Gregory Crewdson
Gregory Crewdson | |
---|---|
Born | |
Education | Brooklyn Friends; John Dewey High School; SUNY Purchase, BA, 1985; Yale University, MFA, 1988 |
Occupation(s) | Fine-art photographer, Landscape photographer, Professor |
Years active | 1985-present |
Employer | Yale University School of Art |
Agent | Gagosian Gallery |
Style | American realist landscape photography |
Board member of | MASS MoCA |
Spouse | Ivy Shapiro (2001-2011; divorced) |
Children | 2 |
Parent(s) | Dr. Frank Crewdson (psychoanalyst), Carole Crewdson ("movement analyst") |
Awards | Skowhegan Medal for Photography, National Endowment for the Arts Visual Artists Fellowship |
Website | www |
Gregory Crewdson (born September 26, 1962) is an American photographer who is best known for elaborately staged[1] scenes of American homes and neighborhoods.
Life and career
Crewdson was born in the Park Slope neighborhood of Brooklyn, NY. He attended John Dewey High School, graduating early.
As a teenager, he was part of a punk rock group called The Speedies that hit the New York scene in selling out shows all over town. Their hit song "Let Me Take Your Photo" proved to be prophetic to what Crewdson would become later in life. In 2005, Hewlett Packard used the song in advertisements to promote its digital cameras.
In the mid 1980s, Crewdson studied photography at SUNY Purchase, near Port Chester, NY. He received his Master of Fine Arts from Yale University. 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.[2][3] In 2012, he was the subject of the feature documentary film Gregory Crewdson: Brief Encounters.[4]
Gregory Crewdson is represented by Gagosian Gallery worldwide and by White Cube Gallery in London.[5]
Style
Gregory Crewdson's photographs usually take place in small town America, but are dramatic and cinematic.[6] They feature often disturbing, surreal events. The photographs are shot using a large crew, and are elaborately staged and lit.[7] 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,[8] as well as the painter Edward Hopper[9] and photographer Diane Arbus.[10] [11]
Photography books
- Hover: Artspace Books, 1995, ISBN 1891273000
- Twilight: Photographs by Gregory Crewdson, with essay by Rick Moody: Harry N. Abrams, 2003, ISBN 0810910039
- Gregory Crewdson: 1985–2005: Hatje Cantz, 2005, ISBN 377571622X
- Gregory Crewdson: Fireflies: Skarstedt Fine Art, 2007, ISBN 0970909055
- Beneath the Roses, with Russell Banks: Harry N. Abrams, 2008, ISBN 978-0810993808
- Sanctuary, with Anthony O. Scott: Hatje Cantz, 2010, ISBN 978-3775727341
- In a Lonely Place: Hatje Cantz, 2011, ISBN 978-3775731362
Exhibitions
- Yale University Art Gallery; New Haven, Connecticut (1988)
- BlumHelman Warehouse; New York (traveled to Portland School of Art, Portland, Maine; Ruth Bloom Gallery, Los Angeles, California) (1991)
- Houston Center for Photography; Houston, Texas (1992)
- Feigen Gallery; Chicago, Illinois (1993)
- Palm Beach Community College Museum of Art; Palm Beach, Florida (1994)
- Galleri Charlotte Lund; Stockholm, Sweden (1995)
- Les Images du Plaisir, Frac des Pays de la Loire, Galerie des Carmes; La Flèche, France (1995)
- Jay Jopling / White Cube; London (1995)
- Ginza Artspace, Shiseido Co.; Tokyo, Japan (1996)
- Cleveland Center for Contemporary Art; Cleveland, Ohio (1997)
- Espacio Uno, Museo Nacional Centro de Arte Reina Sofía; Madrid, Spain (traveled to Salamanca in 1999) (1998)
- Kulturhuset; Stockholm, Sweden (2011)
- Gregory Crewdson: In a Lonely Place, C/O Berlin; Berlin, Germany (traveled to Det Kongelige Bibliotek, Copenhagen, Denmark in 2011/2012)[12] (2011)[13]
References
- ^ Campany, David (2008). Photography and cinema. Reaktion Books. pp. 140–. ISBN 978-1-86189-351-2. Retrieved 8 May 2011.
- ^ Gregory Crewdson Biography. Rogallery.com. Retrieved on 2011-11-17.
- ^ Yale University School of Art: Gregory Crewdson. Art.yale.edu. Retrieved on 2011-11-17.
- ^ Shapiro, Ben. "Gregory Crewdson: Brief Encounters, official site". Gregory Crewdson: Brief Encounters official site. Ben Shapiro Productions. Retrieved 13 February 2012.
- ^ Warren, Lynne (ed.) (2005). Encyclopedia of Twentieth-Century Photography. Routledge. ISBN 1-57958-393-8.
{{cite book}}
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has generic name (help) - ^ Kitamura, Katie. "Gregory Crewdson". Frieze. Retrieved 19 March 2011.
- ^ "Gregory Crewdson". V&A. Retrieved 19 March 2011.
- ^ "Five in Focus: Gregory Crewdson's Five Favorite Films". Focus Features. Retrieved 19 March 2011.
- ^ Gregory, Crewdson. "Aesthetics of Alienation". Tate Etc. Retrieved 19 March 2011.
- ^ "Gregory Crewdson". White Cube. Retrieved 19 March 2011.
- ^ Fuller, Graham. "Glittering SXSW Film Roster Stars Bob Marley, Paul Simon, Gregory Crewdson, Wayne White, and Pot Pipes Galore". ArtInfo. ArtInfo. Retrieved 13 February 2012.
- ^ ""Gregory Crewdson: In a Lonely Place" at Det Kongelige bibliotek". Retrieved 28 Dec 2011.
- ^ ""Gregory Crewdson: In a Lonely Place" at C/O Berlin". Retrieved 23 August 2011.
External links
- Luhring Augustine Gallery: Gregory Crewdson's U.S. Representative (possibly no longer represents Crewdson—he's not on the artist list)
- Five In Focus: Gregory Crewdson, Crewdson picks five movies that have influenced his photographic style
- Works by Gregory Crewdson in Cal Cego. Contemporary Art Collection
- Aperture magazine profile, includes interview about preproduction, production, and postproduction of images
- Guardian Article 10.4.06
- Gregory Crewdson's $1 Million Photo Shoot by Christopher Peterson
- Behind the Scenes: Caught Looking Michele McDonald, Boston Globe
- Interviews, Production Stills, and Images published by Aperture (04/2008)
- Afrtinfo interview (03/2006)
- NPR interview (01/2006)
- Gregory Crewdson's Epic Effects By Kenneth R. Fletcher, Smithsonian Magazine, June 2008
- Gregory Crewdson: Brief Encounters, Feature Documentary Film By Ben Shapiro, 2012
- Interview with Gregory Crewdson by Elisabeth Donnelly in The Paris Review September 27, 2012