• New York City, 1996.

    New York City, 1996.

    Philip-Lorca diCorcia

    Museum Folkwang
    Museumsplatz 1
    June 1–June 30, 2004

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    June 1–August 24, 2003

    Centre National de la Photographie
    Hôtel Salomon de Rothschild 11 rue Berryer
    January 1–March 31, 2004

    Centro de Arte de Salamanca
    Avda de la Aldehuela
    July 1–August 30, 2004

    Philip-Lorca diCorcia turns twists on one of photography’s permanent ambiguities: The image may be an impartial, industriously detailed record of the lens’s view, but it is also subject to unlimited contingencies of both accident and control. Thus a seemingly casual diCorcia scene—a man’s glum audit of his refrigerator, say—turns out to be stage-managed to the nines, while an apparently formal portrait is a street photograph, if a carefully engineered one. Whitechapel’s Andrea Tarsia is premiering the 1999 suite Two Hours and virtually premiering the 1975–99 series “A Storybook Life,” whose seventy-six photos for the most part have never been shown.

  • Antalis, 2001.

    Antalis, 2001.

    Bernard Frize

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    July 19, 2013–September 28, 2003

    Working less as a maker of paintings than as a maker of methods of painting, Bernard Frize distances himself from his “products”—and yet his signature is indelible: cool, yes, but depersonalized, never. Nothing could be more idiosyncratic than such wild inventiveness so elegantly controlled. This show—which opened only three days after a more tightly focused exhibition at the Ikon Gallery, Birmingham, of works made through collaborative processes—is curated by the Musée d’Art Moderne’s Béatrice Parent and comprises about 125 canvases, most from the past five years but with a handful going back as far as 1988, when Frize last showed at the museum.

  • Henri Cartier-Bresson, Ubud, Bali, Indonesia, 1949.

    Henri Cartier-Bresson, Ubud, Bali, Indonesia, 1949.

    Henri Cartier-Bresson

    CaixaForum Barcelona
    Av. Francesc Ferrer i Guàrdia, 6-8
    September 15, 2003–January 5, 2004

    Gropius Bau
    Niederkirchnerstraße 7
    May 9–August 2, 2004

    Bibliothèque nationale de France (Richelieu)
    5, rue Vivienne
    May 1–July 27, 2003

    Palazzo Delle Esposizioni
    Via Nazionale 194
    September 30, 2004–January 15, 2005

    This is hardly curator Robert Delpire’s first Cartier-Bresson retrospective, and its singularity undoubtedly lies in the fifty years of friendship and collaboration between the world’s best-known living photographer and the legendary publisher, producer, and founding director of Paris’s Centre National de la Photographie, now director of the Fondation Henri Cartier-Bresson. Intended as a portrait of the man rather than a catalogue of the works, the exhibition includes little-known early photos, proofs, vintage prints, books, paintings, and drawings, and films by and about the photographer.

  • Yanomami, Spirit of the Forest

    Fondation Cartier Pour l'Art Contemporain
    261 boulevard Raspail
    May 14–October 12, 2003

    It is difficult to imagine two less likely bedfellows than Cartier (the French jewelers) and the Yanomami (hunter-gatherers from Brazil), despite their shared interest in personal adornment. For the foundation’s current show, a group of artists including Tony Oursler and Gary Hill was sent to the Amazon to live and conceive art projects with the tribe, whose previous encounters with white Europeans have not always worked to the Indians’ advantage. In this case the foreign visitors found inspiration in shamanic practices while the Yanomami received satellite mapping of their forest preserve. Conceived by anthropologist Bruce Albert and Yanomami shaman Davi Kopenawa, this one-hundred-plus-work show could be a trendsetter, as indigenous shamanism becomes the next yoga.