Board_Advisors_etc 3..5

2004 Philip-Lorca diCorcia; Centre national de la photogra-
phie de Paris, France

Group Exhibitions

1985 Seduction: Working Photographs; White Columns,
New York, New York
Contemporary Photography VI; Fogg Art Museum,
Harvard University, Cambridge, Massachusetts
1987 Arrangements for the Camera: A View of Contempor-
ary Photography; Baltimore Museum of Art, Baltimore,
Maryland
New Photography 2; Museum of Modern Art, New
York, New York
1990 Witnesses: Against Our Vanishing; Artists Space, New
York, New York
1991 Pleasures and Terrors of Domestic Comfort; Museum
of Modern Art, New York, New York
1993 Under Age: Photographs of Children; San Francisco
Museum of Modern Art, San Francisco, California
Prospect 93; Frankfurter Kunstverein and Schirn
Kunsthalle, Frankfurt, Germany
1995 International Foto Triennale; Galerie der Stadt Esslin-
gen, Esslingen, Germany
1997 Whitney Biennial Exhibition; Whitney Museum of
American Art, New York, New York
1998 Emotions and Relations; Hamburger Kunsthalle, Ham-
burg, Germany
Tell Me a Story:Narration in Contemporary Painting
and Photography; Centre National d’Art contemporain
de Grenoble, Grenoble, Switzerland
1999 In the City; Exposition au FRAC Haute-Normandie,
Rouen, France
2000 Hybrid; Fotomuseum Winterthur, Winterthur, Swit-
zerland
The Shape of the World / The End of the World;
Comune di milano, Milan, Italy
2001 Instant City: fotographia e metropoli; Centro per l’Arte
Contemporanea Luigi Pecci Prato, Italy
Setting and Players: Theatrical Ambiguity in American
Photography; White Cube, London, England
2002 Chic Clicks: Creativity and Commerce in Contempor-
ary Fashion Photography; Institute of Contemporary
Art, Boston, Massachusetts

2003 Strangers: The First ICP Triennial of Photography and Video;

International Center of Photography, New York, New York

Cruel and Tender: The Real in the Twentieth-Century

Photograph; Tate Modern, London, England

Selected Works

Mario, 1978

A Storybook Life, series, 1975–1999

Hollywood, series, 1990–1992

Eddie Anderson; 21 Years Old; Houston, Texas; $20, 1990–1992

Streetwork, 1993–1997

Two Hours, 1999

Heads, 2000

Further Reading

Bond, Henry. ‘‘Philip-Lorca diCorcia’s Virtual Reality.’’

Creative Camerano. 309 (April/May 1991).

Bruce, Chris.After Art: Rethinking 150 Years of Photogra-

phy. Seattle: Henry Art Gallery, 1994.

Galassi, Peter.Philip-Lorca diCorcia. New York: Museum

of Modern Art and Harry N. Abrams, Inc, 1995.

Galassi, Peter.Pleasures and Terrors of Domestic Comfort.

New York: Museum of Modern Art, 1991.

Georges, Alice Rose, Abigail Heyman, and Ethan Hoffman,

eds.Flesh and Blood: Photographer’ Images of Their Own

Families. New York: Picture Project, Inc., 1992.

Grundberg, Andy. ‘‘Looking at Television.’’ InAcceptable

Entertainment. Paul Laster and Renee Riccardo, eds.

New York: Independent Curators, Inc., 1988.

Rian, Jeff.Œil a`gages: Philip-Lorca diCorcia. Paris: Almine

Rech Edition, 2001.

Stack, Trudy Wilner, and William Tolan.Family Matters:

An Exhibition of Works by Sally Mann, Vince Leo,

Melissa Shook and Philip-Lorca diCorcia. Tempe, AZ:

Northlight Gallery, Arizona State University, 1993.

Yamagishi, Koko. ‘‘Philip-Lorca diCorcia, Portraits of

Contemporary Americans.’’Deja-vuNo. 15 (1993).

DIGITAL PHOTOGRAPHY

‘‘Digital photography’’ is a widely used term for
the various computer-based technologies being
employed to substitute for some or all of the che-
mical-based technologies of traditional photogra-
phy. The term ‘‘digital imaging’’ is sometimes used
interchangeably with ‘‘digital photography’’ but it

has a broader meaning, extending to images of

non-photographic origination. An even broader

term for the use of the computer with visual mate-

rials is ‘‘computer graphics.’’

Digital photography encompasses both direct

‘‘digital capture’’—that is, the recording of photo-

DIGITAL PHOTOGRAPHY