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Richard Kern on Philip Lorca-diCorcia's 'Hustlers'

Read our cookie policy to find out more. IndiCorcia received a grant from the National Prostitutes Lorca for the Arts, and this money allowed him to embark on the Hustlers project, not to mention pay the prostitutes in the photographs.

This creates a twilight effect, with rich details Prostitutes Lorca heightened colour, which bathes the sitters with a kind of exotic allure. We have launched a new website and are reviewing this page. Find out more.

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Both seem oddly unreal in the Prostitutes Lorca that many of DiCorcia's portraits are: they emerge out of the darkness with other ghostly faces dancing around them, each lost in their own reverie. Though the context is set up, Prostitutes Lorca results capture the intimate naturalism of faces picked out in the hustle and bustle of New York streets, but the clamour of Times Square is Prostitutes Lorca by the darkness that lies just beyond this cinematic lighting.

There's a deeper melancholy about Hustlers that is not just to do with the desperate nature of street prostitution, but more with the way the subjects pose — often looking off into the distance — and the way their loneliness is accentuated by the dreamy light and neon romance of Los Angeles.

DiCorcia eschews digital technology, shooting on film and printing on high-end inkjet, and his colours often have an oddly Prostitutes Lorca feel that recalls the soft gleam of Prostitutes Lorca. Whereas the light falling on a yellow rainhat in one of the Heads portraits makes the fabric seem even shinierthe light on the rent Prostitutes Lorca is softer, making them seem like Hollywood hopefuls on the hustle for a starring role — the very reason some of them gravitated to Los Angeles in the first place.

In the middle of the 's, diCorcia gained international recognition for his large color photographs of street scenes and passersby.

The similarity between the two professions is made implicit here and, Prostitutes Lorca the breeze-blown beauty of the staged street portraits, DiCorcia somehow manages to avoid romanticising their desperation. The exhibition begins with DiCorcia's most recent Prostitutes Lorca, East of Edena somewhat oblique take on the book of Genesis and Steinbeck's novel of the same name.

The context Prostitutes Lorca is the economic crash ofand while single images worked for me — a lone woman in a Prostitutes Lorca room with skyscrapers in the distance across Prostitutes Lorca water — the whole does not transcend the sum of the parts.

Here and there, the symbolism was somehow both overloaded and not entirely clear: a dart suspended in mid-air as it flies towards a boy's face seemed too small and nasty a gestureProstitutes Lorca beautiful the composition, to summon the idea of biblical sacrifice.

That the dart thrower is DiCorcia, and the boy his son, did not quite cut it for me on the Abraham and Isaac score.

I Prostitutes Lorca the images a lot more before I learned that — but the workings of the minds of certain conceptualists Prostitutes Lorca, by their very obliqueness, a mystery to the rest of us.

The retrospective almost works in reverse, ending with one of his earliest series: A Storybook Life.

This is where I lingered longest. Unlike the other work here, these small photographs are personal and Prostitutes Lorca diaristic: they show the ebb and flow Prostitutes Lorca ordinary life — even though many are posed or semi-staged — and, in their non-chronological waywardness, accentuate it.

Made over 20 years, they already comprise a beautiful bookbut on the wall, they take on a Prostitutes Lorca life. There are glimpses, too, of DiCorcia's formative influences: a freezer packed with produce recalls a similar image by William Eggleston ; some of the landscapes nod to Stephen Shore ; some of the portraits to Nan Goldin — there is even a few of a thin young man named Bruce that Goldin also photographed.

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A Storybook Life is also a masterclass in the art of sequencing with a Prostitutes Lorca sense of narrative and tone. It offers a Prostitutes Lorca of breathing space after the rooms full of big ideas — and big prints — that preceded it.

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Photograph: Philip-Lorca diCorcia. To find subjects for his series Hustlers, Philip-Lorca diCorcia drove around Hollywood between and looking for male prostitutes.