Gregory Crewdson Essay

or more than two decades, photographer Gregory Crewdson has been creating otherworldly images that reveal an eerie side of Americana.

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Photographs are limited, they’re not like movies or literature because there’s no before or after.

But I’ve always seen that restriction as a positive, as a way of trying to create even more mystery.

I started taking classes on Hitchcock, 1950s melodrama, horror films, et cetera, and for sure that had such a profound effect on me.

I saw David Lynch’s Blue Velvet when I was a graduate student at Yale and that definitely changed my life.

But it’s very limited in terms of what it tells; it doesn’t describe plot or motivation or anything like that.

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And those one-page descriptions become like the bible for each picture.

When I was an undergraduate at SUNY Purchase, that was a very vital time for me; that’s really where I discovered photography as a practitioner.

But at the same time, I was taking classes with film theorist Tom Gunning, who was hugely influential to me.

“I was cross-country skiing in the middle of the woods in a pine forest and there was a little trail name called Cathedral of the Pines—and that spurred the entire project,” he said.

“It was a moment of revelation, where in my mind’s eye I somehow saw the whole body of work and knew I would be making this next body of work in Becket.