Biography
Formation
1979 Yale University, New Haven, M.F.A.
1976 School of the Museum of Fine Arts,
Boston, Post Graduate Certificate.
1975 School of the Museum of Fine Arts, Boston, Diploma.
Awards
1989 Artist Fellowship, National Endowment for the Arts
1987 John Simon Guggenheim Memorial Fondation Fellowship
1986 Artist Fellowship, National Endowment for the Arts
1980 Artist Fellowship, National Endowment for the Arts
Personal exhibitions (selection)
2001 Galerie Almine Rech, Paris
Galerie PaceWildenstein, New York
Galerie Gagosian, Londres
2000 Galeria OMR - Mexico City, Mexique (Mai)
Pecci Museum, Prato, Italie (Mai)
Lawing Gallery, Houston (Mars)
Galerie christian Larsen, Stockholm
Sprengel Museum, Hannover
1999 Philip-Lorca diCorcia, Art Space Ginza, Tokyo
(16 Septembre- 10 Octobre).
1998 Galerie Rodolphe Janssen, Bruxelles.
Streetwork , Galerie Klemens Gasser und Tanja Grunert,Cologne.
Streetwork, Galerie Almine Rech, Paris.
Streetwork, PaceWildensteinMacGill, New-York.
1997 Hustler / Streetwork, Museo National Centro de Arte Reina.
Sofia, Madrid and University of Salamanca, Salamanca, Spain.
Hollywood Pictures, 1990-92, PaceWildenstein, Los Angeles.
1996 Streetwork, PaceWildensteinMacGill, New York.
Theoretical Events, Naples, Italy.
Hollywood, Galerie Klemens Gasser, Cologne, Germany;
The Photographer’s Gallery, London.
1995 Art & Puplic, Geneva, Switzerland.
Philip-Lorca diCorcia, Galerie Klemens Gasser, Cologne.
1994 Portraits of America, Nikon Salon, Tokyo; Nikon Salon, Osaka.
1993 Philip-Lorca diCorcia: Trade, Centre Culturel du Rocher, Lyon, France.
Philip-Lorca diCorcia: Photographs 1982-1992,
Wooster Gardens, New York.
Philip-Lorca diCorcia: Strangers, The Museum of Modern Art, NYC.
Strangers and Others, Galeria Palmira Suso, Lisbon, Portugal.
1991 Philip-Lorca diCorcia, The Photographer’s Gallery, London.
1985 Philip-Lorca diCorcia, Fotographies, Zeus Arts, Milan, Italy.
Collective exhibitions (selection)
2001 "Instant City", Pecci Museum, Prato, Italie (23.02-30.04)
Group show, White Cube, Londres (Spring)
2000 "Hybrid", Fotomuseum Winterthur, Winterthur, Suisse (02.09-29.10)
Quotidiana, castello di Rivoli, Italie
The Shape of the World / The end of the World,
comune di milano, Italie.
1999 A Frame of Mind, Noorderlicht Photofestival,
Croningen, Pays- Bas.
Museum of Contemporary Art (MOCA), Miami, Floride.
Rue Louise Weiss, Centre d’Art Contemporain,
Abbaye St-André, Meymac, France.
Expander/PlateFforme d’exposition proposée par Bloc-Notes,
Espace Gran Dia, Paris.
In the City, Exposition au FRAC Haute-Normandie, Rouen.
1998 Take the A train, Howard Greenberg Gallery, New York.
Icons, Galerie Fotohof Salzburg, Autriche.
Emotions and Relations, Hamburger Kunsthalle, Hambourg.
Tell me a story: Narration in Contemporary Painting
and Photography, Centre National d’Art Contemporain de Grenoble.
1997 Whitney Biennial Exhibitions, Whitney Museum of American Art.
Making it Real, Independent Curators Incorporated, Aldrich
Museum of Contemporary Art (exposition itinérante).
The Citibank Private Bank Photography Prize, Royal College of Art, London.
Tak and diCorcia, GementeMuseum, Helmond, Allemagne.
Family and Friends, Museum of Contemporary Photography, Chicago.
1996 Photos Leurres, Galerie Agnès B., Paris.
Pictures of Modern Life, Tours, France.
1995 International Foto Triennale, Galerie dar Stadt Esslingen, Esslingen, Germany.
The Boston School, Institute of Contemporary Art, Boston.
After Art: Rethinking 150 Years of Photography, Henry Art
Gallery (exposition itinérante).
Adieu, Les Frontières!, Art & Public, Geneva.
1994 Down Town, Netherlands Photo Institute, Rotterdam, Netherlands.
Present / Future, Jackson Fine Art, Atlanta.
Pictures of the Real World, Paula Cooper Gallery, NYC.
Flesh and Blood, Fotofeis, Edinburgh,
Scotland (expostion itinérante).
Photographs by Nan Goldin and Philip-Lorca diCorcia,
Robert Klein Gallery, Boston.
1993 Daydream Nation, Luhring Augustine Gallery, New York.
Under Age: Photographs of Children, San Francisco Museum
of Modern Art, San Francisco.
Prospect 93, Frankfurter Kunstverein and Schirn
Kunsthalle, Frankfürt, Germany.
1992 Our Town, Burden Gallery, New York.
The Sexual Self, Galeria Tanjia Grunert, Cologne.
Les Enfants Terribles, Wooster Gardens, New York.
New Acquisitions/New Work/New Directions,
Los Angeles County Museum of Art, Los Angeles.
More Than One Photography: Works since 1980 from the
collection, The Museum of Modern Art, New York.
1991 Pleasures and Terrors of Domestic Comfort, The Museum of
Modern Art, New York (exposition itinérante).
Drawings, Prints and Photographs: A Summer Selection,
The Metropolitan Museum of Art, New York.
Get Real, Art Gallery of York University, Toronto.
1990 Witnesses: Against Our Vanishing, Artists Space, New York.
Acceptable Entertainment, organized and circulated
Independent Curators Inc., New York; toured Canada
and the United States.
1987 Arrangements for the Camera: A View of Contemporary Photographiy,
Baltimore Museum of Art, Baltimore.
New Photography 2, The Museum of Modern Art, New York.
1985 Seduction: Working Photographs, White Columns, New York.
Contemporary Photography VI, Fogg Museum, Harvard
University, Cambridge, Massachusetts.
Color ‘77-Seven Contemporary Photographers, Enjay Gallery,
Boston.
Collections
Addison Gallery of American Art.
Bertelsmann Music Group, New York City Banesto, Madrid.
Benesta Corporation, Madrid.
Bibliothèque National, Paris.
Boston Museum of Fine Arts.
Chicago Museum of Contemporary Photography.
Dreyfus Corporation, New York.
Fogg Art Museum, Harvard University.
Fond National d’Art Contemporain, France.
FRAC Haute-Normandie, France.
Galleria Civica di Modena, Modena, Italy.
Gemeente Museum, Helmond, Holland.
Los Angeles County Museum of Art.
Metropolitan Museum of Art.
Museum of Fine Art, Houston.
Museum Folkwang, Essen, Germany.
Museum of Contemporary Art, Los Angeles.
Museum of Modern Art, New York.
San Francisco Museum of Modern Art.
Whitney Museum of American Art.
Yale University Art Gallery.
Bibliography
Catalogues (selection
- Bruce, Chris. After Art: Rethinking 150 Years of
Photography. Seattle: Henry Art Gallery, University, 1994.
- Galassi, Peter. Pleasures and Terrors of Domestic Comfort.
New York: The Museum of Modern Art, 1991.
- Georges, Alice Rose, Abigail Heyman and Ethan Hoffman (eds.),
Flesh and Blood: Photographer’ Images of Their Own Families.
New York: Picture Project, Inc., 1992.
- Grundberg, Andy. "Looking at Television" Acceptable
Entertainment. Paul Laster and Renee Riccardo (eds.).
New York/Independent Curators, Inc.,1988.
- Stack, Trudy Wilner and William Tolan. Family Matters: An
Exhibition of Works by Sally Mann, Vince Leo, Melissa Shook
and Philip-Lorca diCorcia. Tempe, AZ: Northlight Gallery,
Arizona State University, 1993.
- "Philip-Lorca diCorcia, Streetwork 1993 - 1997" Ediciones
Universidad de Salamanca.
- "Philip-Lorca diCorcia, Streetwork - About the world",
edition Sringel Museum of Hannover.
Articles (sélection)
2001 Tema Celeste, n°86, summer 2001.
Beaux Arts magazine, n°208, septembre.
L'Oeil, n°529, septembre.
The New York Times FASHION, 5 Septembre.
Air France Madame, septembre, "Une FIAC énergique" par Françoise Monnin, p.93.
Artforum International, Summer 2001, par Peter Galassi, p.169.
The New York Times, vendredi 10 Août.
Voice Choices, 24 Juillet.
Vogue, n°817, mai.
2000 The New York Times Fashion, mardi 5 septembre, "Style Fantasies Show
the Influence Of a photographer's Stark Reality" par Ginia Bellafante.
Libération, mercredi 15 mars.
Les Inrockuptibles, n°256, 26 Septembre - 2 Octobre.
Crash N°10 (Hiver 99-2000) 4 pages illustrées.
1999 Nova Magazine (Janvier), "Sous la Plage..." Sarah de Haro.
Le Journal des Arts (Janvier), "Philip Lorca diCorcia".
Art Press (Février) "Philip Lorca diCorcia" par Dominique Baqué.
Les Inrockuptibles "Faux-Semblant" par Nicolas Thély (du 13 au 19 Janvier).
Artforum, février, "The photography of Philip-Lorca diCorcia,
street fare", par Andy Grundberg.
Blocnotes 16 (Hiver 1999), "City Lights" par François Piron .
Art On Paper, mars-avril, "Streets of Paradox, the photographs
of Philip-Lorca diCorcia" par Charles Wylie.
Jalouse N° 20 (Mai),"Manhattan City" par Marie-Sophie Boivin.
Art In America, mai, "Philip-Lorca diCorcia at PaceWildenstein"
par Marcia E. Vetrocq.
ART news, mai 1999, "Philip-Lorca diCorcia" par Hilarie M.Sheets.
New York Magazine, 20-27 décembre 1999 "Philip-Lorca diCorcia,
snapshot of the artist" par Maura Egan.
1998 ArtForum (Fevrier 1998) "Philip Lorca diCorcia" par Yilmaz Dziewior.
Time Out New York, "Philip Lorca diCorcia - Street Work"
N° 169/17017 - 23 Decembre 1998.
Evenement du Jeudi, "New York Explose", n° 736
(10 au 16 Décembre 1998) p. 79 par Denis Canguilhem.
The New York Times, "Philip Lorca diCorcia - Street Work" (25 Decembre 1998.)
Les Inrockuptibles n°175 "La vie Mode d’Emploi” par Jade Lindgaard,
(25 Novembre - 1er Decembre 1998).
The Art Newspaper n°87, "NY Diary" par Daniel Pinchbeck (Dec. 98).
NY Press Arts & Listings n°7,"The Voyeurs"
par Christian Viveros- Fauné (du 9 au 15 décembre 1998).
1997 Double Take, Oates, Joyce Carol. "Philip-Lorca diCorcia."
3:1 (Winter 1997): 30-33.
LA Weekly, "Philip Lorca diCorcia at Pacewildenstein"(17-23 Octobre 1997).
1996 Frieze 31 Morgan, Stuart. "Deliberate Fictions",
(November-December 1996): 50-56.
Blindspot, "Philip-Lorca diCorcia" N°. 8 (1996).
1994 Lapiz (Madrid), Vidal, Carlos.
"Entrevista con Philip-Lorca diCorcia: Noticias del sueno americano"
vol.12, n° 102 (April 1994), pp. 46-55.
1993 Flash Art, Meyer, Richard. "Philip-Lorca diCorcia: MOMA."
vol. 26, n°. 172 (October 1993), p. 85.
Artforum, Indiana, Gary. "Five Nights of a Dreamer."
vol. 31, n°. 5 (January 1993), pp. 63-67.
The New York Times, Hagen, Charles. "Images Projected, Images
Caught." April 30, 1993, p. C28.
1991 The New York Times, Kimmelman, Michael. "Joys and Terrors on the Home Front." September 27, 1991.
Artforum, Squiers, Carol. "Domestic Blitz: The Modern Cleans House."
vol.30, n°. 2 (October 1991) pp. 88-91.
American Photo, "American Icons.", vol. 2, n°. 3 (May / June 1991), pp. 66-82.
Creative Camera, Bond Henry. "Philip-Lorca diCorcia’s Virtual Reality."
n°. 309 (April/May 1991), pp. 24-25.
1989 Artnews, Cembalest, Robin. "Indelible Images."
vol. 88, n° 4 (April 1989), pp. 174-179.
American Photographer, Hart, Russell. "Philip-Lorca diCorcia."
vol. 23, n°. 2 (August1989), pp. 54-59.
Bibliography (Selection)
- Bruce, Chris. After Art: Rethinking 150 years of photography.
Seattle: Henry Art Gallery, University of Washington, 1994.
- Galassi, Peter. Pleasures and Terrors of Domestic Comfort.
New York: The Museum of Modern Art, 1991.
- George, Alice Rose, Abigail Heyman and Ethan Hoffman,
eds.Flesh and Blood: Photographers’ Images of their Own
Families. New York: Picture Project, Inc., 1992.
- Grundberg, Andy. "Looking at Television" in Acceptable
Entertainment. Paul Laster and Renee Riccardo,
eds. New-York: Independant Curators, Inc., 1988.
- Kimmelman, Michael. "Assignment Time Square"
New York Times Magazine (May 18, 1997): 43-45 and 68-69.
- Morgan, Stuart. "Deliberate Fictions"
Frieze 31 (Novembre-Décembre 1996): 50-56.
- Oates, Joyce Carol. "Philip-Lorca diCorcia"
DoubleTake 3:1(hiver 1997): 30-33.
- Philip-Lorca diCorcia. New York: Museum of Modern Art,
New York and Harry N. Abrams, Inc, 1995.
- "Philip-Lorca diCorcia" Blindspot N° 8 (1996)
p.44-49 (three color photographs).
- Stack, Trudy Wilner and William Tolan.
Family Matters: An exhibition of Works by Sally Mann,
Vince Leo, Melissa Shook and Philip-Lorca diCorcia.
Tempe, AZ: Northlight Gallery, Arizona State University,1993.
- Yamagishi, Koko. "Philip-Lorca diCorcia - Portraits of
Contemporary Americans" Deja-vu N°. 15 (1993):97-113.
Press Release
" W " Exposition du 27 octobre au 2 decembre 2001
Philip-Lorca diCorcia, artiste photographe new yorkais travaille depuis la fin
des années 70. Centré tout d'abord sur ses proches, son oeuvre s'est ensuite
tournée vers l'exterieur, la société urbaine américaine puis d'autre pays, avec,
depuis la première série 'Family and friends' (1978) un regard sans compromis
sur les implications humaines des fonctionnements d'une société et inversement,
ses photos étant toujours axées sur des visages ou des personnes.
Philip-Lorca diCorcia travaille parfois à des "commandes" toujours liées à la mode
qui lui sont faites pour une campagne publicitaire, par exemple, ou pour les pages
d'un magazine (presque exclusivement W). Il a notamment réalisé pour W, une série
d'"histoires" qui ont été publiés. Certaines des photos destinées à ces histoires
ne sont jamais parues, l'artiste les ayant gardé. Philip-Lorca a choisi parmi celles
parues ou non, un certain nombre de photos de la série des "histoires" qui font
aujourd'hui partie de son oeuvre. Ces oeuvres là ont l'étonnante force de leur
qualité esthétique et de leur ambiguité, leur perfection lisse, luxueuse est
pervertie par l'acuité du portrait qu'elles font d'hommes et de femmes, tous,
illustrations parfaites du rêve ou du cauchemar résultant d'un idéal actuel de
la beauté et de la réussite. Elles dégagent une tension qui tient peut-être à
leur double jeu, illustratives et critiques, commandes acceptées et dépassées
à la fois.
December 5 th 1998 - January 23 rd 1999
Almine Rech is pleased to announce the opening of the one-man show of Philip-Lorca diCorcia. The exhibition includes the new photos of the serie "Street work". These pictures are taken in widely diverse countries such as Japan, Mexico, Germany and
India.
Having set up his camera in a location where people randomly pass, diCorcia singles
out each subject with his inventive and dramatic light. These private moments,
removed from urban noise and speed, humanize city dwellers while simultaneously
emphazing their isolation from one another.
"In the sense that the part represents the whole I am interested in society at
large... The most consistent conclusion I have drawn in my travels is that no one
really knows what’s going on -it is apathy and self- preservation which define the
socio-political aspect of the cities and their societies. Subjectivity becomes a
conforting trap. It obsessively focuses on the self as a strandard for an exterior
reality , which exists only in the mind. Psychology is reality for many people.
I try to show this. It may not, in fact, be the actual psychology of the subject
that I portray, but it is played out in the image and the projection of that
psychology into the surrounding space. The street does not induce people to shed
their self- awareness? They seem to withdraw into themselves. They become less
aware of their surroundings, seemingly lost within themselves. Their image is the
outward facing front belied by the inwardly gazing eyes." (1) "Streetwork" has been
featured in solo exhibitions at international venues including the Museo Nacional
Centro de Arte Reina Sofia, Madrid; The Photographer’s Gallery, London; the Nikon
Salon, Tokyo and at the 1997 Withney Biennal Exhibition, also at the Museum of
Modern Art in New York. (1) Taken from "Reflections on Streetwork", 1997.
출처 http://www.galeriealminerech.com/artists/artists/philip-lorca/philip-lorca.html
알리게 되서 기쁘다. 이 전시회는 새로운 연작 "거리작업"을 포함하고 있다.
이 사진들은 일본, 멕시코, 독일, 인도와 같은 다양한 국가에서 찍었다.
사람들이 혼잡하게 지나가는 거리에 카메라를 세워놓고서 디코시아는
그의 창의적이고 극적인 조명으로 각 주제들을 골라낸다. 도시의
소음과 스피드가 제거된 그들 개인화된 순간들은 도시거주자들 서로간의
고립을 강조하면서 동시에 인간답게 한다.
"각개인은 전체를 나타낸다는 의미에서 나는 거대한 사회에 대해
관심이 있다... 내가 여행에서 내린 일관된 결론은 어느 누구도
무엇이 어떻게 진행되고 있는 모른다는 것이다. 도시들과
사회들을의 사회-정치적 면을 정의하는 무관심과 이기심(self-preservation)이다.
주관은 conforting(역주: 사전에 없는 단어임 오타같은데..?) trap이
되고 있다. 외부 현실(마음에만 존재하는)을 나타내는 자아에
강박적으로 집중하고 있다. 정신은 많은 사람들에게 있어 현실이다.
나는 이것을 보여주려고 한다. 이것은 내가 묘사할려는 개인의 실제
심리는 아니다. 하지만 이것은 이미지안에서 역활을 수행하고
주위환경에 투사된다. 거리는 사람들이 자각(self- awareness)을
발산하도록 유도하지 않는다. 사람들은 자신안으로만 움추려 드는것
같다. 그들은 점점 주위환경에 무관심해지고, 자신안에 어떤것을
잃어버리는것 같다. 그들 이미지는 내면적인 응시에 의해서
숨겨진 면이 직면하는 바깥세상이다.