A Quote by Philip-Lorca diCorcia

Photography... unites the obvious and the unconscious at the level of the limimal - the border between what we see and what we suspect. — © Philip-Lorca diCorcia
Photography... unites the obvious and the unconscious at the level of the limimal - the border between what we see and what we suspect.
I love borders. August is the border between summer and autumn; it is the most beautiful month I know. Twilight is the border between day and night, and the shore is the border between sea and land. The border is longing: when both have fallen in love but still haven't said anything. The border is to be on the way. It is the way that is the most important thing.
It is only through the psyche that we can establish that God acts upon us, but we are unable to distinguish whether these actions emanate from God or from the unconscious. We cannot tell whether God and the unconscious are two different entities. Both are border-line concepts for transcendental contents. But empirically it can be established, with a sufficient degree of probability, that there is in the unconscious an archetype of wholeness.
What's happened is that the digital age has made photography more accessible to people. Everyone is a photographer. But to do it [photography] at a certain level, well, there's a skill to it. Still, it's a good time for photography now.
You can see the diversity that pieces in the anthology represent, and then the interconnections-obvious and less obvious-between various stories or between various modes of storytelling. Diversity generates need for conversation, conversation generates common interests, as well as differences. Literature, as a human project, is all about that.
Photography is such an important instrument in the education of our feelings and perception because of its duality. Photography represents the world we know, and suggests a world beyond what we can see. Creativity is the gap between perception and knowledge.
One of the kinds of things I'm consistently interested in is what the border between the seen and not seen is and the border between being able to perceive something and not perceive it.
To know whether photography is or is not an art matters little. What is important is to distinguish between good and bad photography. By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers: but on the contrary, recurring to all sorts of imitations.
In a few decades, the relationship between the environment, resources and conflict may seem almost as obvious as the connection we see today between human rights, democracy and peace.
You know how Mexican restaurants always have "border" in the name: Border Grill, Border Cafe. You wouldn't do that to black people: Kunta's Kitchen or Shackles. They don't do it to white people. You don't see the Honkey Grill, the Cracker Barrel... oh, nevermind.
Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.
So let us decide whether you want a shelter, a safety zone, which will no longer yield conflict, whether you want to escape from the present conflict to enter a condition in which there shall be no conflict; or whether you are unaware, unconscious of this conflict in which you exist. If you are unconscious of the conflict, that is, the battle that is taking place between that self and the environment, if you are unconscious of that battle, then why do you seek further remedies? Remain unconscious.
It is very hard not to see extensive and basic similarities between these (Pagan) religions and the Christian Religion. But somehow Christian scholars have managed not to see it, and this, one must suspect, for dogmatic reasons.
In the mainstream, I'm suspect because I'm black. I have dreadlocks, I have a goatee. I mean, I'm just suspect. In my classroom and at Columbia, I'm not as suspect because it's clear I know what I'm doing, but I am still suspect.
I dressed all in black and went to see all the top photographers, like Irving Penn, and said, 'I am Veruschka who comes from the border between Russia, Germany and Poland. I'd like to see what you can do with my face.'
I look at the camera as sort of a missing link between motion picture photography and still photography.
I suspect that the theme, the nature of the characters, and the method of getting from the beginning of the play to the end is already established in the unconscious.
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