These contact sheets provide a fascinating window into Peter Hujar’s creative process – a complex photographer of the 1980s New York City gay scene

Peter Hujar, a renowned portrait photographer of the 1980s New York City gay scene, left behind an extraordinary collection of contact prints that offer a unique glimpse into his creative process. These contact sheets, featuring small thumbnail images, were used by photographers and editors in the film era to quickly review and select the best shots. They provide a raw and unpolished look at Hujar's artistic journey, revealing the meticulous planning and vision behind each photograph.

Hujar, who tragically passed away from AIDS in 1987, was a central figure in the city's cultural scene, particularly among the gay communities of the East and West villages. Despite his work not gaining international recognition until after his death, his contributions to the art world are undeniable. In 2013, the Morgan Library & Museum in New York acquired an impressive 5,783 of his black and white contact sheets, which have since been displayed in an exhibition titled 'Hujar:Contact' until October 26th.

One of the most fascinating aspects of these contact sheets is the insight they offer into Hujar's creative process. Unlike other mediums where artists leave written reflections, these sheets are the only means of understanding Hujar's intentions. The uniformity of his portraits, such as those of his longtime friend, lover, and collaborator David Wojnarowicz, demonstrates Hujar's clear vision for each shot.

The constant pose and relative positions of Wojnarowicz and Hujar, along with the consistent use of strong, angular light casting a shadow across Wojnarowicz's face, highlight the artist's dedication to capturing the essence of his subjects.

Another notable example is the portrait session with Susan Sontag, a writer and intellectual whose works on photography and other mediums greatly influenced the field. Hujar's clear ideas for executing these portraits are evident in the consistent positioning of Sontag across the sheet, even when photographed from various angles.

This consistency, however, is balanced by a more playful side in Hujar's self-portraits, where he changes positions, alters his clothing, and adopts silly poses. Despite the lightheartedness of these moments, Hujar maintains a serious expression, adding an intriguing layer to his self-portrayal.