Twilight: Photographs by Gregory Crewdson

Product Information

Even the staged moments themselves are not quite climactic – instead suggesting pause, transition or aftermath. The second print centres on a woman staring out to the world through a circle drawn in the dust on her window. In particular, David Lynch’s work Blue Velvet 1 was of particular interest to him having encountered it during his studies at Yale. In Crewdson’s suburban re-working of the well-known Ophelia myth, a young woman floats calmly on the mirror-like surface of her flooded living room, her frozen impassivity reflective of all the characters in this series. Editor’s note: The text accompanying this post was written by Juliane Hiam, Gregory’s partner and creative producer, based on conversations and input from Gregory.

It was deep in the forests of Becket, Massachusetts, that I finally felt darkness lift, experienced a reconnection with my artistic process, and moved into a period of renewal and intense creative productivity. As opposed to the way we work now on our productions, everything was improvised and very little was planned. Gregory Crewdson - Twilight series, by churchwood on Nov 16, 2023 16:46:03 GMT 1, I got given Twilight in hardback a few years ago - the amount of work that goes into each picture is immense. I was trying to invent a new way of making pictures, and I found the sense of infinite possibility slightly intoxicating.We provide our members the opportunity to sell their artworks through our Private Sales section and so reach out to an extended audience of art collectors world wide. In celebration of the 25th Anniversary of the series, Fellowship created this short documentary, in which Gregory takes a look back. Born in Brooklyn in 1962, Crewdson’s work and aesthetic are influenced heavily by Diane Arbus, David Lynch, and Japanese silent film director Yasujiro Ozu. Gregory Crewdson - Twilight series, by floubi on Nov 18, 2023 1:00:34 GMT 1, Lucky you had the opportunity to see the entire serie ! Some of the photos are so surreal they almost look like hyper real paintings rather than a set and staged photo.

That contradiction between the abundance of details and lack of information is why his storytelling is so interesting, over and over again. Suburbia sits at the boundary between the natural world and the city; ambiguous, un-modern objects and cars shirk straightforward associations; windows and thresholds become focal points as portals between public and private space; paranormal (or seemingly so) occurrences soften the edges of reality; the 'magic hour' of twilight marries natural and artificial illumination with a promise of darkness to come. Twilight was the first time I attempted to make photographs with cinematic lighting and a production team.

Using improvised line and dot to portray familiar skylines and dazzling city lights, Yoon Hyup’s freehand acrylic marks align spontaneously with the rhythm of New York. It can also be said that the large-scale 40 tableaux were also developed to explore the relationship between the domestic and the made-up, as well as the relationship between the topography of the imagination and that of the American landscape. They have a certain visual quality that works well in pictures, but I also like them in terms of what they signify in our lives and the ways we think.

The book includes 40 untitled photographs (plates) which are all seemingly shot at 'Twilight' which he says is an evocative time for the 'movement of transition between before and after' which is what the shots are about. This collision between the normal and the paranormal produces a tension that serves to transform the topology of the suburban landscape into a place of wonder and anxiety.

A small part of me, maybe the working class, northern 'neigh lass what d'yer want to look at stuff like that fer' wants to fight against it and questions whether it is a little pretentious, but that is a very small, minuscule part of me and one which, for many years in the quest of my creativity, I have had to strongly fight against.

The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. With Twilight, a series of 40 elaborately-staged photographs taken between 1998 and 2002, Gregory Crewdson arrived at the epic, filmic approach which has come to define his instantly recognisable images. I looked at his work a million times trying to figure out the lighting and why it looks so beautiful. Crewdson's most recent series of photographs, Twilight, are created as elaborately constructed film stills, catching the mysterious moment of time between before and after, revealing unknowable or unimaginable aspects of domestic reality.Gagosian Gallery is pleased to announce an exhibition of twenty new photographs by Gregory Crewdson. Moody's essay reveals as much as it withholds, suggesting the ways that life and memory can be points of entry into art.