…painting two walls of the Paula Cooper gallery blue and coating the sanded floor with polyurethane, Huot searched for ways to work as an artist with Huot participating in the commerce of art, which seemed to continue oblivious of larger political developments. Finally, Huot’s interest in making art that was virtually invisible led to his own disappearing act: he bought a farm in central New York and, with his spouse, Twyla Tharp, moved into the farmhouse to reconnoiter.
The rhythms of the farm forced Huot out of his city sense of time and into new ways of thinking about art. In 1966, Huot met Hollis Frampton, whose interest in film and willingness to share what he knew with Huot, helped enter the arena of filmmaking.4 During the late 1960s, Huot successfully brought his minimalist/conceptual aesthetic to celluloid, with inventive results: he scratched into the emulsion (for Scratch, 1967)…
From the Text HUOT by Scott MacDonald, Professor Emeritus, Utica College of Syracuse University