Gregory Crewdson’s new series of staged photographs, “Twilight” (1998–99, all Untitled), shows a suburbia run amok. People who can’t take the subway to work grow obsessed with the underground, tunneling holes in their living rooms or digging gardens there. Or else they look up at the sky, from whence falls light—whether from the local traffic copter or from a tuneful spaceship out of
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Gregory Crewdson recreates lost worlds that make the white cavern of Gagosian’s LA space sigh with longing. The vibration in the air is New England small-town life of an indeterminate expired era, and Crewdson’s colossal images—painterly from far off, vidcam-crisp close up—capture the exact quality of a memory: that mix of the ineffable ...
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Nancy Davenport, Revolutionary (day) (detail), 2001. “The Apartments” seems by contrast to gather these interconnected phenomena—terrorism, radical protest, the neo-avant-garde—as a collection of masochistic futility, a catalogue of resounding failure. The images are absurd, for what terrorists would attack these buildings?
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The smoke-and-mirrors cues are efficient enough to anthropomorphize some natural feature in almost every picture—a fallen branch like a stick-figure goblin in the right-hand foreground of Lost and Found #2, 2005, the Hulk-like butt of a fallen tree covered in pine needles and moss in Lost and Found #6, 2005—that would then stand in for the missing human figures we’d see in a Gregory ...
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Crewdson’s Deep Thoughts may be recondite (in this he reminds me of Bill Viola), but they are successfully conveyed to some forty collaborators—a producer, a production designer, production assistants, electricians, lighting technicians, artisans of all stamps—who then resolve the master’s exacting imperatives. In this complex effort, Crewdson’s crew recalls the studio workshops of ...
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Gregory Crewdson discusses his show at Gagosian Gallery. Read more here. #embedded_text# Gregory Crewdson discusses his show at Gagosian Gallery.
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Gregory Crewdson, Reclining Woman on Bed, 2013, ink-jet print, 45 × 57 1/2″. One of Emily Dickinson’s best-known poems begins, “There’s a certain Slant of light, / Winter Afternoons – / That oppresses, like the Heft / Of Cathedral Tunes–.”. The winter light Dickinson saw in Amherst, Massachusetts, is the same light that drifts ...
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This is the world of Gregory Crewdson, an intensely realistic unreality, in which the landscape of life is transformed into a heightened blend of nature and artifice. At 30, the artist is an amalgam of the period in which he grew up, a time that celebrated artificiality in everything from fabrics to foodstuffs, when the manmade held firm over ...
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The photographs in Gregory Crewdson’s first solo exhibition in New York City in six years are an extension of his hallmark depictions of eerie encounters in American homes and neighborhoods, yet the new works are set in more rural forest environs than before. Their soft glow results from his large-scale, cinematic-style productions and ...
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Gregory Crewdson Contributor. More. THE ARTISTS’ ARTISTS. the best of 2016. By Fikret Atay, Gina Beavers , Billy Al Bengston, Carol Bove, Dora Budor, Julien Ceccal ...
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