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Sanctuaryby Gregory Crewdson
Synopses & Reviews
Although these series illustrate distinct subject matter, they share Crewdsonand#8217;s unique preoccupations and compelling aesthetic. and#8220;Firefliesand#8221; is the result of two solitary summer months spent photographing the fireflies that came alive at dusk each evening. and#8220;Beneath the Rosesand#8221; depicts the homes, streets, and forests of unnamed small towns, revealing emotionally charged moments in the lives of seemingly ordinary individuals. In and#8220;Sanctuary,and#8221; haunting images of the legendary Italian film studio Cinecittand#224; capture the beauty of the decaying film sets. Texts from curators of the exhibition and Crewdson himself offer fresh insight and examine the parallels between these seemingly disparate subjects.
Celebrating some of the artistand#8217;s greatest work, this volume is a must-have for any Crewdson fan and the perfect introduction to those discovering him for the first time.
Praise for Gregory Crewdson: In a Lonely Place:
and#8220;Whether one is exploring Crewdsonand#8217;s work for the first time, or revisiting his images, text from both the artist himself and the curators involved gives the reader a personal interaction with Crewdson that illustrates his passion for capturing the lives of others.and#8221;
"In these 40 black-and-white photographs, Crewdson (Beneath the Roses) travels to Rome's CinecittÃ studio, home to some of the most famous works of Italian cinema. While Crewdson emphasizes the artificiality of a film set (and the photographic medium itself) by portraying the CinecittÃ as a composition of gray tonalities, he also suggests the possibility of movement and life, and teases us with nonsensical elements that prevent the sequence from forming a coherent narrative: a small set of stairs leads to nowhere, dull light casts shadows through a distant doorway, and Roman architecture stands next to modern scaffolding. As film critic A.O. Scott notes in his lyrical preface, Crewdson--like the discontinuous world of the unconscious--gives us 'the sense that what we are looking at is both actual and illusory.' Unlike Crewdson's previous work, those color-saturated shots like film stills, this collection addresses the dream world of film in a historically significant setting, but the relationship with the viewer remains intimate, as he or she becomes 'the solitary walker tiptoeing through secret places and dreaming fragmentary epics.' (Sept.)" Publishers Weekly (Copyright PWyxz LLC)
Catalog of an exhibition held at Gagosian Gallery Madison, New York, Sept. 23-Oct. 30, 2010.
Best known for his elaborately choreographed, large-scale photographs, Gregory Crewdson is one of the most exciting and important artists working today. The images that comprise Crewdsonand#8217;s new series, and#147;Beneath the Roses,and#8221; take place in the homes, streets, and forests of unnamed small towns. The photographs portray emotionally charged moments of seemingly ordinary individuals caught in ambiguous and often disquieting circumstances. Both epic in scale and intimate in scope, these visually breathtaking photographs blur the distinctions between cinema and photography, reality and fantasy, what has happened and what is to come.
Beneath the Roses features an essay by acclaimed fiction writer Russell Banks, as well as many never-before-seen photographs, including production stills, lighting charts, sketches, and architectural plans, that serve as a window into Crewdsonand#8217;s working process. The book is published to coincide with exhibitions in New York, London, and Los Angeles.
While visiting Rome, world-renowned photographer Gregory Crewdson was invited to tour the legendary film studio Cinecittand#224;, where directors such as Federico Fellini and Roberto Rossellini shot their iconic works. He found the elaborate film sets fallen into ruin and, captivated by their beauty, chose them as the subject of his next body of work. Although his earlier series were characterized by large production crews, custom-built soundstages, and hired actors, Crewdson returned to Rome with only a small team to create the haunting black-and-white portraits of deteriorating buildings and deserted streets that are flawlessly reproduced in this book. Admirers of Crewdsonand#8217;s work will find these new photographs are a bold departure, which yet convey the dramatic subtext and charged emotions that characterize his earlier works.
About the Author
Gregory Crewdson is an internationally exhibited artist whose previous books with Abrams include Beneath the Roses and Twilight. He teaches at the Yale University School of Art and lives in New York City.
A. O. Scott has been a film critic for the New York Times since 2000 and began his tenure as cohost of the television program At the Movies in 2009.
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