There But Not There (2017) – short documentary about Crewdson's casting process, directed by Juliane Hiam [90] Gregory Crewdson is an internationally exhibited artist whose photographs are included in numerous museums and public collections around the world. From 2005 to 2008 a retrospective of his work traveled to museums across Europe, including the Kunstverein Hannover, Germany, the Fotomuseum Winterthur, Switzerland, and the Hasselblad Center, Sweden. He is on the faculty of the Department of Photography at Yale University and lives in New York City. A survey of Crewdson’s work of the previous twenty years toured European museums from 2005 to 2008. The exhibition In a Lonely Place traveled to galleries and museums across Europe, Scandinavia, Australia, and New Zealand from 2011 to 2013, and a major monograph was published by Rizzoli in 2013. Crewdson’s awards include the Skowhegan Medal for Photography, a National Endowment for the Arts Visual Artists Fellowship, and the Aaron Siskind Foundation Fellowship. Crewdson’s work has been widely exhibited and reviewed. He makes large-scale photographs of elaborate and meticulously staged tableaux, which have been described as “micro-epics” that probe the dark corners of the psyche. Working in the manner of a film director, he leads a production crew, which includes a director of photography, special effects and lighting teams, casting director and actors. He typically makes several exposures that he later digitally combines to produce the final image. Overall this is a outstanding exhibition that thoroughly deserves that accolades it is receiving. Sitting in the gallery space for an hour and a half and soaking up the atmosphere of these magnificent works has been for me one of the art experiences of 2012. Make sure that you do not miss these mesmerising prophecies.

The proximity to reality of his lifelike, detailed human figures make for perfect irritation. Despite all the seriousness hidden behind the socio-critical issue, which prompted Hanson to create his protagonists, the figures have a great deal of entertainment value, above all – and it is precisely this that makes them so appealing – due to their occasional gravitational bearing. Featuring twenty-five works, the exhibition presents a representative cross-section of the American’s extensive oeuvre, which comprises a total of only 114 works. The figures enter a dialogue with the large-format photographs by the American photo artist Gregory Crewdson, who has a flair for relating human abysses in a different and very subtle way. In the late 1970s, Cindy Sherman began taking a series of photographs in which she re-created the promotional stills from Hollywood B-movies. Commentators always bring up the fact that Crewdson's father was a psychoanalyst, and that the artist always wondered what went on in the basement office of the family's Brooklyn brownstone. The kids were told that if they passed a patient they recognised in the street, they should pretend not to know them. His father once took young Gregory, a boy of 10, to a Diane Arbus show, and never told him why. Crewdson's interest in the unhinged and inexplicable is compelling, but comes across too often as theatrical and strained, as in Victorian paintings. If Crewdson's images sometimes have the quality of primal scenes and traumas, they are also like half-remembered scenes from movies, which the mind has both embellished and incorporated into autobiography, as if these witnessed fictions had become part of one's own life. I think he'd like his images to be as indelible for us, and for us to concoct our own stories from them. But there's only so much you can take. Pass the pills and cigarettes, I'm staying home tonight.

Selected Works

Gregory Crewdson: Brief Encounters (2012) – feature documentary directed, produced, and shot by Ben Shapiro [89] Booth, Hannah (August 4, 2017). "Juliane Hiam remembers posing for Gregory Crewdson's Cathedral Of The Pines, 2013". TheGuardian.com.

Gregory Crewdson: 1985–2005, Kunstverein Hannover, Hanover, Germany; [41] and traveled to Kunstmuseen Krefeld, Germany, 2006; [42] Fotomuseum Winterthur, Switzerland; and Landsgalerie Linz, Austria, 2006 [43] It’s important to remember though that he didn’t always work this way. When starting out he either worked solo or with a tiny team.

Merchant’s Row, above, is the first of the 49 plates in the book, and is one of its finest. The colors are wonderful. A pregnant woman stands frozen on the zebra stripes at an intersection; apart from her and one car waiting for the perpetually yellow lights — yellow lights in intersections is one recurring theme in the book — the scene is devoid of people. The street recedes into early morning fog in the distance. Across the street is a pregnancy center, but you can’t make that out in the small reproduction here. But I’m not Gregory Crewdson. He’s saying something with these pictures — and like all mediums, photography is at its best when it says something that cannot be said in another medium, like writing, so in a sense this review is trying to say the literally unsayable — and what he’s saying might not fit with my proposed methodology. My pictures, if I made them as described above, wouldn’t be Crewdsons. So what is a Crewdson, really — what’s he trying to say? Several of Crewdson's students are now successful photographers in their own right. Teaching, he says, is ideal for an artist because he gets to learn what the next generation are doing, what they're reading, what they're listening to, and to talk about form and composition. "It's so rare that you actually do that as an artist," he says. "We end up talking about everything else -galleries, the market. Everything but the art itself." Beneath The Roses is a strange and atmospheric photography book that pushes the boundaries between realities. Seemingly set in NE mill towns during the 1980s, many of these pictures seem like movie stills. Then other pictures seem to capture a moment that is achingly real, while the next veers towards looking jarringly fake and contrived. Thus, the pictures start to blur in how you perceive the scenes. Bacon, Julie Louise. “Liquid Archive: On Ambivalence,” in Liquid Archive. Melbourne: Monash University Museum of Art (MUMA), 2012, p. 119

Crewdson lives primarily in western Massachusetts in a former Methodist church. [23] His partner, Juliane Hiam, [24] is a writer and producer [25] and the two work closely together. [26] Hiam has also appeared as a subject in numerous of Crewdson's pictures. [27] [28] He has two children, Lily and Walker, from a previous marriage to Ivy Shapiro. [29] Crewdson is an open-water swimmer [30] and has said that the meditative state he achieves with his daily swimming practice is fundamental to his creative process as an artist. [31] Publications [ edit ]

Full Collection

I didn’t start taking pictures until I was in college. I had a crush on a girl who was photo major, and followed her into a photography class. My Photography teacher was Laurie Simmons, and my crush went from the girl to my teacher. As soon as I took my first pictures, my crush shifted from the teacher to photography. Gregory Crewdson The way Sherman's staged scenes were an innovation. During the 1970s, she began recreating stills from Hollywood movies, taking photographs of herself as a housewife, prostitute, etc. During the 1990s, photographers such as Crewdson began to develop Sherman's concept and created his own stills where he exposed the middle class in American small towns to scrutiny. Abrams, Amah-Rose (April 15, 2016). "Beautiful Intimacy and Isolation with Gregory Crewdson". Artnet News . Retrieved January 13, 2023. I’m only concerned with that particular moment, the moment of the picture. I really don’t have any interest in what happens before, or what happens after. In a certain way, it’s a privilege that I don’t have to think about plot, or storyline, or character development, that I can just focus on that moment, and how to make that moment as beautiful and as mysterious as possible. The Stills Director

Photography Portfolio I & II, Paula Cooper, Carolina Nitsch & The Merce Cunningham Dace Co., Paula Cooper Gallery, New York, USA 2006 Fotomuseum Winterthur, Switzerland (solo) 2005 Gregory Crewdson: 1985-2005, Kunstverein Hannover, Hannover, Germany (solo) Movie review: 'Gregory Crewdson: Brief Encounters' of art in progress". Los Angeles Times. March 8, 2013 . Retrieved October 5, 2023. Misty morning, deserted street (there's always mist and a feeling of desertedness). A car is stopped at the lights and the driver's door is open. A young woman (played by Jennifer Jason Leigh) looks across from the passenger seat to the space where the driver should be. Maybe they were having a row and he got out of the car and ran, leaving the door wide open. Maybe it doesn't mean anything much, but you can't help speculating.

Alone Street. New York: Aperture, 2021. ISBN 978-1597115131. With an essay by Joyce Carol Oates and an interview with the artist by Cate Blanchett. This area of pristine terrain has served as a retreat for Crewdson throughout his career and provided him with a model of American life. Finding his Style