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Then, invariably, we would head out for a late-afternoon hike on the cliffs overlooking the Pacific and sit there for a while, the vastness of the ocean an open platform for our free-floating conversations.Sometimes we plumbed the deeply personal, at other times the wilds of Derrida or Foucault, but, by the time the sun was levitating just above the horizon, our serious musings had devolved into a bunch of goofy laughter.The home he created with Kelly in no way resembled the suburban theatre of his childhood, investigated in his many bodies of work; it was the home he had always wanted.This piece was drawn from “Larry Sultan: Here and Home,” which was published by the Los Angeles County Museum of Art and Del Monico Books / Prestel in 2014.Assembled on the wall was a grid of small film stills he had made from his family’s home movies, the beginning of his series “Pictures From Home.” When I’d walk in, he’d be standing there, staring at the grid, sipping a little Scotch, moving a few pictures around, having himself some fun.We might talk for a while about the cinematic rhythm of the grid, the psychological clues residing in this scavenged record of his childhood, or about whether this kind of personal documentation had any cultural relevance at all.

They are routines and rituals related to place and domesticity, alluding to the poignancy of displacement and the longing for home.”Larry and his wife, Kelly, lived in Marin County at the very end of a half-mile-long boardwalk, past an array of idiosyncratic houses.He seemed always to have such observations, casually offered, as if in an afterthought, and, because of it, I always found myself learning something when I was with him.In 1983, after completing a series of conceptual collaborations with his classmate Mike Mandel, including their masterpiece “Evidence,” Larry embarked on a personal opus, “Pictures from Home.” The photo series was completed in 1991, and has recently been republished by Mack Books.In “The Valley” (1998–2003), he documented pornographic-film production in suburban homes rented out for that purpose.One picture, from 2001, “Sharon Wild,” presents an archetypal figure sitting undressed on the edge of a bed with her arms folded across her chest—the Hitchcock blonde gone bad.

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An exploration of his own childhood undertaken through an almost forensic scrutiny of his family, the project presents a combination of still images culled from home movies, contemporary photographs that Sultan took of his mother and father in their affluent Palm Springs retirement community, and conversations he recorded with them.