I am going to talk about almost three decades of work, mostly showing my personal work but also some related editorial stories. I will tell the audience how I got into photography, about my move to the US, my personal work and editorial work, becoming a mother and how all of this affected my images and who I am.

Quoting from Elinor Carucci’s recent book MOTHER: “I have always endeavored to convey a full range of emotion in my work, to take our little stories and turn them into one epic human tale. I am both comforted and relieved to discover how universal my own story is. (…) For me, photography is a way to connect.”

Bio

Elinor Carucci was born in 1971 in Jerusalem, Israel, and moved to New York City in 1995. Her solo shows include the Edwynn Houk Gallery (New York), the Sasha Wolf Gallery (New York), and Gagosian Gallery (London), and her group shows include The Museum of Modern Art (New York) and The Photographers’ Gallery (London). Her photographs are included in the collections of such institutions as the Museum of Modern Art (New York), the Brooklyn Museum, and the Houston Museum of Fine Arts, and her work has also appeared in The New Yorker, New York Magazine, W, Aperture, ARTnews, and the New York Times Magazine. She was awarded the International Center of Photography’s Infinity Award for Young Photographers in 2001, the Guggenheim Fellowship in 2002, and the New York Film Academy Fellowship in 2012. Carucci has published three monographs, Closer (2002), Diary of a Dancer (2005), and Mother (2013). Carucci currently teaches at the graduate program of the School of Visual Arts and is represented by the Edwynn Houk Gallery in New York. To learn more about the artist, see her website: http://www.elinorcarucci.com/

Praise for Elinor Carucci’s work:
“The emotional intensity of Carucci’s pictures is sustained by their technical clarity. These [are] strikingly beautiful images.” – ARTnews

“Carucci…combin[es] documentary-style immediacy and quasi-cinematic production values. The results are startlingly, exhilaratingly naked.” – The New Yorker

“Her images of private moments with her parents, her husband and her struggle with pain are simultaneously unsentimental and luminous.” – TIME

“Figurines of pregnant women are among the most common artifacts from the Paleolithic era and, whatever their original purpose, they still have the power to affect us. So do Elinor Carucci’s intimate photographs of herself pregnant, and with her infant twins after their birth.” – The Wall Street Journal