In this research post, I will be discussing the work of Gregory Crewdson and his methodology and contrast this with my own working method. I will begin by examining the image below and others, from the Twilight Series (1998-2002) and the methods that Crewdson employs to capture these set up, highly stylised images that Crewdson creates. Crewdson's photographs in this series are; 'eerie photographs of suburbia at dusk require set-ups as elaborate as a film shoot.' (Helmore, 2006) Crewdson's sets and crew are expensive, the sets are made from scratch whole streets have been blocked off for the time of the shoot, every detail is considered just as in a film set. The images in this series are exposing suburbia and the strange nature of its inhabitants. In this image a man is seen scrubbing a floor and he is illuminated by strange tunnels of light coming from above, are these bullet holes from a shotgun? Is he cleaning up blood? Why can we see the wardrobe of clothes behind him and what is the significance? Crewdson states that; 'I'm not really that interested in the before or after. I want the story to remain unresolved' (Helmore, 2006). Perhaps this is why audiences enjoy this work as the image can lead you anywhere to different stories, ideas and resolutions. In my own work, I do like the uncanny, the eerie, the strange but in a much more understated way, I also like the use of the set up image but I do think it is far more 'real' in that it tends to use familiar environments, the domestic and often myself rather than any model.
Untitled (2001) by Gregory Crewdson, Digital C Print
Crewdson's sets are like film sets and his use of light is beautifully orchestrated in each image. ight is the key in all photography however I do enjoy the happy accident, the light dancing and moving and overexposing is what can be interesting in an image. Photography is a lonely business, just you and the camera, Rena Silvereman states; 'Mr. Crewdson projects his own solitude in how he works. His three-part process — preproduction, production and postproduction — establishes his organizational removal. Photographing from a cherry picker, he removes himself from his subjects physically.' (Silverman, 2016). It is true that Crewdson's images ooze solitude but this idea that he is alone, does not really ring true when he has a whole crew to make his final image and although he may have placed himself above them all he is just the ringmaster and the final shot is at his discretion. This could be considered that he thinks himself to be God, the creator of these images which all photographers' are in a sense but there is a point where there is over-control of what is being made and when no mistakes are allowed, do we lose that creative spark?
In this second image the girl stands almost naked and cold in front of the car, the woman gets out with the shopping, is this her daughter? a stranger? The people in the image almost look unreal like statues, maybe the still image has gone too far? Avant Arte states; 'Much like a painting, the artist decides every detail. Crewdson's photographs call to mind a tableau by Edouard Manet. People, objects and phenomena coexist in meticulously arranged, quasi-candid moments. With each life-size diorama, he subverts the truth we expect from a camera.' (Avant Arte, 2023). It is true they are more like paintings, objects and people moved into place correctly so that the camera can mechanically record the scene - the made up scene (like a Tableaux). Avant Arte states that it subverts the truth of the camera - but this is a difficult statement as then we have to question what truth? the scene is obviously concocted and we know it is a fiction and the days where it was stated 'the camera never lies' are now long gone. Sharon from the Open College of the Arts argues that Crewdson's' images are vague and ambiguous to the point of having no meaning she also states; 'So what was Crewdson’s motivation behind this intensive process? He says his work is all about the blending of fact and fiction but I find it hard to see much of real life in his images. It seems to me his work is actually about fantasy and fiction, but that’s another matter. Who has seen a fully naked, pregnant woman standing in the middle of the street at the perfectly lit twilight? No? Me neither. So my question for you today is: Does it matter what the photographer’s intention is in creating meaningful photographic art?' (Sharon, 2012) clearly disagreeing with the artist about his work, I agree with Sharon that this is pure fiction there is no reality here, Crewdson expects the audience to 'fill in the gaps' to find meaning when perhaps the artist had none in the first place. What is clear is that Crewdson loves the process, the precision, the exacting light the hyperreal. These pictures often make me think of the emptiness of modern life, the world is a screen and we are now just reflections in that screen but we are not creating anything new or interesting.
The problem with these images is that they lack heart, I do not believe Crewdson is really bothered about his subject or theme, he is just God moving the parts to see what will become of them in his final imagery where they like Araki states 'are murdered'. My own work I believe comes entirely from the heart, wanting to express the inexpressible in ordinary life. In my own images I will present images that have meaning and soul. I also will enjoy the happy accident, the wrong light, the mistakes that make everything just that little bit more human.
References
Gagosian (2018). Gregory Crewdson: Twilight, Beverly Hills, June 29–August 3, 2002. [online] Gagosian. Available at: https://gagosian.com/exhibitions/2002/gregory-crewdson-twilight/ [Accessed 18 Nov. 2024].
Avant Arte (2023). Gregory Crewdson’s Twilight: 25 Years on. [online] avantarte.com. Available at: https://avantarte.com/insights/articles/gregory-crewdson-25-years-of-twilight [Accessed 18 Nov. 2024].
Helmore, E. (2006). Gregory Crewdson, Twilight: Photography in the Magic Hour, V&A, London. The Guardian. [online] 4 Oct. Available at: https://www.theguardian.com/artanddesign/2006/oct/04/photography [Accessed 18 Nov. 2024].
Silverman, R. (2016). Alone, in a Crowd, With Gregory Crewdson. [online] Lens Blog. Available at: https://archive.nytimes.com/lens.blogs.nytimes.com/2016/01/25/alone-in-a-crowd-with-gregory-crewdson/ [Accessed 18 Nov. 2024].
Sharon (2012). Is it a case of style over substance in cinematic photography? [online] The Open College of the Arts. Available at: https://www.oca.ac.uk/weareoca/photography/gregory-crewdson-phillip-lorca-dicorcia-style-or-substance-in-cinematic-photography/ [Accessed 18 Nov. 2024].
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