Crewdson gregory biography samples
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In tandem with his first-ever retrospective at the Albertina, a new book pairs the prolific photographer’s work with writings from directors David Fincher and Matthieu Orléan, and novelist Emily St. John Mandel, among others.
Maggie Coughlan
August 7, 2024
Vanity Fair
“I’ve always said that I think every artist has one central story to tell,” photographer Gregory Crewdson says on a call from Great Barrington, Massachusetts, where he lives and works. “And they circle around that story, over and over again, over a lifetime, reinventing aspects of it and challenging others and trying to push things forward. But at the core of it, it’s like the central preoccupations remain fixed.”
The concept is particularly timely for the photographer, who for the past three-and-a-half decades has been constructing gripping images that call to mind film stills, as his first-ever retrospective opened in May at the Albertina in Vienna. Later this month, the eponymous exhibition takes new form with the release of Gregory Crewdson, its 280-page catalogue edited by the Albertina’s chief curator of photography Walter Moser and published by Prestel. The book features more than 300 photographs and production stills that examine the complexities of American suburbia, be it through some
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Crewdson Trail Log
In 2002, I made a portfolio of 12 images called Dream House. It was originally printed in the New York Times Magazine, conceived and published in collaboration with the Magazine’s esteemed Director of Photography Kathy Ryan. Dream House was a unique project, in that it was and still is the only editorial commission I’ve done, and the only time I’ve featured well-known and recognizable actors in pictures in an overt and conscious way. The making of these pictures was a labor of love, and is a fond memory.
This is the second in a series of posts dedicated to the 20th Anniversary of this body of work.
AS ANYONE who has ever read about our pre-production process knows, we go to great lengths to plan every tiny detail for each picture before we ever get on set. There are meetings, consults, written descriptions, fabric samples, sketches, location pictures, lighting tests, and studies. But inevitably, despite all those efforts, there are always things that arise that are outside of our control. Part of what makes being in production exciting, in fact, is the way circumstance forces you to be in the moment, make quick decisions, switch directions if necessary, or pull the plug altogether on a picture if for whatever reason i
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Timestamp: Sun, 23 Feb 2025 03:21:33 UTC