Synopses & Reviews
One of the seminal artists of contemporary photography, Philip-Lorca diCorcia produces work that exists on a wide spectrum of fictionalized documentary. Yet a thematic and conceptual unity, most often realized in serial form and particularly suited to monograph format marks each series in his oeuvre.
With Thousand, diCorcia effectively inverts his own tendency: the monograph is now the work itself. The sheer volume of material, which spans over 20 years of personal and artistic creation, shifts notions of context, narrative, and individual perception.
Flipping through the pages of Thousand is not so much a retrospective or summation of the artist s life as it is an exercise in the construction of memory. An unwashed pan soaking in the sink precedes an unknown woman resembling an odalisque; the familiar linoleum aisles of a generic supermarket give way to a verdant swatch of lawn. These images are bothalien and deeply familiar, and just as one moment in our lives may recall another, these photos echo among one another, within the book, within the canon of diCorcia's work, and within our personal experience. The Polaroid proves to be the perfect souvenir unique and subject to reinterpretation, like memory itself.
Philip-Lorca diCorcia was born in Hartford, Connecticut, in 1951. He received his MFA in Photography from Yale University in 1979. Published volumes accompany his solo exhibits at the Museum of Modern Art (Philip-Lorca diCorcia, 1995) and PaceWildenstein Gallery, New York (Streetwork 1993-1997, 1997; Heads, 2001; A Storybook Life, 2003). His work is included in the collections of the Bibliotheque Nationale de France, the Museum of Modern Art, and the Metropolitan Museum of Art, among others. He has been named a Guggenheim Foundation Fellow and has received multiple grants from the National Endowment for the Arts. DiCorcia lives and works in New York City.
Synopsis
This small, thick and astonishing 2008-page tome features precisely 1000 color Polaroids by the important American contemporary photographer of "fictionalized documentary," Philip-Lorca diCorcia. For diCorcia, who most often works in themed series just the right size for a monograph, the sheer volume of this material, which spans over 20 years of personal and artistic creation, was its central challenge. The final selection's heft defied context and narrative so resolutely that in the end diCorcia enlisted a computer to randomize the layout sequence according to restrictions that he set up. Flipping through the pages of 1000 Polaroids does not offer a retrospective or a summation; it displays an exercise in chance and the construction of memory. An unwashed pan soaking in the sink precedes an unknown woman resembling an odalisque; the familiar linoleum aisles of a supermarket give way to a verdant swatch of lawn. These images are at once alien and deeply familiar. And just as one moment in our lives may recall another, these photographs echo among one another--within the book, within the canon of diCorcia's work, and within each reader's personal experience. The Polaroid proves to be the perfect souvenir, unique and subject to reinterpretation, like memory itself.