Showing posts with label Todd Hido. Show all posts
Showing posts with label Todd Hido. Show all posts

Tuesday, January 18, 2011

Todd Hido: Fragmented Narratives @Silverstein

JTF (just the facts): A total of 28 color images, framed in black with no mat, and hung in the entry area, front room, and main gallery spaces. The chromogenic prints come in three sizes (or reverse): 20x24 (in editions of 10+3AP), 30x38 (in editions of 5+1AP) and 38x48 (in editions of 3+1AP). The images were taken between 1995 and 2010. (Installation shots at right.)

Comments/Context: Todd Hido's new show is in many ways a mini-retrospective: it takes a handful of fresh new images and mixes them together with selections from a variety of older projects, going back to the mid 1990s. What is special here is that instead of being displayed in traditional chronological order, the pictures have been sequenced and sifted into clusters and groups, creating enigmatic, unknowable narratives from combinations and juxtapositions of misty wet landscapes, quiet interiors, shadowy female nudes, and night lit houses.

Hido's careful recontextualization of his work links single images into implied settings and cinematic stories, where a trailer, a barren road, and an austere nude can come together to create a lonely, introspective atmosphere. A similar combination of nocturnal houses with glowing windows, a vacant room or two, and a vulnerable, expressionless woman are woven into somber, open-ended suburban vignettes, where the viewer provides both the connections and the ultimate meaning.

Taken together, the works go beyond documentation of dreary physical surroundings to map deeper layers of emotional and psychological terrain, where snowy tracks, a crumpled pillow, and an unguarded pose are the clues to a personal mystery. While many of the images can stand well enough on their own as individual narrative threads, I was struck by how powerful and resonant they became when they were knit into a fabric. What is evident from this show is that Hido's projects from the past decade are all infused with a common underlying spirit, and that each distinct subject matter genre provides a different entry point into the larger tonal environment he is so tenderly exploring.

Collector's POV: The prices for Hido's work have inched up slightly since his last gallery show here in 2009. As a reminder, the prints come in three sizes, with new prices: $3650 for the 20x24 works, $6000 for the 30x38 works, and $9200, $9800, 0r $11800 for the 38x48 works. Examples of Hido's work have become more common at auction in recent years, finding buyers between $2000 and $24000.
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There were actually several images in this show that I liked quite a bit. If forced to choose, I would likely select the empty blue bedroom (#3878, second from right in the third installation shot from the top), for its rich muted palette and its melancholy mood.
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Rating: ** (two stars) VERY GOOD (rating system described here)
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Transit Hub:
  • Artist site (here)
  • A Road Divided @Silverstein, 2009 (DLK COLLECTION review here)
Through February 12th
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Bruce Silverstein Gallery
535 West 24th Street
New York, NY 10011

Tuesday, September 22, 2009

Todd Hido: A Road Divided @Silverstein

JTF (just the facts): A total of 15 color images, mostly framed in black with no mat, and hung in the back two gallery spaces. The chromogenic prints come in three sizes (or reverse): 20x24 (in editions of 10+3AP), 30x38 (in editions of 5+1AP) and 38x48 (in editions of 3+1AP). The images were taken between 2005 and 2009. (Installation shots at right.)

Comments/Context: The weather forecast for Todd Hido's group of new landscapes is remarkably consistent: cloudy, with a better than average chance for dreary, depressing rain. Hido's images document melancholy open roads, stark silhouetted trees, misty skies and barren fields, all seen through the blurry wetness of his car window.
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The "open road" is of course an American tradition, embodying freedom, youth, and unlimited opportunity. As a result, it has been "done" plenty of times before; I can think of the famous Dorothea Lange image (here) and couple more by Robert Adams (couldn't find good scans) that cover the concept from the art photography point of view (and I'm sure there are others I've forgotten, so add them in the comments as appropriate); stock photography for advertising and the like is chock full of optimistic, sunny open roads.
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Hido's muddy tracks are just the opposite: lonely, bleak and austere, in an introspective mood, even if the sun is trying to poke through. The works are unabashedly painterly (some might even lump them in the Neo-Pictorialist camp), using the rain to create out of focus softness with the foggy pastel colored light (think Stieglitz' Spring Showers). The best of the images in this show rise out of the bleary murkiness and find some emotional resonance, a subtle moment of unexpected beauty in an otherwise uninspiring landscape. Unfortunately, not enough of the works find this perfect pitch, and many sink back down into the empty psychological wasteland. All in, the exhibit is a bit of a mixed bag: a few moments of sublime quiet, intermingled with a few too many duller memories of standing in the cold rain.
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Collector's POV: Given that the images in the show come in three sizes, there are of course three sets of prices: $3500 for the smallest works, $5500 for the mid sized, and $9000 or $9500 for the largest works. Hido's work has started to trickle into the secondary markets, with the few lots that have come up for sale in the past few years fetching between $2000 and $6000. While these landscapes aren't a good fit for our particular collection, my favorite image in the show was 5157 (shown on the far left of the installation shot at right).
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Rating: * (one star) GOOD (rating system described here)

Transit Hub:

  • Artist site (here)
  • Interview: Inceptive Notions (here)
  • Review: American Suburb X (here)
Through October 24th

535 West 24th Street
New York, NY 10011