This new body of photographs concludes Crewdson’s Beneath the Roses series. The full series was published in a book by Abrams, with an essay by Russell Banks, in conjunction with the exhibition. Dream House, Galerie Daniel Templon, Paris, France 2003 Gregory Crewdson. Dream House, John Berggruen Gallery, San Francisco, USA (solo) Crewdson was born in the Park Slope neighborhood of Brooklyn, New York. As a child, he attended Brooklyn Friends School, and then John Dewey High School. We Love Painting, The American Contempororay Art from Misumi Collection, Museum of Contemporary Art, Tokyo, Japan 2002 New Work 6: Gregory Crewdson, Twilight, Aspen Art Museum, Aspen, USA (solo)

He explores the space where fiction and reality meet. Just as we have seen in horror movies in recent years - Hereditary, Midsommar and especially It follows, which must be inspired by Crewdsons work. Another way in which Crewdson’s pictures are unlike movies is that, while they mimic their look, they are tableaux rather than screenshots; they make no attempt to look like they’re taken from a larger narrative. It’s less as if you took a single frame from a movie and more as if you stopped time, as if the single moment could have lasted minutes or hours. Everyone is static. There is no movement to speak of; the actors, especially those far from the camera, might as well have been realistic dolls. This is part of what I miss in Crewdson’s pictures: a sense of life. I want the characters to live. I’m ok with getting to see only a single instant, in fact I like it that way, but I want that instant to feel as if it’s part of life, not as if it’s part of a museum installation. I want staged photography that looks slightly more like real life; I’m ok with artificial lighting, weird expressions, contrived situations, to a certain extent, but I’d love to see some movement, some signs of life. The emotional power of these pictures would quadruple easily, I think, with just a little hint that the moment before and the moment after the shutter was fired wasn’t perfectly identical with the moment captured. This show opened concurrently with exhibitions at Luhring Augustine, New York and Gagosian Gallery in Beverly Hills, CA. A mid-career survey of Crewdson's work opened at the Kunstverein Hannover in September 2005 and travelled to Landesgalerie Linz, Austria; the Kaiser-Wilhelm-Museum Krefeld, Germany; and the Fotomuseum Winterthur, Switzerland.In the human figures produced in the early work phase in the late 1960s, Hanson responded to the sociopolitical tension and protest movements of the day. He created sculptures and ensembles that very directly take issue with social hardship, violence, or racism, and he took a stand for the victims of this system, for the people who never had a chance to successfully face the demands made by life.

Exhibition: ‘Gerhard Richter. Overpainted Photographs’ Gerhard Richter Archive at Albertinum at the Staatliche KunstsammlungenDresden There’s no doubt that most of the pictures contain, or even are, beauty. Some of them, if not all, do leave me feeling cold, impressed by technical mastery, maybe even pleased at the color combinations in the same way one might be about an abstract smattering of colors on canvas, but in the end, they’re more demonstrations than emotional works of art. Like the old paintings they recall, there is simply too much of some things and too little of the right things, the things that create emotional reactions. It’s beautiful, and getting lost in the details is wonderful, but look at Edward Hopper’s painting above, which you’ve probably seen before: the economy of it is astonishing. Hopper achieves so much with a few strokes; in comparison — and it is an unfair comparison — Crewdson wastes hundreds of megapixels worth of resolution without creating the same emotional connection.O'Hagan, Sean (June 20, 2017). "Cue mist! Gregory Crewdson, the photographer with a cast, a crew and a movie-sized budget". The Guardian. London . Retrieved June 30, 2017. Famed photographer Gregory Crewdson will present the inaugural discussion in a series sponsored by the Photography Society of The Nelson-Atkins Museum of Art, Kansas City… Catsoulis, Jeannette (October 30, 2012). "Captured by a Camera, a Poetry of Lost and Missed Connections". The New York Times. ISSN 0362-4331 . Retrieved October 5, 2023.

Movie review: 'Gregory Crewdson: Brief Encounters' of art in progress". Los Angeles Times. March 8, 2013 . Retrieved October 5, 2023. A Thousand Hounds. A Walk with the Dogs Through the History of Photography, UBS PaineWebber Art Gallery, New York, USA Gregory Crewdson: Beneath the Roses, Luhring-Augustine Gallery, New York, 2005; [38] White Cube, London, 2005; [39] Gagosian Gallery, Beverly Hills, CA, 2005 (all three concurrently) [40] Gagosian is pleased to present Beneath the Roses, 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.This show will open concurrently with exhibitions at White Cube in London and Gagosian Gallery in Beverly Hills, California. A mid-career survey of Crewdson's work will open at the Kunstverein Hannover in September 2005 and will subsequently travel to Landesgalerie Linz, Austria; the Kaiser-Wilhelm-Museum Krefeld, Germany; and the Fotomuseum Winterthur, Switzerland. The last section of the book is made up of production stills, lighting plots, and Polaroid snaps documenting the location shoots. Smoke and fog and snow machines fill up the atmosphere and lighting reaches four stories into the air. Architectural plans and set drawings are included for the soundstage shots. Interestingly, the incidental actor on scene looks as heartbroken candid as posed.