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Gregory Crewdson: Difference between revisions
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| website = {{URL|www.gagosian.com/artists/gregory-crewdson}} | | website = {{URL|www.gagosian.com/artists/gregory-crewdson}} | ||
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'''Gregory Crewdson''' (born September 26, 1962) is an American photographer.<ref>{{cite news | url = https://www.theguardian.com/artanddesign/2017/jun/20/gregory-crewdson-photographer-cathedral-of-the-pines-appalachians | date = 20 June 2017 | accessdate = 30 June 2017 | first = Sean | last = O'Hagan | '''Gregory Crewdson''' (born September 26, 1962) is an American photographer.<ref>{{cite news | url = https://www.theguardian.com/artanddesign/2017/jun/20/gregory-crewdson-photographer-cathedral-of-the-pines-appalachians | date = 20 June 2017 | accessdate = 30 June 2017 | first = Sean | last = O'Hagan | publisher = The Guardian | location = London | title = Cue mist! Gregory Crewdson, the photographer with a cast, a crew and a movie-sized budget}}</ref> He photographs tableaux<ref name="Campany2008">{{cite book|last=Campany|first=David|title=Photography and cinema|url=https://books.google.com/books?id=f5pldAHPbtQC&pg=PA140|year=2008|publisher=Reaktion Books|isbn=978-1-86189-351-2|pages=140–}}</ref> of American homes and neighborhoods. | ||
==Life and career== | ==Life and career== | ||
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==Style== | ==Style== | ||
Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic.<ref>{{cite web|last=Kitamura|first=Katie | Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic.<ref>{{cite web|last=Kitamura|first=Katie|title=Gregory Crewdson|url=http://www.frieze.com/shows/review/gregory_crewdson/|publisher=Frieze|accessdate=19 March 2011|deadurl=yes|archiveurl=https://web.archive.org/web/20110514193035/http://www.frieze.com/shows/review/gregory_crewdson/|archivedate=14 May 2011|df=}}</ref> They feature often disturbing, surreal events. His photographs are elaborately staged and lit using crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques.<ref>{{cite web|title=Gregory Crewdson|url=http://www.vam.ac.uk/collections/photography/past_exhns/twilight/crewdson/index.html|publisher=V&A|accessdate=19 March 2011|deadurl=yes|archiveurl=https://web.archive.org/web/20100416073829/http://www.vam.ac.uk/collections/photography/past_exhns/twilight/crewdson/index.html|archivedate=16 April 2010|df=}}</ref> He has cited the films ''Vertigo'', ''The Night of the Hunter'', ''Close Encounters of the Third Kind'', ''Blue Velvet'', and ''Safe'' as having influenced his style,<ref>{{cite web|title=Five in Focus: Gregory Crewdson's Five Favorite Films|url=http://filminfocus.com/article/gregory_crewdson|publisher=Focus Features|accessdate=19 March 2011|deadurl=yes|archiveurl=https://web.archive.org/web/20110418032119/http://filminfocus.com/article/gregory_crewdson|archivedate=18 April 2011|df=}}</ref> as well as the painter Edward Hopper<ref>{{cite web|last=Gregory|first=Crewdson|title=Aesthetics of Alienation|url=http://www.tate.org.uk/tateetc/issue1/article10.htm|publisher=Tate Etc.|accessdate=19 March 2011|deadurl=yes|archiveurl=https://web.archive.org/web/20110608051942/http://www.tate.org.uk/tateetc/issue1/article10.htm|archivedate=8 June 2011|df=}}</ref> and photographer Diane Arbus.<ref>{{cite web|title=Gregory Crewdson|url=http://www.whitecube.com/artists/crewdson/|publisher=White Cube|accessdate=19 March 2011}}</ref> | ||
Crewdson’s photography became a convoluted mix between his formal photography education and his experimentation with the ethereal perspective of life and death, a transcending mix of lively pigmentation and morbid details within a traditional suburbia setting. Crewdson was unknowingly in the making of the ''Pleasures and Terrors of Domestic Comfort'' exhibition of the Museum of Modern Art, earning him a following both from his previous educators and what would become his future agents and promoters of his work. The grotesque yet beautifully created scenes were just the beginning of Crewdson’s work, all affected with the same narrative mystery he was so inspired by in his childhood and keen eye for the surreal within the regular. ''Fireflies'', has become a standout amongst his collections known for their heightened emotion and drama compared to its simplicity of color and spontaneity. the exploration of form within his own work was evident within his transformation of how the photo was taken rather than just focusing on the subject. | Crewdson’s photography became a convoluted mix between his formal photography education and his experimentation with the ethereal perspective of life and death, a transcending mix of lively pigmentation and morbid details within a traditional suburbia setting. Crewdson was unknowingly in the making of the ''Pleasures and Terrors of Domestic Comfort'' exhibition of the Museum of Modern Art, earning him a following both from his previous educators and what would become his future agents and promoters of his work. The grotesque yet beautifully created scenes were just the beginning of Crewdson’s work, all affected with the same narrative mystery he was so inspired by in his childhood and keen eye for the surreal within the regular. ''Fireflies'', has become a standout amongst his collections known for their heightened emotion and drama compared to its simplicity of color and spontaneity. the exploration of form within his own work was evident within his transformation of how the photo was taken rather than just focusing on the subject. | ||