Larry Sultan’s work is most familiar to me from books: Evidence, Pictures from Home, and The Valley. The work also exists as gallery prints & has been used in magazines spreads. My personal attachment is to the books & the experience such a form offers: private, on my own time.
Evidence, made with Mike Mandel, is a collection of industrial photographs, which as a collection, leads to a kind of non-sense of imagery. Nothing relates, nothing really means anything, but the viewer is face-to-face with “evidence” of something somehow. There is a dry humor in the residue of corporate imagery, it’s utter obscurity & obsolescence, but it is also a kind of psychic downward spiral, a tension between the kitsch of execution & a horror of banality.
Unlike a lot of work which uses vernacular imagery often as a kind of nostalgia, or a collection used to codify forms, Evidence uses imagery which traffics between the institutional & the ridiculous – as archaeology, the imagery is ultimately embarrassing in its weirdness, its cryptic passages between intention & effect. We can see the flotsam of bureaucratic engineering, of attempts at social delineation and control, and also it’s limited shelf-life, it’s temporal lapse into nothingness.
There is an agitational quality to Sultan’s work, an unrest, a meta-critique of the uses of photography which is most apparent in Evidence, in which the imagery is found, but which also informs the 2 long-term projects, Pictures from Home, which deals with the suburban culture of Sultan’s parents, and The Valley, which is “behind the scenes” of the adult film industry.
Pictures from Home uses both Sultan’s color photographs of his parents, living on the edge of a golf course, in southern CA, along with frame enlargements of home movies made by Sultan’s father. The home movies are predictably bucolic & idealized – vacations, fun, high points. Sultan’s photographs seem much darker in comparison, although in extremely lush color, in the brilliant SoCal light, in their acute focus & detail (contra the pictorial inexactitude of the home movies). Sultan’s parents are used as kind of a test-case of post WWII prosperity & its retirement, figures placed in an artificial new world of synthetics, hovering in an ahistorical constant present. Sultan’s parents become the post WWII nuclear family, severed from kith & kin, adrift in a sea of commodities.
In comparison, the images in The Valley seem the most illustrative, juxtaposed with both Evidence & Pictures from Home. The images can be read easily in either magazine or on a gallery wall: the behind-the-scenes of the adult film industry, on location in rented McMansions in the San Fernando Valley. The images concentrate on the absolute clutter of the houses as sites of filmmaking, in terms of the logistics of the set-ups as well as everything that is necessary to sustain the shoot. Also the images deal with the hours of waiting behind any film project – hours of tedium distinguishing the work involved. While it has some of the romantic appeal of a film like Boogie Nights& a general fascination with the adult film industry in our culture (a Puritanical vision of carnality at its most commodified, i.e. sensible form), the real subject seems to be the conformity & dullness of work, any work. The hideous McMansions of the Valley photograph extremely well: settings of baroque vulgarity, impersonal except for the particularities of bad taste from house to house, & even then nothing is ever unique or outstanding. Everything is prefabricated, mass produced, & strangely empty. The models for the films reiterate the alienation of the architecture & decor in their utter displacement from it. Everything looks kind of awful & inexplicably expensive.
Larry Sultan’s photographs for The Valley, printed large, fit comfortably in art galleries, wherein large color photographs are a kind of contemporary salon painting. Akin to PL DiCorcia’s images of pole dancers, or the more obscure images of porn sets done by Jeff Burton, which seem more about distraction & daydreaming on the job (Burton was also working for various companies). Still, Sultan’s images have a kind of distancing & self-consciousness which keeps them from being pure commodity. The images are rehearsals for images, attempts, auditions, lapses, distractions. The models look mechanical & bored. The theme of scientific management seen in the images of Evidence is sublimated but constant throughout The Valley.
From Evidence to The Valley: dealing w/ corporate imagery, the family, suburbia & sex. Such an engaged & challenging use of the camera & the photograph.