Relevant bibliographies by topics / Gregory Crewdson

Academic literature on the topic 'Gregory Crewdson'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Gregory Crewdson"

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LANE, GUY. "BENEATH THE ROSES BY GREGORY CREWDSON AND RUSSELL BANKS." Art Book 16, no. 1 (February 2009): 66–67. http://dx.doi.org/10.1111/j.1467-8357.2009.01014_1.x.

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Garrison, John, and Philip Krejcarek. "Gregory Crewdson’s Twilight: Domesticity, Liminality, Sensuality." Photography and Culture 10, no. 3 (September 2, 2017): 233–46. http://dx.doi.org/10.1080/17514517.2017.1366689.

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Benyamin, Jasmine. ""Stuff": Gregory Crewdson's Gaze upon the Domestic Sublime." Thresholds 23 (January 2001): 64–67. http://dx.doi.org/10.1162/thld_a_00413.

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Vladova, Tania. "Gregory Crewdson. The Becket Pictures." Critique d’art, November 22, 2017. http://dx.doi.org/10.4000/critiquedart.27236.

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Genton, Bernard. "Art contemporain ou kitsch ? Les productions de Gregory Crewdson." Transatlantica, no. 2 (December 21, 2011). http://dx.doi.org/10.4000/transatlantica.5610.

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Beil, Ulrich Johannes. "Fotografie,aura, übertragung: von Walter Benjamin zu Thomas Struth, Gregory Crewdson und Carlos Goldgrub." Cadernos de Tradução, October 30, 2014, 50. http://dx.doi.org/10.5007/2175-7968.2014v3nespp50.

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Dissertations / Theses on the topic "Gregory Crewdson"

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Schwartz, Melissa A. "CONSTRUCTING THE REAL: THE NEW PHOTOGRAPHY OF CREWDSON, GURSKY AND WALL." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_theses/97.

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A new class of photographs that relies on digital processes, best exemplified by the works of Gregory Crewdson, Andreas Gursky and Jeff Wall all exhibit a ‘not quite right’ quality that calls into question some of the most closely held truisms of photographic thought. Through novel technological processes combined with the elements of the new photography—new scale, fabulist imagery, and implied narrative—these images challenge the nature of photography as a documentary process and, beyond that, the nature of what we understand to be ‘the real’ that is supposedly documented. A visual analysis of these images through the lens of Roland Barthes’ and Susan Stewart’s scholarship reveals truths about these images and about photography as a medium. What these elements, this ‘lack of rightness’, can tell us about photography and its position as documentary medium can help us better understand the nature of contemporary photography as a truly creative medium rather than a documentation of the real. These artists are engaging in a discourse of artifice, questioning the position of photographs as documents of how it was, revealing that not only is their work not a documentation of the world as it is, but that photography never was.
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Manzl, Maren [Verfasser]. "Intermedialität im Werk von Gregory Crewdson : Ein Bildkünstler im Kontext von Malerei, Film und Fotografie / Maren Manzl." Heidelberg : arthistoricum.net, 2020. http://d-nb.info/1215985576/34.

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Whitson, Catherine. "Haunted Spaces: Architecture and The Uncanny in the Work of Rachel Whiteread, Thomas Demand, and Gregory Crewdson." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498840.

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Hertz, Verena Verfasser], and Burcu [Akademischer Betreuer] [Dogramaci. "Die Peripherie des „Everyday America“ im Fokus zeitgenössischer, amerikanischer Photographen : Gregory Crewdson, Cindy Sherman, Stephen Shore, Taryn Simon, Alec Soth / Verena Hertz. Betreuer: Burcu Dogramaci." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2013. http://d-nb.info/1105373835/34.

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Astore, Mireille. "The Maternal Abject." University of Sydney. Sydney College of the Arts, 2002. http://hdl.handle.net/2123/500.

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Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.

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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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Maia, Paulo. "Bigger than life: melodramas domésticos: entre o cinema de Hollywood e o olhar fotográfico de Gregory Crewdson." Master's thesis, 2013. http://hdl.handle.net/10451/10134.

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Tese de mestrado, Estudos Comparatistas, Universidade de Lisboa, Faculdade de Letras, 2013
O ponto de partida deste exercício comparado reside na evidente afinidade entre o universo artístico recriado nas fotografias encenadas de Gregory Crewdson e o cinema melodramático de Hollywood, nomeadamente no que diz respeito à representação da casa e do ambiente doméstico norte-americano, como palco da expressão hiperbólica das emoções mais profundas. As diferenças práticas, teóricas e históricas entre fotografia e cinema levantam alguns problemas de comparação que, no contexto destes objectos de estudo, reclamam uma atenção especial sobre as teorias acerca do género melodramático nos estudos fílmicos e a sua transposição para a fotografia de Gregory Crewdson. Embora inserida nos paradigmas da arte contemporânea hiper-realista e confundindo-se muitas vezes com as práticas cinematográficas, a obra cénica de Gregory Crewdson surge de uma tradição inscrita na história da fotografia, desde os seus tempos mais remotos, para nos oferecer uma visão peculiar da América. A observação e a análise de algumas fotografias de Gregory Crewdson, neste contexto comparativo, acabam por revelar a riqueza estética e cultural da sua obra e oferecer algumas pistas para o que pode ser o ponto de partida para uma definição do melodrama
Abstract: The starting point of this comparative exercise lies on the clear affinity between the artistic universe recreated in Gregory Crewdson’s staged photographs and the melodramatic Hollywood film, particularly with regard to the representation of the house and the American domestic environment, as the stage of the hyperbolic expression of the deeper emotions. The practical, theoretical and historical differences between photography and film raise some problems of comparison which, in the context of these objects of study, require particular attention on the theories of the melodramatic genre in film studies and its transposition into the photographic work of Gregory Crewdson. Although included in the paradigms of hyper-realistic contemporary art and often confusing itself with cinematic practices, the scenic work of Gregory Crewdson comes from a tradition which is inscribed in the history of photography, since its earliest times, to offer us a peculiar vision of America. The observation and the analysis of some of Gregory Crewdson’s photographs, in this comparative context, ultimately reveal the cultural and aesthetic richness of his work and deliver some clues to what may be the starting point for a definition of contemporary melodrama.
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Gomes, Joana Filipa Almeida 1986. "Universos íntimos e histórias contadas." Master's thesis, 2011. http://hdl.handle.net/10451/7276.

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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011
A tese possui um DVD em anexo com um Video que apenas será visualizado na Biblioteca da FBAUL - cota: CDA87
A presente dissertação pretende, na sua vertente teórica, compreender um dos modos como na arte contemporânea se contam histórias, num modelo narrativo que tem presentes, em latência ou de forma expressa, a multiplicidade (de personagens, espaços, tempos ou médios), a ideia de doppelgänger e o unheimlich, enquanto elementos próprios da identidade humana inscrita na sociedade actual. Toma-se como ponto de partida um filme de Krzysztof Kieślowski (A dupla Vida de Veronique) que evidencia, antes do tempo, estes quatro traços. Os artistas plásticos estudados (Paula Rego, Michaёl Borremans, Anna Gaskell e Gregory Crewdson) surgem como percursos contemporâneos que partilham estas características e que também as correlacionam. Todos são contadores de histórias que se servem de médios diversos e os articulam. Todos exploram os limites entre o real e a fantasia potenciando o Unheimlish e sugerem histórias dentro de histórias ou alternativas e leituras possíveis. Todos, de forma mais ou menos explicita, incluem o duplo, nem que seja pelo facto de, no universo imagético que criaram, repetirem personagens ou protagonistas. O projecto artístico (componente prática da dissertação) consiste no desenvolvimento de uma narrativa que se apropria do argumento do filme A dupla vida de Veronique como matriz, centrando-se num protagonista duplicado. Pretende explorar, na história que conta, o Unheimlich através do cruzamento entre a realidade e a fantasia e utilizar a multiplicidade como fio condutor entre o processo artístico, o conteúdo temático e o diálogo entre as soluções plásticas. Assume-se, ainda, a pintura como um ecrã onírico onde se projecta, às vezes em sentido próprio, uma realidade ficcionada. O diálogo entre os médios reproduz, assim, o confronto entre a realidade e a fantasia dentro do universo plástico criado. Ambas as dimensões do estudo convocam a interdisciplinaridade: das áreas artísticas em confronto, dos médios utilizados e das perspectivas conceptuais relevantes
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Tsai, Ya-Ting, and 蔡雅婷. "Landscapes of Solitude in Gregory Crewdson's Staged Photography." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/78750411742584765614.

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碩士
國立臺北藝術大學
美術學系碩士班美術史組
102
American photographer Gregory Crewdson (b.1962) claimed that he wanted to explore the American psyche through the American vernacular landscape, much as the painter, Edward Hopper (1982-1967) did. Crewdsons’ subject matter and form were much affected by Hopper, as we can see in Twilight (1998-2002), Dream House (2002) and Beneath the Roses (2003-2008), those works give the audience feelings of solitude. The thesis aimed at discussing Crewdson staged photography from 90s’ onward, how those works express American psyche that’s different from the pass, and the association with solitude.
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Books on the topic "Gregory Crewdson"

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Crewdson, Gregory. Gregory Crewdson, 1985-2005. Ostfildern-Ruit: Hatje Cantz, 2005.

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Stephan, Berg, Hochleitner Martin, and Siegel Katy, eds. Gregory Crewdson, 1985-2005. Ostfildern-Ruit: Hatje Cantz, 2005.

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Crewdson, Gregory. Gregory Crewdson, 1985-2005. Edited by Berg Stephan, Hochleitner Martin, Siegel Katy, Kunstverein Hannover, Fotomuseum Winterthur, and Landesgalerie Linz. Ostfildern-Ruit: Hatje Cantz, 2005.

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Gregory Crewdson: Dream of life. [Spain]: Ediciones Universidad de Salamanca, 1999.

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Duane, Hanson, and Sammlung Frieder Burda (Museum), eds. Gregory Crewdson, Duane Hanson: Unheimliche Wirklichkeiten : Museum Frieder Burda, Baden-Baden, 27. November 2010 bis 6. März 2011 = Uncanny realities : November 27, 2010-March 6, 2011. Baden-Baden: Museum Frieder Burda, 2011.

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Stahel, Urs, and Martin Hochleitner. Gregory Crewdson. Hatje Cantz Publishers, 2005.

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Morrow, Bradford, Darcey Steinke, Luc Sante, and Gregory Crewdson. Gregory Crewdson Hover. Artspace Books, 1998.

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Crewdson, Gregory. Gregory Crewdson: Fireflies. Skarstedt Fine Art, 2007.

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Stephan, Berg, Kunstverein Hannover, Krefelder Kunstmuseen (Germany), Fotomuseum Winterthur, and Landesgalerie Lintz, eds. Gregory Crewdson, 1985-2005. Ostfildern-Ruit: Hatje Cantz, 2005.

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Moody, Rick. Twilight: Photographs by Gregory Crewdson. Harry N. Abrams, 2002.

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Book chapters on the topic "Gregory Crewdson"

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Pethő, Ágnes. "The Photo-Filmic Diorama." In Theorizing Film Through Contemporary Art. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch08.

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The chapter focuses on a particular type of tableau construction in which the image is built like a glass case display, encapsulating an entire world of its own, combining 2D and 3D effects. With examples ranging from Jeff Wall’s light boxes, Gregory Crewdson’s and Hiroshi Sugimoto’s cinematic photographs, to a case study of Gustav Deutsch’s film/installation Shirley: Visions of Reality (2013), the chapter traces the inflections of such a photofilmic diorama as a versatile “cubicle aesthetic” which reconfigures the traditional dynamic of “absorption and theatricality” (Michael Fried) of the tableau form and reveals the imbrication of different art practices. The diverging features of such a dioramic tableau in photography and film are interpreted in terms of intermediality and defamiliarization.
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