Henry Geldzahler: New York Gay Art-Scene Maverick Didn’t Identify as a Bear
But he overturned stereotypes while challenging conventions in art
Who was Henry Geldzahler, a name that resonates deeply in the New York art scene of the late 20th century? Born in Belgium in 1935 and moving to the U.S. in 1940, Henry’s journey in art began at just 15 years old when a visit to the Whitney Museum sparked his lifelong passion. With his stocky build and facial hair, he had all the makings of a bear, though it’s not certain if he ever would have identified with that label. Regardless of the bear tag, he defied the typical image of a gay man and was a loud and proud advocate for gay rights and breaker of gay stereotypes.
Educated at Yale, Henry’s intellectual curiosity laid the groundwork for his future as a curator and art historian. By 1960, he was making waves at the Metropolitan Museum of Art in New York City, starting as the Curator for American Art. His unique approach to curation and his embrace of contemporary art quickly set him apart.
Henry’s landmark exhibition “New York Painting and Sculpture: 1940–1970” at the Met in 1969 was revolutionary, introducing the museum’s audience to contemporary American art. It featured works by notable artists like Pollock, Stella, and Warhol, among others, and established the museum’s Department of Contemporary Arts.
His close friendships with iconic artists like Andy Warhol and David Hockney were instrumental in shaping the art landscape. Warhol’s famous quote, “Henry gave me all of my ideas,” highlights their profound connection. They shared a camaraderie that went beyond professional bounds, thriving in the cultural milieu of New York City. Henry’s influence on Warhol’s career and artistic choices was significant, offering a blend of mentorship and friendship. David Hockney, a pioneer in artistic techniques and styles, found in Henry a confidant and supporter. Their partnership was built on mutual respect and a shared appreciation for the arts.
Henry’s role extended beyond the Met. As the U.S. commissioner to the Venice Biennale in 1966, he showcased American talent internationally. He also directed the visual arts program of the National Endowment for the Arts, initiating a museum grant program for contemporary American art.
Appointed as the Commissioner of Cultural Affairs for New York City in 1977, Henry’s role was significant, especially as an openly gay man during a time when such visibility was rare. He actively contributed to AIDS-related causes, demonstrating his dedication to both the arts and humanitarian efforts.
After leaving his government position, Henry continued to influence the art world, serving as a Distinguished Guest Curator at P.S. 1 in Queens. His personal life was equally significant, particularly his relationship with painter Christopher Scott. Their partnership, captured in Hockney’s iconic double portrait, was a central aspect of his life and influence in the art world.
Henry was also a prolific writer, contributing to the understanding and documentation of contemporary art. His writings included catalogs and books on various artists and art movements.
Tragically, Henry’s life was cut short by liver cancer in 1994, but his legacy continues through his writings, the art he championed, and the artists he inspired. He was laid to rest in Green River Cemetery in Springs, New York, leaving a lasting mark on the art world.
In popular culture, Henry’s influence is seen in the documentary “Who Gets to Call It Art?” and in portraits by artists like Warhol and Hockney. Warhol’s silent film “Henry Geldzahler” and Geldzahler’s appearance in Hockney’s “A Bigger Splash” further solidified his presence in the realm of cinema and art.
Henry Geldzahler’s life was a testament to his passion for contemporary art, his keen eye for talent, and his deep connections with artists. His groundbreaking curatorial work, advocacy for AIDS awareness, and prolific writing ensured his enduring influence on the art world. As the art world evolves, Henry’s legacy remains a beacon of the transformative power of art and the dedication of those who champion it.
Reference and Further Exploration:
- Balasz Takac, Widewalls. (2019). “Henry Geldzahler, A Curator Who Lived Among Artists”
- Marion Maneker, Art Market Monitor. (2018).“Who Was Henry Geldzahler?”
- Paul Goldberger, New York Times. (1994). “Henry Geldzahler, 59, Critic, Public Official And Contemporary Art’s Champion, Is Dead”
- Barbaralee Diamonstein interviews Henry Geldzahler. WNYC-TV. (1978).
