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permission. The photo's subject argued that his privacy and religious rights had been violated by both the taking and publishing of the photograph of him. The judge dismissed the lawsuit, finding that the photograph taken of
Nussenzweig on a street is art - not commerce - and therefore is protected by the
677:
courts have "recognized that art can be sold, at least in limited editions, and still retain its artistic character (...) irst mendment protection of art is not limited to only starving artists. A profit motive in itself does not necessarily compel a conclusion that art has been used for trade purposes."
179:
of photography. He would later start photographing random people in urban spaces all around the world. When in Berlin, Calcutta, Hollywood, New York, Rome and Tokyo, he would often hide lights in the pavement, which would illuminate a random subject, often isolating them from the other people in the
183:
His photographs give a sense of heightened drama to accidental poses, unintended movements and insignificant facial expressions of those passing by. Even if sometimes the subject appears to be completely detached from the world around them, diCorcia has often used the city of the subject's name as
676:
Manhattan state
Supreme Court Justice Judith J. Gische ruled that the photo of Nussenzweigâa head shot showing him sporting a scraggly white beard, a black hat and a black coatâwas art, even though the photographer sold 10 prints of it at $ 20,000 to $ 30,000 each. The judge ruled that New York
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In 2006, a New York trial court issued a ruling in a case involving one of his photographs. One of diCorcia's New York random subjects was Erno
Nussenzweig, an Orthodox Jew who objected on religious grounds to diCorcia's publishing in an artistic exhibition a photograph taken of him without his
204:, can be considered progressive explorations of diCorcia's formal and conceptual fields of interest. Besides his family, associates and random people he has also photographed personas already theatrically enlarged by their life choices, such as the pole dancers in his latest series.
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Using a carefully planned staging, he takes everyday occurrences beyond the realm of banality, trying to inspire in his picture's spectators an awareness of the psychology and emotion contained in real-life situations. His work could be described as
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Unfamiliar
Streets. Katherine A. Bussard. The Photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia. Philip-Lorca diCorcia Analogues of Reality. Yale University Press. 2012. p. 156. Referenced April 6,
215:-like", since they can have a different interpretation depending on the viewer. As they are pre-planned, diCorcia often plants in his concepts issues like the marketing of reality, the commodification of identity, art, and morality.
175:, that would make the viewer think that the pictures were spontaneous shots of someone's everyday life, when they were in fact carefully staged and pre-planned. His work from this period is associated with the
120:. His father, Philip Joseph DiCorcia, a major architect in Hartford, operated Philip J. DiCorcia Associates. The DiCorcia family is of Italian descent, having moved to the United States from
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Unfamiliar
Streets. Katherine A. Bussard. The Photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia. Philip-Lorca diCorcia Analogues of Reality.
409:. Madrid: Centro de Arte Alcobendas, 2014. With texts by Martinez de Corral, Ignacio Garcia de Vinuesa, Luis Miguel Torres Hernandez, and Christoph Ribbat. Exhibition catalogue.
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as a result of a collaboration with Dennis
Freedman between 1997 and 2008, diCorcia produced a series of fashion stories in places such as Havana, Cairo and New York.
252:, attached strobe lights to scaffolding across the street and took a series of pictures of strangers passing under his lights. This resulted in two published books,
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379:. Bologna, Italy: Freedman Damiani, 2011. Edited by Dennis Freedman. With text by Mary Gaitskill and an interview with diCorcia by Jeff Rian.
303:. Spain: Centro de FotografĂa and Ediciones Universidad de Salamanca, 1998. With texts by JosĂ©Luis Brea and diCorcia. Exhibition catalogue.
128:, where he earned a diploma in 1975 and a 5th year certificate in 1976. Afterwards diCorcia attended Yale University, where he received a
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367:. With a text by Bennett Simpson, a foreword by Jill Medvedow, and an interview with diCorcia by Lynne Tillman. Exhibition catalogue.
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403:, and an interview with diCorcia by Christoph Ribbat. Schirn Kunsthalle Frankfurt; Bielefeld, Germany: Kerber. Exhibition catalogue.
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project. Starting in the early 1990s, he made five trips to Los
Angeles to photograph male prostitutes in Hollywood. He used a 6Ă9
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846:"Emotions and Relations: Photographs by David Armstrong, Nan Goldin, Philip Lorca DiCorcis, Mark Morrisroe, and Jack Pierson"
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mixed with the fictional world of cinema and advertising, which creates a powerful link between reality, fantasy and desire.
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During the late 1970s, during diCorcia's early career, he used to situate his friends and family within fictional interior
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tests. At first, he photographed his subjects only in motel rooms. Later, he moved onto the streets. When the
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990:"Philip-Lorca diCorcia on 'A Storybook Life': Circular Narratives, Dream States and Doing What You Like"
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the title of the photo, placing the passers-by back into the city's anonymity. Each of his series,
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Philip-Lorca diCorcia: III Premio
Internacional de FotografĂa/III International Photography Award
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1116:"Philip-Lorca diCorcia. Hustler/ Streetwork | Museo Nacional Centro de Arte Reina SofĂa"
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Real People, Contrived
Settings: Philip-Lorca diCorciaâs âHustlersâ Return to New York
399:. Edited by Katharina Dohm, Hendrik Driessen, and Max Hollein. With texts by Dohm and
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315:. With a text by Thomas Weski. Hannover: Sprengel Museum, 2000. Exhibition catalogue.
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757:"Philip Joseph DiCorcia Obit June 2, 1980," Hartford Courant, June 4, 1980, p. 5.
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https://www.newspapers.com/clip/23747903/philip-joseph-dicorcia-obit-june-2-1980/
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Leslie
Simitch Limited - Philip-Lorca diCorcia. Retrieved on November 23-2007.
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1102:"Philip-Lorca diCorcia - Centre national de la photographie - Art of the day"
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Review of The Whitechapel Art Gallery Exhibition, London, by Greg Whitfield
260:(2001), which featured more closely cropped portraits as the name implies.
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1228:"Rent boys and pole dancers â the photographs of Philip-Lorca diCorcia"
256:(1998) which showed wider views including subjects' entire bodies, and
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DiCorcia alternates between informal snapshots and iconic quality
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479:, New York. One thousand actual-size reproductions of diCorcia's
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Law.com - 'Art' Photo Is Not Subject to Privacy Law, Judge Finds
1411:"John Simon Guggenheim Foundation | Philip-Lorca diCorcia"
1015:"Philip-Lorca diCorcia Discussing 'Hustlers' & 'Thousand'"
564:
DiCorcia's work is held in the following public collections:
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Clancco - Update on Nussenzweig v. diCorcia Case (July '07)
1159:
Encyclopedia of Twentieth-Century Photography, 3-Volume Set
704:
Victoria and Albert Museum, Online Museum (30 March 2011).
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2013: III International Photography Award Alcobendas, Spain
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The New York Times - Case Over âHeadsâ Photo Is Dismissed
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NY Courts.gov - Nussenzweig v DiCorcia (February 8, 2006)
737:(February 27 - March 28, 2009). Retrieved on May 20-2009
341:. Paris: Images Modernes, 2001. With a text by Jeff Rian.
1253:"Philip-Lorca diCorcia's 'Roid' At SprĂŒth Magers London"
241:
exhibited 25 of the photographs in 1993 under the title
1361:"Whitney Museum of American Art: Philip-Lorca diCorcia"
385:. New York and Göttingen, Germany: SteidlDangin, 2013.
309:. Mexico City: Galeria OMR, 2000. Exhibition catalogue.
373:. New York and Göttingen, Germany: SteidlDangin, 2007.
1185:"Philip-Lorca diCorcia, Whitechapel Gallery, London"
1064:"Richard Kern on Philip Lorca-diCorcia's 'Hustlers'"
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John Simon Guggenheim Memorial Foundation Fellowship
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Steidl/Institute of Contemporary Art, Boston, 2007.
1040:"Trade: Philip-Lorca diCorcia's Hollywood Hustlers"
248:In 1999, diCorcia set up his camera on a tripod in
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21:
1528:Philip-Lorca diCorcia: choice, non-event and truth
1593:School of the Museum of Fine Arts at Tufts alumni
652:International Photography Hall of Fame and Museum
500:, London, 2011. A series of diCorcia's Polaroids.
733:Release: David Zwirner - Philip-Lorca diCorcia:
335:. With text by Luc Sante. Exhibition catalogue.
1129:Dicorcia, Philip-Lorca; Weski, Thomas (2000).
641:2001: Infinity Award for Applied Photography,
540:Fashioning Fiction in Photography Since 1990,
8:
1341:Victoria and Albert Museum (30 March 2011).
490:, Wakefield, UK. His first UK retrospective.
1460:American Journalism Review - Giving Offense
814:
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222:fellowship of $ 45,000, DiCorcia began his
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1523:The artist interviewed by Josefina Ayerza
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511:Pleasures and Terrors of Domestic Comfort
440:Museo Nacional Centro de Arte Reina SofĂa
211:within them, and have been described as "
126:School of the Museum of Fine Arts, Boston
100:, living in New York City. He teaches at
51:School of the Museum of Fine Arts, Boston
951:Street photography: A right or invasion?
920:Philip-Lorca diCorcia by Marlena Donohue
870:. 2012. p156. Referenced April 6, 2015.
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680:The case was appealed and dismissed on
1429:International Photography Hall of Fame
233:, which he positioned in advance with
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7:
1397:"Philip-Lorca diCorcia | Auden"
795:Carnegie International - Artist Bio.
542:Museum of Modern Art, New York, 2004
1578:21st-century American photographers
1568:20th-century American photographers
1183:Mahoney, Elisabeth (12 June 2003).
643:International Center of Photography
339:Rencontres 6: Philip-Lorca diCorcia
1598:Artists from Hartford, Connecticut
1588:American people of Italian descent
1583:21st-century American male artists
1573:20th-century American male artists
1156:Warren, Lynne (15 November 2005).
1088:"Philip-Lorca diCorcia: Strangers"
611:San Francisco Museum of Modern Art
513:traveling exhibition organized by
433:Centre national de la photographie
353:. New York: PaceWildenstein, 2005.
14:
1204:"Philip-Lorca diCorcia: Thousand"
1132:Philip-Lorca DiCorcia: Streetwork
883:Philip-Lorca diCorcia: Streetwork
1558:Photographers from New York City
972:Q & A: Philip-Lorca diCorcia
949:Philip Gefter (March 17, 2006),
931:Arthur Lubow (August 23, 2013),
634:1998: Alfred Eisenstaedt Award,
773:Whitechapel Art Gallery, London
347:Santa Fe, NM: Twin Palms, 2003.
220:National Endowment for the Arts
1603:Photographers from Connecticut
1324:"Philip-Lorca diCorcia - MoMA"
1306:"Brian | Centre Pompidou"
922:Retrieved on November 23-2007.
892:Retrieved on November 23-2007.
804:Retrieved on November 23-2007.
782:Retrieved on November 23-2007.
605:Whitney Museum of American Art
526:Whitney Museum of American Art
1:
1281:"Philip Lorca diCorcia: Roid"
1202:Fisher, Cora (6 April 2009).
116:DiCorcia was born in 1953 in
955:International Herald Tribune
599:Victoria & Albert Museum
593:Solomon R. Guggenheim Museum
1498:. Retrieved on May 3, 2008.
1486:. Retrieved on May 3, 2008.
1474:. Retrieved on May 3, 2008.
1462:. Retrieved on May 3, 2008.
1450:. Retrieved on May 3, 2008.
96:(born 1953) is an American
32:1953 (age 70–71)
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661:
616:Metropolitan Museum of Art
393:. With a text by diCorcia.
145:Brent Booth, 21 years old,
83:(1993; later exhibited as
1563:Yale School of Art alumni
852:. Taschen. Archived from
650:2021: Induction into the
820:"Leslie Simitch Limited"
554:Pittsburgh, Pennsylvania
263:Originally published in
132:in photography in 1979.
112:Early life and education
1608:Yale University faculty
1425:"Philip-Lorca diCorcia"
1379:"Philip-Lorca diCorcia"
1343:"Philip-Lorca diCorcia"
903:"Philip-Lorca diCorcia"
706:"Philip-Lorca diCorcia"
664:Nussenzweig v. DiCorcia
575:Centre Georges Pompidou
464:Whitechapel Art Gallery
218:In 1989, financed by a
166:documentary photography
1365:collection.whitney.org
569:BibliothĂšque Nationale
550:Carnegie International
546:Carnegie Museum of Art
488:The Hepworth Wakefield
357:Philip-Lorca diCorcia.
279:Philip-Lorca diCorcia.
149:
147:Des Moines, Iowa, $ 30
1310:www.centrepompidou.fr
970:(February 11, 2011),
868:Yale University Press
477:David Zwirner Gallery
397:Philip-Lorca diCorcia
301:Streetwork, 1993â1997
143:
118:Hartford, Connecticut
94:Philip-Lorca diCorcia
36:Hartford, Connecticut
23:Philip-Lorca diCorcia
16:American photographer
587:Museum of Modern Art
515:Museum of Modern Art
426:Museum of Modern Art
283:Museum of Modern Art
239:Museum of Modern Art
1285:The Daily Telegraph
1258:The Huffington Post
154:staged compositions
130:Master of Fine Arts
1506:General references
1234:. 14 February 2014
976:The New York Times
937:The New York Times
888:2010-01-18 at the
856:on April 25, 2015.
800:2011-01-06 at the
778:2007-10-11 at the
744:2009-09-02 at the
682:procedural grounds
207:His pictures have
156:that often have a
150:
124:. He attended the
1208:The Brooklyn Rail
1019:American Suburb X
994:American Suburb X
531:Cruel and Tender,
505:Group exhibitions
391:978-3-86930-617-9
345:A Storybook Life.
293:. With a text by
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102:Yale University
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