Boston University Art Gallery
855 Commonwealth Avenue
September 5 - October 19
Todd Hido’s current exhibition, “Excerpts from Silver Meadow,” pursues a disjointed narrative about midwestern suburbia in the 1960s and ’70s. From the puzzle pieces—nearly one hundred photographs, pulp novels, and ephemera—we discover an anxiously normal boy with a dark side. The uneven sizing and hanging of the images augment this collage effect, with the works by turns manifesting fear, banality, and lust. Many of the blurred landscapes taken from inside a car bleakly outline a particular upbringing—Hido’s own. In fact, the show as a whole productively commingles the tale of a fictionalized character and a re-creation of the artist’s upbringing in Kent, Ohio.
In one grouping, a reproduction of a torn and taped photo of a woman with her dress yanked up is positioned between a photo of a handwritten notecard showing the measurements of a young man’s body, and a black-and-white photo of two boys playing in front of a suburban house. In another cluster, the viewer finds a decomposing, yellowing home; a fallen red tricycle (in a tribute to Eggleston); a lushly wallpapered interior desolate of objects aside from an off-the-hook telephone; and a final, fading memory from a fragment of a party banner: COME HOME.
Hido also has a propensity for voyeuristic night imagery. In #7373, 2009, tire treads in light snow lead up to a darkened home in which only a room on the second floor is illuminated. This image also appears on the cover of a Vintage reissue edition of Raymond Carver’s What We Talk About When We Talk About Love: Stories (1989), which is displayed in a vitrine alongside novels such as Sin Drenched and Driven Desire. Throughout, the small-town vernacular of Hido’s American landscapes becomes charged with a compelling friction.