Quote/Philip- Lorca Di Corcia
Photography is a foreign language/ by Peter Galassi

For half a century- Henri Cartier Bresson to Robert Frank to Garry Winogrand- the open theater of the street had been a favored hunting ground for photography. The photographer's cloak of anonymity and freedom of action and the street's smorgasbord of character and incident together made an arena of seemingly endless artistic opportunity. After Winogrand's death in 1984, however, the arena was all but abandoned; dIcorcia's own retreat to the domestic world was symptomatic of a broad trend in which even those younger photographers who most admired Winogrand's example declined to pursue it. It is too early to know what diCorcia will make of this untended legacy, but photography has none more potent.

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"The more specific the interpretation suggested by a picture, " says dIcORCIA, "the less happy I am with it,"

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As a graduate student, just about the time of the Mario picture, diCorcia wrote a thesis in which he opposed two styles of filmmaking. In the first, which he identified with Jean Renoir and Francois Truffaut, the film acknowledges the breadth of the unseen world beyond the frame. In the second, identified with Fritz Lang and Hitchcock, the film presents a closed world, in which the camera's viewpoint is omniscient, even oppressive. diCorcia identified his work in still photography with the second.

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