Gagosian Gallery

White Cube (Gallery)

Gregory Crewdson

Luhring Augustine (Gallery)

Beneath the Roses

Russell Banks

Werke 2003 - 2007

Beneath the roses

In the summer of 1996, Gregory Crewdson spent two solitary months at his family's cabin in Becket, Massachusetts. Using both small- and medium-format cameras, he obsessively photographed the fireflies that came alive at dusk each evening. Crewdson was drawn to the flickering lights, in part, by the underlying impossibility of capturing their elusive beauty in pictures. This luxurious volume, featuring 61 full-page tritone reproductions, calls to mind many of the hallmarks of Crewdson's oeuvre, from the sense of wonder in the nocturnal landscape, to the focus on light as a narrative event, to the fascination with nature as a psychological mystery. Although consistent in terms of their subject matter, these photographs demonstrate a wide scope of visual expression ranging from almost pure abstraction to more idyllic representations of the natural landscape.

Gregory Crewdson Fireflies

Jonathan Lethem

Melissa Harris

Nancy Spector

A comprehensive survey of the work of one of America's best-known photographers. Renowned for his melancholic, dramatic and painterly images of small-town America, Gregory Crewdson has evolved over a nearly thirty-year career into one of the world's most acclaimed photographers.

Daniel Gordon

“A straight photograph is an exact representation of a segment of space and time circumscribed by the physical and optical limitations of the medium. So, although the representation is exact, because of the circumscription, it is also a visual fiction. Daniel Gordon explores this boundary with inventiveness, playfulness, and physical stamina.” —Stephen Shore “The artist’s short, gravity-killed glides are real, though his fantastical pictures suggest that computer-based trickery might have been used.” —The Dallas Morning News “On a fundamental level, the art of photography is about the miracle, and how to make the ordinary extraordinary. These pictures do that in it’s purest form. They capture suspended moments, perfectly situated between transcendence and doom.” —Gregory Crewdson Between 2001 and 2004, on the snowy fields in New York’s Hudson Valley and the rocky coasts of the Bay Area in Northern California, photographer Daniel Gordon learned to fly—if only for 1/125 of a second. Using a camera mounted on a tripod, Gordon frames his picture. He then runs out onto the landscape and launches himself into the air, while an assistant snaps the shutter. The images in Flying Pictures are at once pastoral landscapes and documents of a performance. Only after considering them for a while, does the thought occur that their fleeting bliss was swiftly met with physical doom—a crash back to Earth. Such a journey requires great humility as well as hubris, and a will to achieve the impossible if only for a moment. The project began at a time when digital technology was changing the role that truth has historically played in the media of film and photography. The ease with which one could now alter an image with Photoshop created a new sense of paranoia concerning the veracity of photographs. Flying Pictures’ unbelievable, unaltered images reveal that there never was just one truth in photography.

Flying Pictures

Anthony O. Scott

Summary: While visiting Rome, world-renowned photographer Gregory Crewdson was invited to tour the legendary Italian film studio Cinecittà, where directors such as Federico Fellini and Roberto Rossellini shot their iconic works. He found the elaborate film sets had fallen into ruin and was captivated by their decaying beauty. He knew immediately that he had found his next project. While Crewdson's earlier series were enormously elaborate and required massive production crews, custom-built sound stages, and hired actors, he returned to Rome with only a small team and worked mostly with available lighting to create haunting black-and-white portraits of crumbling façades and deserted streets. However, all this does not really indicate a break with his earlier series, for the dramatic subtext so often found in his photographs, the uncanny feeling that they bring the past back to life, remains.

Sanctuary

Craig Burnett

Overzicht van het werk van de Amerikaanse fotograaf (1962) met als decor het Amerikaanse suburbia waarin de wereld als cinematografische droom wordt weergegeven.

Gregory Crewdson

About

Books

Join the club