A precocious, self-taught artist, Dudley Huppler (1917-1988) studied English at UW-Madison in the late 1930s and joined Marshall Glasier’s salon, which included Midwestern Surrealists like Karl Priebe, John Wilde, Sylvia Fein, and Gertrude Abercrombie. In the 1940s, encouraged by friends including Wilde, Huppler begins making drawings, and in 1947, developed his signature stipple-dot technique, working almost exclusively with ink on paper for the majority of his career.

In 1949, Huppler began spending significant time in New York City, where through his art, ambition and natural talents, he penetrated the innermost circles of cultural aristocracy. By the time of his arrival, his work was already widely known through postcard reproductions of his drawings, and soon his work would find its way into the hands of collectors including W.H. Auden and Ezra Pound. The same year, he would befriend renowned photographer George Platt Lynes, who introduced him to many of the leading gay cultural figures of the time. Writing to Gertrude Abercrombie in February, 1950, Huppler remarks, “Oh did I ever get a welcome from Paul Cadmus and Jared French and a nice new painter called George Tooker, a cute name…I might as well be in Europe, I’m that happy.” In 1954, he first became acquainted with Andy Warhol and collaborated with him on various projects, meanwhile, in letters to his Priebe, he would facetiously refer to him as “Warthole.”

Despite his myriad connections with the gay art community, it was not until the late-1960s that Huppler was comfortable being fully “out” in his work. As art historian Robert Cozzolino writes, “The work on which Huppler’s reputation was founded is filled with puns, symbols, and in-jokes that simultaneously reveal and veil his sexuality.”

Throughout the 1970s, Huppler gradually abandoned his signature stipple technique in favor of a more “traditional” drawing method. From the mid-1960s until his retirement in the mid-1980s, he would teach English at The University of Wisconsin, Oshkosh.