Westward ho!
Two photographers find gold—and brothels—in them thar hills.
May 7th, 2008
(Im)material World | Two artists break on through— the fourth wall.0 comments
April 23rd, 2008
Late-April Roundup | See these shows before they come down!0 comments
April 16th, 2008
Installation Situation | Two effective installations shine at Marylhurst and Portland State University.0 comments
April 9th, 2008
Live Review: Cap Auction Saturday, April 5 | Great people watching; not so great art.2 comments
March 19th, 2008
Defining Sex | Two shows confront masculine and queer identity.0 comments
February 27th, 2008
The End of the Affair | The Affair at the Jupiter says goodbye...for now.0 comments
February 13th, 2008
Reaching for the APEX | Jenene Nagy dons myriad artistic hats—and wears them well.0 comments
January 30th, 2008
Hap Tivey and Gregg Renfrow at Elizabeth Leach | Can SoCal Light and Space cure the Portland winter blues?0 comments
January 23rd, 2008
Portland Art Center, R.I.P. | The Portland Art Center closes—who is to blame?10 comments
January 16th, 2008
Alicia J. Rose at Grass Hut | Alicia J. Rose charges into the woods in her genderfucked Fairytales.0 comments
![]() Bodie by Berthold Steinhilber |
[February 20th, 2008]
Leave it to the Europeans to find the essence of the American West. The Italians, with their spaghetti westerns, left us whistling Morricone long after Autry and Rogers rode into the sunset, and now, of all people, a German photographer named Berthold Steinhilber has captured something of the West that no American ever could.
Steinhilber’s haunting prints are the centerpiece of Gallery Homeland ’s group photography show, Wild, Wild West, curated by local artist Todd Johnson. The show’s conceit (a survey of “the legacy and influence of the mythology and romanticism of the American western frontier”) is staggeringly hackneyed, but thanks to Steinhilber’s works, and those of American Timothy Hursley , the exhibition redeems itself. A super-slick commercial photog who shoots campaigns for Porsche, Steinhilber spends his free time doing fine-art work that exults in elegiac light play. A few years back, he photographed ghost towns such as Bodie, Calif., and Golden Springs, Colo., opting to shoot at dusk with extremely long exposures (up to two hours, for the love of God!), slowly sweeping a handheld, battery-powered headlight over the buildings, rather than blasting them with floodlights. This painstaking, obsessive technique results in a preternatural effect that befits the eerie subject matter and presents a new way to see the normally sun-blanched wooden façades.
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In the late 1980s, Hursley photographed the interiors of Nevada’s legal brothels: the Mustang Ranch, the Chicken Ranch and others. These establishments, many of them now boarded up, shared the same fabulously tacky decor: fuchsia velour couches, unironic shag carpeting and wood paneling, and gold-painted chandeliers. There are no people in the photos, although a few partially deflated blowup dolls inhabit the tableaux. What Hursley and Steinhilber are both photographing is the aftermath of fantasy. What they grasp is that no matter how alluring in the heat of lust, any bordello—from the glitzed-up Mustang Ranch to the Great American West itself—becomes a filthy whorehouse the instant after you come. Hope and gold and fairy dust evaporate when destinies manifest, and suddenly you find yourself in a ghost town that used to be a repository for dreams.








