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Philip-Lorca diCorcia, untitled from Thousand, color Polaroid


Early this year, I reviewed Philip-Lorca diCorcia’s doorstopper of a Polaroid collection, Thousand (Steidl), for the Portland Mercury. I’m a lifetime fan of P-LdC’s work, but was getting a little burnt out on his recent fashion images, and felt ready to see a new side of his work. Thousand provided just that by handing over years and years’ worth of outtakes, preparatory shots, and assorted unclassifiable Polaroids from throughout the photographer’s career. DiCorcia’s strategy for sequencing the book was unconventional, but unlike many, I found it to be a very beautiful gesture.

Early reviewers are howling at a truly unorthodox approach the artist and publisher took in laying the book out. In photography monographs, image sequencing is everything—it’s how visual stories are told, and how meaning and significance are implied. Sequencing is sacrosanct. But after untold attempts to order the 1,000 photographs, diCorcia assigned a number to each image, and let a computer randomly dictate their placement in the book. Purists reacted as if diCorcia was torching a first printing of Robert Frank’s Les Américains, and they’re missing the point entirely. By relinquishing the storytelling impulse as much as possible, diCorcia has indeed disrupted the traditional role of book arts. Instead, he’s handed us the closest thing possible to an enormous box of old Polaroids, allowing us to sift through it as we wish.

My review of Thousand has been added to the Selected Writings page.

Thousand makes its exhibition debut as part of LACMA’s diCorcia retrospective, on view through Sept 14.

Watch a short film about Thousand here.

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