Major Project TERM III - Gregory Crewdson Research

 As a second part of my major project research for this term I will be looking at work of photographer Gregory Crewdson.

I. Introduction

Gregory Crewdson

Gregory Crewdson born in Brooklyn, New York, is an American artist who specializes in photography.  Throughout his career he created many fascinating yet quite eerie photographs which often transform banal and ordinary scenes into otherworldly and mystical (Nestor, 2017).

As a son of psychologist, his visual and artistic style has been developing since early years. By overhearing his father's sessions with the patients, he started creating his own narrations which later in his career transformed into his actual art (Moody, 2002). His art could be classified as a contemporary realism, since his photographs, while shot on actual location have often very strong and often surreal narration.

What truly makes his work stand out from the work of others is his approach to work. While many photographers are a one-man production, his sets are full of people and look more like a film set rather than photo shoot. His photographs are always very carefully and precisely staged. Crewdson instead of shooting an actual photograph he usually tries to create a one frame from a film which never existed.

'What I am interested in is that moment of transcendence, where one is transported into another place, into a perfect, still world' (Crewdson, 2013)

II. Artistic Life of Gregory Crewdson

Gregory Crewdson during photography session

Gregory Crewdson was born on September 26, 1962 in Brooklyn, New York. His interest in photography started at the early age when he visited to the Diane Arbus retrospective with his father. He said, 'that was the first sense I had that photographs could have psychological urgency and power' (Crewdson, 2016). While that was his first spark of interest in this medium, he started taking photographs seriously when he participated in his first photography class at SUNY Purchase College as an undergraduate student (Weingart, 2016).

While at first Crewdson to follow his father's footsteps and become a psychologist, however in the end he changed his progression route and choose photography. He became in love with photography while attending classes taught by american artist and photographer Laurie Simmons. He believes that his attraction to photography was partially caused by his dyslexia. Because he had problems with written or speaking assignments, the visual mediums were for him very enticing (Weingart, 2016).

Gregory Crewdson's early works

Gregory Crewdson didn't get much recognition until he started creating photographs of dioramas, similar to ones found in the museums. This gave him acknowledgement that he needed to start experimenting with different kinds of photography. He started experimenting with creating photographs from a higher point of view and staged scenes (Shapiro, 2012).

After the year 1995 we could start to see the first parts in development of Crewdson's signature style of photography. He started shooting scenes which were happening on the streets from the crane. Without any permit, sometimes was even calling the police so it would show up just for one shot. His attention to detail was already started to bloom, and it was the first part of transitioning into a film budget photoshoots he is known best (Shapiro, 2012).

'Untitled (Sewer Mystery)' - Gregory Crewdson

As Crewdson admitted himself, creating these scenes are for him a form of a therapy. Photographing these complex and full of different elements staged events helps him understand the chaos of the world around him. It gives him a second of hope and a sense of control (Crewdson, 2012). 

'My pictures are about a search for a moment - perfect moment. To me the most powerful moment in the whole process is when everything comes together and there is that perfect, beautiful, still moment. And for that instant, my life makes sense' (Crewson, 2012)

III. Film quality photographs of Gregory Crewdson

Behind the scenes of 'Beneath the roses'

The final evolution in visual language of Gregory Crewdson was the transition from a one-man production to a Hollywood blockbuster film crew counting as many as 50 people for one shoot. His perfectly crafted images are definitely a group effort. As he stated he often work with a DP, director of photography, which makes his photo shoots even closer to the film set (Weingart, 2016)

'Gregory is so meticulous with his work, in the week it takes him to shoot one frame, I could shoot half a movie. Bit his one frame would be better than half my movie. Honestly? His one frame would be better than the whole movie' (Giancola, 2002)

From series 'Twilight' by Gregory Crewdson

Besides the bigger than usual crew, Crewdson believes that what makes his art truly stand out is lighting. His scenes are always lit in an unusual way, and you can clearly see that each lightbulb has a purpose in this detailed and complex mix.

What is even more interesting, however is that contrary to many photographers, Crewdson seems to not care that much about the film versus digital shooting. It is interesting looking at how important for Crewdson is lighting. Light can look and behave very different on film and on digital, therefore this transition can be seen as even more risky. 

While many artists prefer to work in one type of photography and find it difficult to transition, he transitioned seamlessly from large format 8x10 film camera to a digital Phase One camera. Crewdson decided to change to digital because he felt like 8x10 was very limiting especially for the kind of photography he was doing. Not seeing what you are photographing while there are dozens of people on set is clearly not ideal (Crewdson, 2016).

IV. Gregory Crewdson - Edward Hopper on film

'Untitled' by Gregory Crewdson

While at this stage of research I usually focus on one particular piece of work which is contextual to my own project, Gregory Crewdson is one of not many artists with which entire work I identify with. Additionally, I believe that all of his artworks can be related to my project. To his work however, there is one artist which influences we can see in every single photograph of Gregory Crewdson, that is Edward Hopper.

While the obvious influences taken from this American painter can be seen at the first sight. The eerie scenery combined with warm inviting lighting, isolated and alienated scenery. In his photograph, like in Hopper's paintings the people in the frame feel like the only people on the planet in that moment. The deeper connections can be drawn to the places in which both artists were creating their artworks. New England is a place where most of Crewdson's shoots are situated, it happened to be also a frequent holiday destination of Edward Hopper. Holiday on which he often created his paintings.

Connections between Hopper and Crewdson can also be seen in a way they are treating characters and their relationship to the space. There is no main subject in either Hopper's paintings or Crewdson's photographs. Both space and people are the character in this one frame story (Nestor, 2017)

'My pictures are about everyday life combined with theatrical effect. I want them to feel outside of time, to take something routine and make it irrational. I’m always looking for a small moment that is a revelation' (Crewdson, 2012)

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Sources:

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Chang, C. (2002). Gregory Crewdson. Film Comment, [online] 38(2), p.17. Available at: https://search.proquest.com/openview/c49460030e5ce457e4fdafff53e1941b/1?pq-origsite=gscholar&cbl=24820 [Accessed 2 May 2021].
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Moody, R. (2002). Rick Moody on the photography of Gregory Crewdson. [online] the Guardian. Available at: https://www.theguardian.com/theguardian/2002/apr/06/weekend7.weekend4 [Accessed 2 May 2021].
Moroz, S. (2016). Photographer Gregory Crewdson and his eerie rooms of gloom. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2016/oct/09/gregory-crewdson-photography-cathedral-of-the-pines [Accessed 2 May 2021].
Nestor, H. (2017). Gregory Crewdson: “I wanted the photographs to feel like a suburban window, to give a sense that the viewer is looking into a world.” [online] Studio International - Visual Arts, Design and Architecture. Available at: https://www.studiointernational.com/index.php/gregory-crewdson-interview-cathedral-of-the-pines-photographers-gallery-london [Accessed 2 May 2021].
Nowness. (2012). Gregory Crewdson: Beginnings. [online] Available at: https://www.nowness.com/story/gregory-crewdson-beginnings [Accessed 2 May 2021].
O’Hagan, S. (2017). Cue mist! Gregory Crewdson, the photographer with a cast, a crew and a movie-sized budget. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2017/jun/20/gregory-crewdson-photographer-cathedral-of-the-pines-appalachians [Accessed 2 May 2021].
Weingart, K. (2016). An Interview with Gregory Crewdson. [online] petapixel.com. Available at: https://petapixel.com/2016/05/18/interview-gregory-crewdson/ [Accessed 2 May 2021].
www.artsy.net. (n.d.). Gregory Crewdson - 27 Artworks, Bio & Shows on Artsy. [online] Available at: https://www.artsy.net/artist/gregory-crewdson/works-for-sale?sort=year [Accessed 2 May 2021].