sent by The New York Times to photograph Allen Ginsberg.
Stephen Koch, the writer and executor of Hujar’s estate, said in a publication that accompanied a 1990 exhibition of Hujar’s work at the Grey Art Gallery at New York University, that Hujar had a “secret fame” because he was so well known in the New York City avant-garde art scene. Hujar had been offered opportunities to work with galleries and museums, but was very particular about how his works were displayed and often rejected these requests.
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