Photographs by Larry Sultan / Courtesy the Estate of Larry Sultan, Yancey Richardson, Casemore Kirkeby, and Galerie Thomas ZanderThere’s a bend on California Highway 62 as it rolls off the high desert plains and down into the Coachella Valley where you suddenly see the parched earth cough up what appears to be a vast mirage. Spread out below, like some plush green shag carpet, is the artificial paradise of greater Palm Springs.
Photographing my father became a way of confronting my confusion about what it was to be a man in this culture. . . . These were the Reagan years, when the image and the institution of the family were being used as an inspirational symbol by resurgent conservatives. I wanted to puncture this mythology of the family and to show what happens when we are driven by images of success.Over his father’s protestations , the book paints a picture of a kind of fallen Horatio Alger type.
For all of his allegorical intent, Sultan was nevertheless unable to escape what he called the “deeper impulses” drawing him to make this work. It is by now a hackneyed observation that photography provokes distance: it yanks us out of the present moment, it conceals the real behind a smudge of images. But at its best the act of photographing can do the opposite: through an act of crystalline attention, we can pull the world and the people in it closer to us, and demonstrate our devotion.
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