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