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PHILIP-LORCA DICORCIA (American, b. 1953) PARIS signed in pencil on verso chromogenic color print...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:7,000.00 - 10,000.00 USD
PHILIP-LORCA DICORCIA (American, b. 1953) PARIS signed in pencil on verso chromogenic color print...
PHILIP-LORCA DICORCIA
(American, b. 1953)
PARIS
signed in pencil on verso
chromogenic color print
mounted on board
255?8 x 381?4 in. (65.1 x 97.2 cm)
mount: 30 x 40 in. (76.2 x 101.6 cm)
1996
this print is from an edition of 15
ESTIMATE: $7,000-10,000
PROVENANCE
Pace/MacGill Gallery, NEW YORK
Lawing Gallery, HOUSTON
LITERATURE
Thomas Weski, PHILIP-LORCA DICORCIA: STREETWORK, Hannover, 2000, p. 63 (illustrated)
The present work belongs to diCorcia’s series of urban street scenes, entitled STREETWORK. Images from STREETWORK were taken in various world metropolises, but they are each meant to depict a universal “urban” environment.
According to Thomas Weski, “diCorcia’s STREETWORK photographs are rather the result of a patient wait for the right situation and the decisive moment, which are defined by the photographer’s artistic concept” (Weski, Philip-Lorca dicorcia: streetwork, 2000, n.p.). Shooting during the day using a large-format camera, a tripod and artificial lighting, diCorcia creates a unique effect, essentially placing the subjects in the photograph on a theatrical display. The bird in the upper-left corner, magically rendered motionless, demonstrates diCorcia’s fine-tuned instinct for the decisive moment. The people, although simply crossing the street, appear to be moving toward the bird, which seems to be the source of glowing light that is falling on the mortals below.
DiCorcia told Planet magazine in 2001, “I don’t think anybody needs to be told that urban life is alienating. Urban places are enormously lonely despite the fact that they are crowded. They have that contradiction. That sense of isolation is compounded by the fact that every time you go out, there are probably a hundred people looking at you and looking right through you. In some way I secretly photograph these people. I am sort of registering their existence” (Jorge Blanco, “Head On: Philip-Lorca diCorcia,” PLANET, Spring 2002, n.p.).