Wednesday, October 27, 2010
NEW ARRIVALS: Two by Gregory Crewdson
Gregory Crewdson 1985-2005
"Gregory Crewdson's photographic series capture a particularly American state of normalcy--in dissolution. The viewer, at first seduced by what appears to be an idyllic scene, soon discovers subtle off-kilter elements more akin to Film Noir than an NBC comedy. In a work from his Twilight series, yellow school buses are parked outside white wooden houses, and students stand and lounge around in seeming passivity. Something is happening--what, we don't know. The vision is familiar yet unfamiliar, seemingly benign yet threatening. Crewdson goes to great lengths in dramatizing his disturbing suburban scenes, employing elaborate lighting, cranes, props and extras, espousing a level of behind-the-scenes preparation more akin to the making of a Hollywood movie than the making of a still image. Here perhaps is one place to locate the eerie unreality and narrativity of his pictures, the creepy attention to detail so out of place, in the ordinary settings he evokes. Middle-class reality meets the other side of the normal here--by way of Sigmund Freud."
Beneath The Roses
"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.
In Beneath the Roses, anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios. In one image a lone and pregnant woman stands on a wet street corner just before dawn, a small but portentous still point in a world of trajectories. On a stormy night in another nondescript town, a man in a business suit stands beside his car, holding out a hand to the cleansing rain in apparent mystification. In a plush bedroom, a man and a woman – prototypes of middle-class American dislocation – are visited by a songbird, who gazes at the woman from its perch on the vanity unit. Crewdson's scenes are tangibly atmospheric, visually alluring and often deeply disquieting. Never anchored precisely in time or place, these and the other narratives of Beneath the Roses are rather located in the dystopic landscape of the anxious American imagination ." -White Cube
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