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Philip-Lorca diCorcia

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Rupturing the Familiar   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Michel Auder, Martin Boyce, Slater Bradley, Philip-Lorca diCorcia, John Menick, Enrique Metinides, Yelena Popova, Amie Siegel, Kelley Walker at CCA Wattis Institute September 10th, 2013 - December 14th, 2013
Posted 10/7/13
Enter City of Disappearances slowly; it will take a moment, but your eyes will begin to adjust to the dimness of your new environment and you’ll likely find yourself quizzically wandering toward Martin Boyce’s sculptures. In Our Love Is Like the Flowers, the Rain, the Sea, and the Hours, 2002, branching neons delicately tower over a bench one could not physically sit on, astride a misshapen trashcan through this park-like installation. Or so those are the associations I immediately ma... [more]
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Please Enter   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Adel Abdessemed, Eija-Liisa Ahtila, David Altmejd, Francis Alÿs, Mamma Andersson, Louise Bourgeois, Michael Brown, Philip-Lorca diCorcia, Maureen Gallace, Isa Genzken, Robert Gober, Mona Hatoum, Toba Khedoori, Charles LeDray, Thomas Ruff, Gregor Schneider, Luc Tuymans, Jeff Wall, Rachel Whiteread at David Zwirner- 533 W. 19th July 7th, 2011 - August 5th, 2011
Posted 7/17/11
Taking inspiration from Emily Dickenson’s poem of the same name, “The House Without the Door” considers the idea of home as emotionally complicated rather than safe, secure and comforting. Eighteen artists including Mamma Andersson, Louise Bourgeois, Philip-Lorca di Corcia, Luc Tuymans, and Rachel Whiteread use painting, sculpture, installation, and photography to examine the multiple meanings of home with the understanding that home is not only where the heart is, or where comfort and familiar... [more]
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A Good, Long Look   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Brassaï, Henri Cartier-Bresson, Thomas Demand, Philip-Lorca diCorcia, Walker Evans, Harun Farocki, Robert Frank, Nan Goldin, Chip Lord, Oliver Lutz, Bruce Nauman, Helmut Newton, Man Ray, Thomas Ruff, Paul Strand, Weegee at SFMOMA - San Francisco Museum of Modern Art October 30th, 2010 - April 17th, 2011
Posted 11/1/10
SFMOMA’s sprawling new photography survey, Exposed: Voyeurism, Surveillance and the Camera Since 1870 turns the high powered gaze of the camera onto itself, exploring over a century of peeping, spying, monitoring, snooping and all other forms of illicit looking facilitated by the handy-dandy technology of the lens. It’s an impressively researched archive of images that is as prescient as it might be paranoid. And like most brilliant exhibits, it elaborates on a simple historical premi... [more]
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Morality's Malleability   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Philip-Lorca diCorcia, MARKO LULIC, Kris Martin, Josephine Meckseper, Sarah Morris, Ron Terada, Tobias Zielony, Artur Zmijewski at Witte de With Center for Contemporary Art October 10th, 2009 - January 10th, 2010
Posted 11/8/09
    From October 2009 until Summer 2010, Witte de With is presenting an in depth study on the theme of Morality. The project includes a series of group exhibitions, performances, films, gallery “interventions”, lectures and discussions, a book, and an interactive website. A couple of weeks ago I visited Acts I and II of this project. It has been on my mind since then – yesterday I described something as “morally reprehensible” and immediately rebuked myself for such thoughtless invocation of th... [more]
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The Good Gimmick  
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Philip-Lorca diCorcia at David Zwirner- 525 W. 19th February 27th, 2009 - March 28th, 2009
Posted 3/25/09
A seamless aluminum line wraps around the room displaying hundreds of small photographs at eye level. It is a display gimmick, but not all gimmicks are unsuccessful. The elongated format creates a cinematic feel. The overwhelming flutter of images attacks like spam and it becomes useless to dwell on any one frame. Themes wash over the viewer- meat, sex, light, color, reflection, transparency, and significant detail. [more]
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Polaroid Sketches   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Philip-Lorca diCorcia at David Zwirner- 525 W. 19th February 27th, 2009 - March 28th, 2009
Posted 3/16/09
There are stories of Michelangelo burning the sketches for his paintings when he felt the paintings were complete. Some have likened the burning to a sort of sacrificial birth right, cutting the cords of creation, so to speak, allowing the painting to come into a life of its own. And for a long time sketches stayed out of the light, attracting little attention, but what their absence created was a certain mysticism about the creative process. With few sketches to show for such masterful painti... [more]
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