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{{Infobox person | {{Infobox person | ||
| name | | name = Gregory Crewdson | ||
| image | | image = Gregory-Crewdson.jpg | ||
| alt | | image_size = | ||
| caption | | alt = | ||
| birth_name | | caption = Crewdson on location in Pittsfield, MA July 25, 2007 | ||
| birth_date | | birth_name = | ||
| birth_place | | birth_date = {{Birth date and age |1962|9|26|}} | ||
| | | birth_place = Brooklyn, New York | ||
| | | education = Brooklyn Friends Schoo; John Dewey High School; SUNY Purchase, BA, 1985; Yale University, MFA, 1988 | ||
| | | occupation = Fine-art photographer, Landscape photographer, Professor | ||
| | | employer = Yale University School of Art | ||
| | | organization = | ||
| | | agent = Gagosian Gallery | ||
| | | known_for = | ||
| | | notable_works = | ||
| style = American realist landscape photography | |||
| home_town = Park Slope, Brooklyn | |||
| boards = MASS MoCA | |||
| awards = Skowhegan Medal for Photography, National Endowment for the Arts Visual Artists Fellowship | |||
| website = {{URL|www.gagosian.com/artists/gregory-crewdson}} | |||
}} | }} | ||
'''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 | authorlink = Sean O'Hagan (journalist) | 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. | |||
'''Gregory Crewdson''' is | ==Life and career== | ||
Crewdson was born in the Park Slope neighborhood of Brooklyn, New York. He attended John Dewey Middle School, graduating early. | |||
As a teenager, he was part of a punk rock group called The Speedies that hit the New York scene. Their song, "Let Me Take Your Photo" proved to be prophetic to Crewdson's future career. In 2005, Hewlett Packard used the song in advertisements to promote its digital cameras. | |||
At Purchase College, State University of New York, he began experimenting with photography, not yet taking it seriously, Crewdson only saw it as a creative outlet and hobby. Gaining school recognition and a growing interest for art, he graduated undergraduate from SUNY Purchase and later attended Yale University receiving his Master of Fine Arts. His senior thesis embodied everyday life through portraiture of Lee, Massachusetts residents, the same location that later inspired his first series ''Natural Wonder'' from 1992 to 1997. He has taught at Sarah Lawrence, Cooper Union, Vassar College, and Yale University, where he has been on the faculty since 1993. He is now a professor at the Yale University School of Art.<ref>[http://rogallery.com/Crewdson/Crewdson-bio.html Gregory Crewdson Biography]. Rogallery.com. Retrieved on 2011-11-17.</ref><ref>[http://art.yale.edu/GregoryCrewdson Yale University School of Art: Gregory Crewdson]. Art.yale.edu. Retrieved on 2011-11-17.</ref> In 2012, he was the subject of the feature documentary film ''Gregory Crewdson: Brief Encounters''.<ref name="Gregory Crewdson: Brief Encounters official film site">{{cite web|last=Shapiro|first=Ben|title=Gregory Crewdson: Brief Encounters, official site|url=http://www.gregorycrewdsonmovie.com|work=Gregory Crewdson: Brief Encounters official site|publisher=Ben Shapiro Productions|accessdate=13 February 2012}}</ref> The film series followed the construction and the behind-the-scenes explanation from Crewdson himself of his thought process and vision for his pieces of his collection ''Beneath the Roses''. | |||
Crewdson is represented by Gagosian Gallery worldwide and by White Cube Gallery in London.<ref>{{cite book |last=Warren |first=Lynne (ed.) |title=Encyclopedia of Twentieth-Century Photography |year=2005 |publisher=Routledge |ISBN=1-57958-393-8}}</ref> | |||
Crewdson has been awarded the Skowhagen Medal for Photography{{Citation needed|date=August 2017}} and The National Endowment for the Arts Visual Artists Fellowship{{Citation needed|date=August 2017}} in recognition of his work along with featured showings in the Metropolitan Museum of Art, Whitney Museum of American Art, and the Brooklyn Museum{{Citation needed|date=August 2017}}. | |||
==Style== | |||
Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic.<ref>{{cite web|last=Kitamura|first=Katie|authorlink=Katie Kitamura|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. | |||
The creation of the self defined American realist landscape photographer and his peculiar style originates from Crewdson’s long appreciation for 20th century melodramas and literature, specifically Hitchcock and Ralph Waldo Emerson{{Citation needed|date=August 2017}}. These films drove Crewdson to challenge the essence of light and force it in a new direction in Twilight, a dramatic, highly pigmented collection of images that channel dusk to the subject of the photograph. Crewdson wanted to focus even more heavily on the suburban lifestyle that is the focus of his main movie inspirations. Known for their methodical yet rhythmic use of language{{Citation needed|date=August 2017}}, Hitchcock and Emerson developed a new challenge for Crewdson by changing language to visuals in the most effective way. The look of sadness and contemplation on the subjects faces was something most major galleries had never seen, intentional sadness yet in such a bland and unexpected way. Similarly, ''Dream House'' captures the same “moment between moment” of thought from the subject from creative angles and cryptic perspectives{{Citation needed|date=August 2017}}. | |||
Gregory Crewdson’s most recognized and iconic collection is ''Beneath the Roses''{{Citation needed|date=August 2017}}, similar to his previous projects, its haunted urgency and profound dislocation from the audience is uncomfortable yet familiar. Branching off of his previous collections, Beneath the Roses was aimed to capture cinematic production in the stillness of one picture{{Citation needed|date=August 2017}}. With a budget similar to that of a small movie production{{Citation needed|date=August 2017}}, each image involved hundreds of people and weeks to months of planning{{Citation needed|date=August 2017}}. Crewdson’s interventions into the streets of typical American suburbia became a nuance interpretation of reality of lifestyle focusing on the most dramatic emotions and complex moments of silence and thought for the subject{{Citation needed|date=August 2017}}. | |||
Crewdson explored the idea of challenging tradition with experimentation of his title outside of the U.S. at the abandoned Cinecittá studios outside of Rome{{Citation needed|date=August 2017}}. Known for its mysterious stillness and emptied character{{Citation needed|date=August 2017}}, the set was new to Crewdson’s typical use of subject and storyline but reflected the same balance and organic nature of a created set turned into an art piece. The simplicity of ''Sanctuary''’s development contrasts Gregory’s tendency for detail and specificity evoking a more compelling landscape that was already created for him and caught the attention of White Cube, Crewdson’s European agent in London. By converting these cinematic scenes into ordinary life, he explores a new and unfamiliar genre of his own focused on naturalizing a manmade scenario in a world already based on the artifice of American lifestyles{{Citation needed|date=August 2017}}. | |||
After years of exploring the idea of cinematic photography, ''Sanctuary'' was Crewdson’s return to photography, his original hobby and technical training. Most recently, Crewdson has created ''Cathedral of the Pines'', similar to Beneath the Roses and Twilight, a distanced interpretation of exaggerated drama by an intervention into natural in its most synergetic state{{Citation needed|date=August 2017}}. The collection was shown at Gagosian Gallery in New York City{{Citation needed|date=August 2017}}. The collection returns to his early photographic origins in Becket, Massachusetts set deep in the woods far from familiarity of subject and setting{{Citation needed|date=August 2017}}. | |||
==Involvement with American Music Club== | ==Involvement with American Music Club== | ||
Crewdson took the photography for [[American Music Club]]'s 1995 EP ''[[Hello Amsterdam]]''. | |||
==References== | ==References== | ||
{{reflist}} | {{reflist|2}} | ||
[[Category:Artists]] | [[Category:Artists]] | ||