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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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 and the specific that calcifies in a single detail.
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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.
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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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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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Cindy Sherman, Crewdson’s great example, knows how, and Crewdson himself is an example to a little legion of young acolytes at work on the problem. His followers, often likable though seldom as yet truly memorable, have the advantage of seeming to portend some fresh sensibility or identity, and Cindy Sherman has the advantage of being Cindy Sherman.
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Crewdson’s most arresting gift is his Magrittean hypersensitivity to light within light—street lamp, flashlight, traffic signal, automotive headlight or taillight, neon sign, conflagration, or the simple table or desk lamp, abloom within the sunset, the twilight, incipient dusk: diaphanous passages as metaphor for what-used-to-be, artifice blushing within the gloaming.
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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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Gregory Crewdson Contributor. More. THE ARTISTS’ ARTISTS. the best of 2016. By Fikret Atay, Gina Beavers ...
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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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