Predictability is fine in its place, but it can be overdone. This post is for the halibut. An open thread for anything that comes to mind. Your comments are all.
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a multi-disciplinary dialog
Posted by Steve Durbin on September 5th, 2007
Predictability is fine in its place, but it can be overdone. This post is for the halibut. An open thread for anything that comes to mind. Your comments are all.
Filed in across the arts
22 Comments Comments closed
Steve:
Thanks. Appreciate.
I’d rather have a halibut than a haddock.
What a fine fish.
I makes me feel guilty having eaten a halibut filet a couple of days ago.
OK, here’s something (maybe). I went back to Todd Hido’s Web site for a closer look and I have to say I am not impressed with his portraits. Despite their leanings towards porn, I ultimately felt a bit like “so what” towards them.
Any thoughts?
There are a couple of interviews with Hido about this project on PopPhoto and Conscientious. I’m not a great fan of the portraits, either, but they come across as an extension of the enigmatic house exteriors which I do like. One could see them as pursuing the question of what’s going on inside those apparently closed-off houses.
One thing I admire about Hido’s work is the arc of its development over time. There’s real change, and a certain logic to it. My own projects don’t seem to have a very coherent story so far. Maybe in future…
Concerning: Todd Hido.
I entirely agree with Steve’s comment no. 5. And interestingly, Hido studied with Larry Sultan who also did work about the Industry.
http://www.isabellabrancolini.it/larry_sultan_the_valley_3.html
(And Steve, see TH’s Landscape #2431.)
Yes, a great observation. But, I still don’t like the portraits that much.
I really enjoyed reading the interviews and I like that he’s “old school” in his methods.
And I had to laugh when I read about his concerns about taking photos of strangers’ homes. I’m always worried someone will stop to ask what I’m doing or get angry but that hasn’t happened yet. I was once pulled over by the police for taking photos of a factory. They thought I was scoping the place in order to steal a chemical to make meth.
But I digress.
Maybe I’ll take a series of photos of naked men in order to express my feelings of alienation and loneliness.
D.,
Yes, I think he waited for rainy weather to go out on road trips. That one is a good example of the strong story-telling element: somebody out sitting in a cold car on a dreary day, maybe wondering whether or how to go meet whatever is waiting in that everyhouse. There can be real people stories in pictures without people.
Tree,
It’s natural to feel a bit unsure taking pictures of other people’s homes or stuff, but it could equally result in some interesting insights or opportunities if someone does question you. Don’t hide what you’re doing — flaunt it.
Steve,
Until this year, I usually sat in the evenings looking westward to the sky and the approaching contrails. Where were they going?
This year I have been facing east towards a wooded area where my kids have set up several bird feeders. Tonight the feeders were empty. I looked at the wine bottle and the reflection of the sky behind me. I was reminded of your Stream Work.
I liked the parallels that David E. bought out with Steve’s work.
Thanks, D. There’s something fascinating about reflections that we’re drawn to, wherever they are found. Just like fire. But fire is a much more physical phenomenon and need, whereas reflections seem more purely cognitive. Why should this be a nearly universal attraction?
Paul Pfeiffer.
I liked Todd Hido’s interiors but was enraged by his nude females. I didn’t read any explanations but Tree’s sarcasm (“Maybe I’ll take a series of photos of naked men in order to express my feelings of alienation and loneliness.”) nails it. It’s the kind of solipsism — oh pity me that I can only get 15 or so women to go naked and look longingly at my clothed body while I emphasize that it’s all about me, not them…. Bleah.
Hmm, I didn’t know I felt that strongly.
Tree, I have been inspired by your houses. I am determined to paint pleine aire here in the city — no vast views or grand spectacles, just lots of houses and sidewalks and foliage that threatens to eat you alive. But somehow, I need to deal with this very comfortable and not at all awesome place in imagery.
And oh yes, Tree, take comfort in Alice Neal, who did a lot of naked men — as well as herself, naked.
June, I’d forgotten about Alice Neal!
I’m honored that you’re inspired by the houses, good luck!
I respect Steve’s comment regarding his comparison of the women to the houses but at the same time, the houses ain’t naked.
It’s disconcerting to me that in order for this man to understand women and himself, he has to strip naked women he doesn’t even know and take their photos, which means it’s just another example of objectification rather than communication. The male gaze all over again.
Hmmm, I have to confess I didn’t realize so many of the “portraits” were nudes until I went back to Hido’s web page just now. The one in the Conscientious interview I linked to reminds me of a Hopper painting, but otherwise I agree with June and Tree that it blocks communication of what could be interesting ideas.
Guys:
While I’m somewhat leery of the term “objectification”, I can see a problem with the Hido business. Had he presented only an image or two, then a crafted message about some vacancy in the human experience may have come through. As it is, he appears to have an obsession.
But I gotta tell you, it’s that Yuskavage character that gets my dander up.
But certainly, the Male Gaze and how GIRLS are willing to expose their breasts (for a promotional t-shirt) are very relevant contemporary topics. I sense that Hido’s Borrowed and Soulless Spaces and Askewed Daylight intend to remind us of harsher realities.
Hmm, the eyes pointing in different directions don’t quite have the same effect as in a portrait of a person, but they are still interesting. Why is it that eyes that don’t focus at a point are so mysterious? It is as though the person/fish can simultaneously view something we can see and something at another level.
Todd Hido’s homes are very depressing and beautiful at the same time. Some of them look like the next venue for a chainsaw massacre – but then the horrors of prostitution are none the less terrible… Of course, the mayor of Vegas does not think so… see http://themoderatevoice.com/general/15073/should-prostitution-be-legalized-2/
I take the Halibut Stick in remembrance of R.B. Kitaj.
I never knew what to do about his work. The best I could muster was a kind of uncomprehending admiration for its density and easy command.
And then one day he showed up at the art museum with a group of students from either Kent State or Akron U. He was there in the capacity of visiting scholar/chaperone. He had likely instigated the field trip as the museum had been his stomping grounds as a kid. We chatted a little while the student body wandered off on assignment. He talked about the old days and it was clear that he was remembering a formative period. Rather stupidly I forgot to quiz him on which objects had turned him on the most, as I would have had a good topic for a gallery talk. He was easy and unassuming and ready to inform. But I must admit that our encounter shed little light for me as my bafflement with his work continued unabated.
Can I use this image for a flyer?