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Gregory Crewdson

Gregory Crewdson, Red Star Express, 2018–19 Digital pigment print, image: 50 × 88 ⅞ inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm), edition of 4 + 2 AP© Gregory Crewdson

Gregory Crewdson, Red Star Express, 2018–19

Digital pigment print, image: 50 × 88 ⅞ inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm), edition of 4 + 2 AP
© Gregory Crewdson

Gregory Crewdson, The Cobra, 2018–19 Digital pigment print, image: 50 × 88 ⅞ inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm), edition of 4 + 2 AP© Gregory Crewdson

Gregory Crewdson, The Cobra, 2018–19

Digital pigment print, image: 50 × 88 ⅞ inches (127 × 225.7 cm), framed: 57 × 96 × 2 inches (144.8 × 243.8 × 5.1 cm), edition of 4 + 2 AP
© Gregory Crewdson

Gregory Crewdson, The Pickup Truck, 2014 Digital pigment print, image: 37 ½ × 50 inches (95.3 × 127 cm), framed: 45 ⅛ × 57 ⅝ inches (114.5 × 146.2 cm), edition of 3 + 2 AP© Gregory Crewdson

Gregory Crewdson, The Pickup Truck, 2014

Digital pigment print, image: 37 ½ × 50 inches (95.3 × 127 cm), framed: 45 ⅛ × 57 ⅝ inches (114.5 × 146.2 cm), edition of 3 + 2 AP
© Gregory Crewdson

Gregory Crewdson, The Basement, 2014 Digital pigment print, image: 37 ½ × 50 inches (95.3 × 127 cm), framed: 45 ⅛ × 57 ⅝ inches (114.5 × 146.2 cm), edition of 3 + 2 AP© Gregory Crewdson

Gregory Crewdson, The Basement, 2014

Digital pigment print, image: 37 ½ × 50 inches (95.3 × 127 cm), framed: 45 ⅛ × 57 ⅝ inches (114.5 × 146.2 cm), edition of 3 + 2 AP
© Gregory Crewdson

Gregory Crewdson, The Haircut, 2014 Digital pigment print, image: 37 ½ × 50 inches (95.3 × 127 cm), framed: 45 ⅛ × 57 ⅝ inches (114.5 × 146.2 cm), edition of 3 + 2 AP© Gregory Crewdson

Gregory Crewdson, The Haircut, 2014

Digital pigment print, image: 37 ½ × 50 inches (95.3 × 127 cm), framed: 45 ⅛ × 57 ⅝ inches (114.5 × 146.2 cm), edition of 3 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled (21), 2009 Digital chromogenic print, image: 22 × 28 inches (55.9 × 71.1 cm), framed: 28 ½ × 35 ¼ inches (72.4 × 89.5 cm), edition of 6 + 2 AP© Gregory Crewdson

Gregory Crewdson, Untitled (21), 2009

Digital chromogenic print, image: 22 × 28 inches (55.9 × 71.1 cm), framed: 28 ½ × 35 ¼ inches (72.4 × 89.5 cm), edition of 6 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 2006 Digital pigment print, image: 57 × 88 inches (144.8 × 223.5 cm), framed: 64 ¼ × 94 ¼ inches (163.2 × 239.4 cm), edition of 6 + 2 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 2006

Digital pigment print, image: 57 × 88 inches (144.8 × 223.5 cm), framed: 64 ¼ × 94 ¼ inches (163.2 × 239.4 cm), edition of 6 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 2006 Digital pigment print, image: 57 × 88 inches (144.8 × 223.5 cm), framed: 64 ¼ × 94 ¼ inches (163.2 × 239.4 cm), edition of 6 + 2 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 2006

Digital pigment print, image: 57 × 88 inches (144.8 × 223.5 cm), framed: 64 ¼ × 94 ¼ inches (163.2 × 239.4 cm), edition of 6 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 2004 Digital pigment print, image: 57 × 88 inches (144.8 × 223.5 cm), framed: 64 ¼ × 94 ¼ inches (163.2 × 239.4 cm), edition of 6 + 2 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 2004

Digital pigment print, image: 57 × 88 inches (144.8 × 223.5 cm), framed: 64 ¼ × 94 ¼ inches (163.2 × 239.4 cm), edition of 6 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 1998–2002 Digital chromogenic print, image: 48 × 60 inches (121.9 × 152.4 cm), framed: 53 ¼ × 65 ⅜ inches (135.3 × 166.1 cm), edition of 10 + 3 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 1998–2002

Digital chromogenic print, image: 48 × 60 inches (121.9 × 152.4 cm), framed: 53 ¼ × 65 ⅜ inches (135.3 × 166.1 cm), edition of 10 + 3 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 1998–2002 Digital chromogenic print, image: 48 × 60 inches (121.9 × 152.4 cm), framed: 53 ¼ × 65 ⅜ inches (135.3 × 166.1 cm), edition of 10 + 3 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 1998–2002

Digital chromogenic print, image: 48 × 60 inches (121.9 × 152.4 cm), framed: 53 ¼ × 65 ⅜ inches (135.3 × 166.1 cm), edition of 10 + 3 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 1998–2002 Digital chromogenic print, image: 48 × 60 inches (121.9 × 152.4 cm), framed: 53 ¼ × 65 ⅜ inches (135.3 × 166.1 cm), edition of 10 + 3 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 1998–2002

Digital chromogenic print, image: 48 × 60 inches (121.9 × 152.4 cm), framed: 53 ¼ × 65 ⅜ inches (135.3 × 166.1 cm), edition of 10 + 3 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 1996–97 Gelatin silver print, 20 × 24 inches (50.8 × 61 cm), edition of 6 + 2 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 1996–97

Gelatin silver print, 20 × 24 inches (50.8 × 61 cm), edition of 6 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 1996–97 Gelatin silver print, 20 × 24 inches (50.8 × 61 cm), edition of 6 + 2 AP© Gregory Crewdson

Gregory Crewdson, Untitled, 1996–97

Gelatin silver print, 20 × 24 inches (50.8 × 61 cm), edition of 6 + 2 AP
© Gregory Crewdson

Gregory Crewdson, Untitled (14-35), 1996 Gelatin silver print, image: 6 ⅜ × 9 ⅝ inches (16.2 × 24.4 cm), framed: 13 ⅜ × 16 ⅞ inches (34 × 42.9 cm), edition of 1 + 1 AP© Gregory Crewdson

Gregory Crewdson, Untitled (14-35), 1996

Gelatin silver print, image: 6 ⅜ × 9 ⅝ inches (16.2 × 24.4 cm), framed: 13 ⅜ × 16 ⅞ inches (34 × 42.9 cm), edition of 1 + 1 AP
© Gregory Crewdson

Gregory Crewdson, Untitled (51-35), 1996 Gelatin silver print, image: 6 ⅜ × 9 ⅝ inches (16.2 × 24.4 cm), framed: 13 ⅜ × 16 ⅞ inches (34 × 42.9 cm), edition of 1 + 1 AP© Gregory Crewdson

Gregory Crewdson, Untitled (51-35), 1996

Gelatin silver print, image: 6 ⅜ × 9 ⅝ inches (16.2 × 24.4 cm), framed: 13 ⅜ × 16 ⅞ inches (34 × 42.9 cm), edition of 1 + 1 AP
© Gregory Crewdson

Gregory Crewdson, Untitled, 1992–97 Chromogenic print, image: 28 × 36 inches (71.1 × 91.4 cm), framed: 35 ⅛ × 43 inches (89.2 × 109.2 cm)© Gregory Crewdson

Gregory Crewdson, Untitled, 1992–97

Chromogenic print, image: 28 × 36 inches (71.1 × 91.4 cm), framed: 35 ⅛ × 43 inches (89.2 × 109.2 cm)
© Gregory Crewdson

Gregory Crewdson, Untitled, 1992–97 Chromogenic print, image: 28 × 36 inches (71.1 × 91.4 cm), framed: 35 ⅛ × 43 inches (89.2 × 109.2 cm)© Gregory Crewdson

Gregory Crewdson, Untitled, 1992–97

Chromogenic print, image: 28 × 36 inches (71.1 × 91.4 cm), framed: 35 ⅛ × 43 inches (89.2 × 109.2 cm)
© Gregory Crewdson

About

What I am interested in is that moment of transcendence, where one is transported into another place, into a perfect, still world.
—Gregory Crewdson

Gregory Crewdson’s photographs have entered the American visual lexicon, taking their place alongside the paintings of Edward Hopper and the films of Alfred Hitchcock and David Lynch as indelible evocations of a silent psychological interzone between the everyday and the uncanny. Often working with a large team, Crewdson typically plans each image with meticulous attention to detail, orchestrating light, color, and production design to conjure dreamlike scenes infused with mystery and suspense. While the small-town settings of many of Crewdson’s images are broadly familiar, he is careful to avoid signifiers of identifiable sites and moments, establishing a world outside time.

Born in Brooklyn, New York, Crewdson is a graduate of SUNY Purchase and the Yale University School of Art, where he is now director of graduate studies in photography. He lives and works in New York and Massachusetts. In a career spanning more than three decades, he has produced a succession of widely acclaimed bodies of work, from Natural Wonder (1992–97) to Cathedral of the Pines (2013–14). Beneath the Roses (2003–08), a series of pictures that took nearly ten years to complete—and which employed a crew of more than one hundred people—was the subject of the 2012 feature documentary Gregory Crewdson: Brief Encounters, by Ben Shapiro.

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Gregory Crewdson

Photo: Juliane Hiam © Crewdson Studio

Fairs, Events & Announcements

Still from “Yale Photo Pop Up Lecture Series presents Jeff Wall”

Lecture Series

Gregory Crewdson
2021 Yale Photo Pop Up Lecture Series

The Yale Photo Pop Up Lecture Series has returned for a second year. The series was started in 2020 by Gregory Crewdson, director of graduate studies in photography at the Yale School of Art, as a response to the shift to online learning. The biweekly talks feature a wide range of guest speakers, including leading figures of contemporary film and photography, announced twenty-four hours in advance of the event. In each half-hour session, Crewdson asks the guest questions about artistic practice and the anticipation of an end to the pandemic crisis. The series is free and open to the public. Space is limited and will be granted on a first-come, first-served basis.

To find out about upcoming lectures, follow @yalephoto or @crewdsonstudio on Instagram.

Still from “Yale Photo Pop Up Lecture Series presents Jeff Wall”

Still from “Yale Photo Pop Up Lecture Series: Tilda Swinton”

Lecture Series

Gregory Crewdson
2020 Yale Photo Pop Up Lecture Series

Gregory Crewdson, director of graduate studies in photography at the Yale School of Artis opening his 2020 MFA Photography Pop Up Lecture Series to the public while the Yale campus goes online, hosting twenty-eight question-and-answer sessions with leading figures of contemporary film and photography on Zoom. Featuring a wide range of guest speakers including William Eggleston, Spike Jonze, Tilda Swinton, and Kara Walker, the series opens up a conversation about how to find artistic inspiration in this moment of great change. To watch previous talks, visit www.art.yale.edu.

Still from “Yale Photo Pop Up Lecture Series: Tilda Swinton”

Dress from Namacheko’s Autumn/Winter 2020 collection featuring an image from Gregory Crewdson’s Hover series

Design

Namacheko and Gregory Crewdson
AW20 Collection

Belgian fashion label Namacheko is launching a new collection inspired by and featuring Gregory Crewdson’s photographs. The garments were shown for the first time at Namacheko’s fall 2020 runway show in January at Espace Niemeyer, the French Communist Party headquarters in Paris, designed by Oscar Niemeyer. The clothing will be available later this year at select retailers, including the Gagosian Shop.

Dress from Namacheko’s Autumn/Winter 2020 collection featuring an image from Gregory Crewdson’s Hover series

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Museum Exhibitions

Gregory Crewdson, Untitled, 2002 © Gregory Crewdson

On View

Gregory Crewdson in
Chegar à boca da noite

Through August 28, 2022
Centro de Arte Contemporânea de Coimbra, Portugal
www.coimbra.pt

This exhibition, whose title translates to Arriving in the Middle of the Night, is organized in conjunction with Anozero, the Coimbra Contemporary Art Biennial, whose theme is “midnight.” The works on view are marked by a twilight ambience, reflecting the period of time that the Portuguese poet Camilo Pessanha referred to as “this vague suffering from the end of the day.” Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 2002 © Gregory Crewdson

Gregory Crewdson, Untitled, 2001–02 © Gregory Crewdson

On View

Photographing the Fantastic

Through September 2022
NSU Art Museum, Nova Southeastern University, Fort Lauderdale, Florida
nsuartmuseum.org

Photographing the Fantastic explores photographs of magical moments, the uncanny, and the wondrous, drawn from the extensive photography collection of the NSU Art Museum, Nova Southeastern University, Fort Lauderdale, Florida. Work by Gregory Crewdson and Vera Lutter is included.

Gregory Crewdson, Untitled, 2001–02 © Gregory Crewdson

Taryn Simon, Ronald Jones; Scene of the arrest, South Side, Chicago, Illinois; Served 8 years of a Death sentence for Murder and Rape, from the series The Innocents, 2002 © Taryn Simon

Closed

True Pictures?
Zeitgenössische Fotografie aus Kanada und den USA

March 12–June 26, 2022
Museum der Moderne Salzburg, Austria
www.museumdermoderne.at

This group exhibition, whose subtitle translates to Contemporary Photography from Canada and the USA, presents work by more than thirty North American artists spanning three generations whose photography is informed by our digital age—both through their employment of digital technologies and in terms of their engagement with the “flood of images” that defines visual culture of the twenty-first century. This exhibition has traveled from the Sprengel Museum Hannover, Germany. Work by Gregory CrewdsonTaryn Simon, and Jeff Wall is included. 

Taryn Simon, Ronald Jones; Scene of the arrest, South Side, Chicago, Illinois; Served 8 years of a Death sentence for Murder and Rape, from the series The Innocents, 2002 © Taryn Simon

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Closed

Gregory Crewdson in
The Light Fantastic

January 29–May 30, 2022
Crystal Bridges Museum of American Art, Bentonville, Arkansas
crystalbridges.org

In The Light Fantastic, works by twenty-seven artists from the nineteenth century to today are displayed alongside one another as a meditation on light—a form of energy that shapes how artists and viewers alike understand color, volume, and composition. In addition to considering works in painting, sculpture, printmaking, and photography, viewers have the opportunity to discover how local community members use light in their own art making and to consider how the lighting of the gallery affects perceptions of the exhibition. Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

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Press

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