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" ... A neurotransmitter, dopamine sends signals to the brain that it’s receiving a reward or pleasure. And alongside gratitude’s scientific benefits, it’s good to hold onto the positive amid the somberness. ... "
" ... The images presented in Speed of Life draw from Hujar’s most known series, the Portraits in Life and Death book that presented images of Hujar’s East Village inner circle of artists, performers and writers (including Susan Sontag, Candy Darling, John Waters) and others, but also presents a far more wide-ranging body of work demonstrating Hujar’s singular aesthetic against disparate styles of photography. If there was one central idea that seemed to drive Hujar’s pursuit of beauty, it was the awareness of mortality. All of his images present a somberness or a dreadful albeit poetic reality that all of this awareness, this existence, is temporary. In some of his photographs, he may have not even realized that he was examining death, such as in his lush landscape photographs of the ocean capturing its vastness and unknowability. Surf (1972) and its depiction of a beautiful oceanic scene (in near-perfect black and white tonalities, as to be expected) is evocative of a parable between life, and what is knowable, and death, and what is terrifyingly unknowable. And then there were photographs where he absolutely knew that he was capturing the in-between of birth and death, or even death itself. His images of catacomb tombs, like Palermo Catacombs (1963) for instance, features mummified corpses shot as elegantly and seriously as Hujar would have shot a living subject. One of his most iconic photographs, Candy Darling on Her Deathbed (1973), that he shot of his friend Candy while she was dying of Cancer, is perhaps the image that best explains his overall approach. In the photograph, Candy is dying, but she is glamorously posed, solidified in the photographic image as an icon of performance and self-actualization. Hujar named his only book Portraits in Life and Death, and 15 of its subjects are reclining and four have their eyes closed. Sontag compared photography to death, but Village Voice critic Owen Edwards elaborated on that idea in his review of Portraits in 1976, in which Edwards described photography as a “mummification.” In that sense, photography captures a moment that was alive and then became a part of the past; therefore, the photograph exists solely between these two states, much like life itself exists only in-between in-utero stasis/birth and then, of course, death. ... "