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PHILIP-LORCA DICORCIA: “Working the Angles with Hollywood’s Hustlers”
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 … summit on the state of medium. Introduction: Neal Benezra, Sandra S. Phillips, and Dominic Willsdon. Day One, Part One. Participants: Peter Galassi, Blake Stimson, Joel Snyder, Douglas Nickel, Vince Aletti, Corey Keller, and Philip-Lorca diCorcia. Moderated by Dominic Willsdon and Erin O’Toole. Day One, Part Two: Trevor Paglen, George Baker, Walead Beshty, Jennifer Blessing, Geoff Dyer, and Charlotte Cotton. Moderated by Dominic Willsdon a…  From Philip & Micheline, 2011 By Amelia Sechman and Paul Schiek, TBW Weekly Amelia Sechman: In an interview with Jörg Colberg, on his site Conscientious, you said you thought you would be a very bad German photographer because of the diversity in your subject matter and compositional approaches. How do you feel that being “raised,” so to speak, by 20th century American photography has influenced your practice? Mark Steinmetz: My parents … …act art. When the great works of abstraction sit comfortably in the corporate boardroom, can it really continue to be a means to challenge what Lyotard rightly calls the “victory of capitalist technoscience”? When Philip Morris, the multinational tobacco company, enjoys sponsoring modern art retrospectives, like those of Picasso and Robert Rauschenberg in New York, under the slogan “The Spirit of Innovation”–suggesti… THEORY: "Nicholas Mirzoeff: An Introduction to Visual Culture" (1999)  …hy that is accentuated in my portraits. I believe that photography can only reproduce the surface of things. The same applies to a portrait. I take photos of people the same way I would take photos of a plaster bust. (8) From Philip-Lorca di Corcia Haus Nr. 31 (1988), Haus Nr. 71 (1988), and Haus Nr. 91 (1989) are photographs that linguistically translate to “house,” but upon inspection, the houses are more like projects rather than h…  Abiding Memories: Adam Bartos, Kosmos By Philip W. Martin, Afterimage, July 1, 2002 The striking thing–or what strikes you first–about Adam Bartos‘s photographs of the people and places of the Russian space program is that they let you In: into a world thought to be off-limits and into the space of the photographs themselves, which are so large that much of what is depicted is itself life-sized. Though large-scale photographic… ADAM BARTOS: “Abiding Memories: Adam Bartos – Kosmos” (2002)  …. It just simply means that I am able to think better. Let’s put it that way. AC: I read that you don’t really consider yourself an environmental portrait photographer, is that true? AN: No, I think basically I am. But I hate labels. That label was placed on me by an early writer who did an article on me calling me the father of the environmental portrait, which seems to have stuck. But the Stravinsky is not an environmental portrait, it’s really… | ||||||||||||||
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