The tall split canvas has an enigmatic title: Shooter with Cliff and Eddy. Its surface offers the image of a domestic interior, a living room, which blithely combines antique and modern, Eastern and Western styles. Images of domestic interiors have been common in Tod’s paintings since the late 1970s; works such as In the Kitchen (1975) superimposes the image of a bound woman from a Japanese pornography magazine over the space of a suburban kitchen, while Self Portrait as Prostitute (1983) presents a lifeless, upper middle-class dining room with one of Tod’s most recognizable earlier canvases hanging on the wall. In each instance Tod created an anomalous situation in which a conventional domestic interior is convulsed into meaning by its intersection with a socially charged image.
So begins our Winter 1991 cover story. To keep reading, view a PDF of the entire article.