Seal of approval

By GREG COOK  |  June 6, 2007

There’s nothing more tiresome than arty photos of strippers. For diCorcia, that seems part of the draw: “I had to fight the idea of originality in doing this subject,” he said at an exhibition preview. He keeps dissecting photography — not by taking apart its form but by disassembling its concepts. Remove authenticity, stage fake documentary pictures, invent hollow decisive moments, shoot actual documentary photos but set the stage or screw with the technique so that it looks as if they’d been posed in a studio, dissect the photo essay, and, finally, be unoriginal. This exploration makes diCorcia’s work compelling, important even, but it doesn’t always make for satisfying pictures.

‘Philip-Lorca diCorcia’ | Institute Of Contemporary Art, 100 Northern Ave, Boston | Through September 3

< prev  1  |  2  |  3  | 
Related: Staged?, Beyond dollars and square feet, Peabody rising, More more >
  Topics: Museum And Gallery , Entertainment, Movies, Boy Scouts of America,  More more >
| More


Most Popular
ARTICLES BY GREG COOK
Share this entry with Delicious
  •   PERFECTLY HUMAN  |  April 16, 2014
    Sometimes I think you can understand everything about our society today by considering it through two themes — the perfection of technology versus the messily human handmade.
  •   THE LAST FRONTIER  |  April 02, 2014
    They say that temperatures in the McMurdo Dry Valleys of Antarctica haven’t been above freezing in millennia.
  •   ASSURED ABSTRACTIONS  |  March 19, 2014
    “The golden age of abstraction is right now,” ARTnews informed me last spring.
  •   COMMON GROUND  |  March 12, 2014
    “I did everything in the world to keep this from happening,” exclaims the assistant to the rich man in Kerry Tribe’s There Will Be ___ _.
  •   LOCAL LUMINARIES  |  March 05, 2014
    Reenacting a childhood photo, portraits of fabulous old ladies, and dollhouse meditations on architecture are among the artworks featured in the “2014 RISCA Fellowship Exhibition.”

 See all articles by: GREG COOK