Crewdson is a professor and the director of graduate studies in photography at Yale School of Art. [9] Untitled photo from Crewdson's series Beneath the Roses (2003–2008) Installation photographs the series Sanctuary (2010) from the exhibition Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne Using shots that resemble film productions, Crewdson deconstructs American suburban life in his work. [15] 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, [16] as well as the painter Edward Hopper [17] and photographer Diane Arbus. [18]

Exhibition: ‘Golden Valley Faces: The photographs of Richard Jenkins’ at the Café Gallery, Hay Castle,Hay-on-Wye In the intimate photographs of Fireflies, Crewdson portrays the mating ritual of fireflies at dusk, capturing the tiny insects’ transient moments of light as they illuminate the summer night. Unlike the theatrical scale of the Beneath the Roses and Sanctuary series, Fireflies is a quiet meditation on the nature of light and desire, as the images reflect not only upon the fleeting movements of the insects in their intricate mating ritual, but upon the notion of photography itself, in capturing a single ephemeral moment. Despite the criticism, it is a worthwhile book. A little repetitive, but when the repetition is as gorgeous as it is, who’s complaining? Especially the exteriors/landscapes are wonderful. Of the 49 plates, cutting it down to around 40 would have tightened it, but overall, it’s still good. The pictures in this post, as I’ve said, don’t do this stuff justice because of limitations of resolution. The pictures in the book are a lot larger, which makes for a better experience, and I’m sure that viewing Crewdson’s exhibition prints — which are over 2m on the largest side (something like 89 by 58 inches) — would add another layer of detail and meaning. This show will open concurrently with exhibitions at White Cube in London and Gagosian Gallery in Beverly Hills, California. A mid-career survey of Crewdson's work will open at the Kunstverein Hannover in September 2005 and will subsequently travel to Landesgalerie Linz, Austria; the Kaiser-Wilhelm-Museum Krefeld, Germany; and the Fotomuseum Winterthur, Switzerland.Imperfect Innocence, The Debra and Dennis Scholl Collection, Palm Beach Institute of Contemporary Art, Lake Worth, USA Despite the large scope of his productions, Crewdson’s carefully composed scenes and controlled lighting recall the intricate arrangements of early still life photography. Crewdson creates carefully constructed photographs, where something dramatic happens in the middle of a kind of stillness. Like stills from a movie, they are moments that are always in the middle of the event itself. The photograph is part of something bigger. We have to fantasize together the rest ourselves. Kataoka, Mami commenting on the work of Allan Kaprow. “Transient Encounters,” in Broadsheet: Criticism, Theory, Art Vol 41.3, September 2012, p. 174 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]

Exhibition: ‘Images of Italy: Places of Longing in Early Photography’ at the Städel Museum,FrankfurtA Thousand Hounds. A Walk with the Dogs Through the History of Photography, UBS PaineWebber Art Gallery, New York, USA Born in 1962 in Brooklyn, New York, Gregory Crewdson is one of the best-known contemporary photographers internationally. In his most important series to date Beneath the Roses, which he created between 2003 and 2008, Crewdson explores the American psyche and the disturbing realities at play within quotidian environments. In his dramatically detailed and realistic photographs situated in America’s morbid, small-town milieu, the artist succeeds to stimulate the viewer’s subconscious on various levels. Twenty outstanding works from the series are being placed in a dialogue with sculptures by Duane Hanson. Gregory Crewdson does not spare either effort or expenses for the production of his visual inventions, which are reminiscent of film productions. The stagings are planned and arranged in advance down to the smallest detail and then elaborately implemented in a major logistical and human effort. The final photograph is the result of what is frequently work lasting several weeks, a circumstance that is substantiated by its depths in terms of content and its technical perfection. Gregory Crewdson: Eveningside, 2012–2022. Milan: Skira Editore, 2022. ISBN 8857248429. Text by Jean-Charles Vergne.

We Love Painting, The American Contempororay Art from Misumi Collection, Museum of Contemporary Art, Tokyo, Japan 2002 New Work 6: Gregory Crewdson, Twilight, Aspen Art Museum, Aspen, USA (solo)

Biography

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? In his images, Crewdson reworks the American suburb into a stage-set for inexplicable, often disturbing, events that usually take place at twilight. Working on an epic scale, Crewdson has developed a process akin to the making of a feature film to create what he calls ‘frozen moments’, with the help of a large crew to shoot and then develop the images in post-production. Drawing on Hopper: Gregory Crewdson/Edward Hopper, Williams College Museum of Art, Williamstown, USA (solo)

Gregory Crewdson: 1985-2005, DA2. Domus Artium 2002, Salamanca, Spain; Hasselblad Center, Goteborg, Sweden; Palazzo delle esposizioni, Rome, Italy; Galerie Rudolfinum, Prague, Czech Republic (solo) Booth, Hannah (August 4, 2017). "Juliane Hiam remembers posing for Gregory Crewdson's Cathedral Of The Pines, 2013". TheGuardian.com. The last section of the book is made up of production stills, lighting plots, and Polaroid snaps documenting the location shoots. Smoke and fog and snow machines fill up the atmosphere and lighting reaches four stories into the air. Architectural plans and set drawings are included for the soundstage shots. Interestingly, the incidental actor on scene looks as heartbroken candid as posed. Contemporary American Photography 1970-2000, From the Collection of the San Francisco Museum of Modern Art, Samsung Museum of Modern Art, Seoul, Korea Beneath the Roses was an exhibition of twenty new large-scale photographs by Gregory Crewdson. In these pointedly theatrical yet intensely real panoramic images, Crewdson explores the recesses of the American psyche and the disturbing dramas at play within quotidian environments.It is also an extraordinarily expensive way to make art. The productions are under-written by the three galleries that represent Crewdson, but he won’t get specific about what it cost to produce these 32 images, saying only that his line producer is quite strict. Still, any suggestion that Wall Street’s travails may take a bite out of the contemporary-art-market mania turns him pale: “Of course I worry about that!” Gregory Crewdson was born in Brooklyn, New York in 1962. He was first introduced to photography at the age of ten when his father took him to see the 1972 retrospective exhibition of Diane Arbus at the Museum of Modern Art. In a career that spans more than three decades, Crewdson has produced several widely acclaimed bodies of work including Natural Wonder (1997), Twilight (2002),and Dream House (2008). Crewdson is often asked why he doesn't just go the whole hog and make a film, but he is emphatically against the idea. "I think I'd be a terrible movie maker because all I know is the one image. I'm not really that interested in the before or after. I want the story to remain unresolved."