Attila Richard Lukacs
There is one word I have always used to describe Lukacs’ work: POWER. Regardless of the subject—figures, portraits, landscapes—there is a palpable tension in each and every piece that I’ve seen. That interplay of power dynamics is often magnified by the sizes of his pieces. They are, quite simply, breathtaking.
My first introduction to Lukacs was his (semi)nude pieces of men engaging in ordinary, every-day tasks that would generally be described as “masculine pursuits”: construction work, factories, forges, etc. While many of these pieces are easily erotic (on first glance), they also communicate how power is given, taken, and shared between men doing “manly things”. Each piece I’ve seen also has elements of tenderness / gentleness—in a specific pose, gesture, or form—that is often missing from more overtly erotic images by other artists. To me, these pieces speak to the complexity of being perceived as “manly” in a world where words are being redefined on a daily basis.
Also, I was thrilled to discover that Lukacs latest works tend towards using more traditional landscape techniques. Even then, in the simple interplay between elements in a landscape, Lukacs never loses his focus (in my view) on POWER. Brilliant!!!
“Tomorrow and Tomorrow and Tomorrow” : 1991
This is one of Lukacs many enormous pieces (400 x 605 cm / 13 x 20 ft) that celebrate men. “Celebrate” is, perhaps, an odd word to use as Lukacs didn’t simply glorify the male form; rather, this collection of pieces tended to show some men working in traditional roles while others were relaxing in those same environments. Each of his pieces in this period play with dominance v. submission, work v. play, and distance v. intimacy. Each piece is as “erotic” as the viewer perceives it to be.
On a more technical level, I know from my own attempts at producing good figures how difficult it can be. I am in absolute awe of Lukacs skill.
“1-800-MIKE” : 1989
Lukacs has a variety of pieces that highlight a single subject—”Mike”, in this case. All of them are reminiscent of ads that used to be relegated to the back pages of porno-mags, discreetly distributed in flyers, or mailed out to “private collectors”. The Athletic Model Guild (AMG) headed by Mizer is an example of pre-internet subscription services that would mail out catalogues of “available” photo-sets of men, often coded with specifics as to what those models could provide (sexually) in person.
What I find so fascinating about this piece is that it has an overall monotone sepia palette that is amplified by the explosion of lavender blue in the second panel. One must remember that the pre-internet services tended to offer only black / white images of their models. Additionally, Lukacs communicates opposing stories in the two panels: possible escape in the first, while the second illustrates some kind of “angelic” victory. It’s this subtle tension in narrative, use of materials, and general style that continues to draw me back in with each piece of Lukacs.
“DECEMBER, Cactus Under Snow” : 2021
This is the kind of landscape art that makes my heart sing!! This piece is one of many that are in a new exhibition at the Herringer Kiss Gallery (Calgary, AB) in which Lukacs has recorded / responded to the many emotions surrounding the declining health of a family member (review here). I feel an enhanced sense of connection to this collection as I recently lost my own Marm after witnessing her battle a variety of conditions over her (almost) 84 years.
I can’t, won’t, speak for Lukacs specific experiences. However, I will say that this piece (and others in the collection) have a sense of joy … discovery … wonder … entangled in the sadness that he must have experienced. I see the snow both cascading over and protectively embracing the cactus. I see more of Lukacs signature interplay of different types of power striving for balance rather than dominance. I see the quiet “death” of Winter with the promise of what Spring will bring. I see Life … and living again … in the face of, what many see as, ultimate loss.
This piece comforts me when I, daily, find myself missing the sound of my own Marm’s voice. This is a gift that I’m not sure Lukacs is aware he’s given me.