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Gregory Crewdson

Beneath the Roses

Oct 15 - Nov 15, 2022

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Overview

“If I knew exactly what that story was, I wouldn’t have to make the pictures. I do feel that part of the story, or part of the central tenor of that story, is a search for connection or a search for home, a search for some kind of connection outside of yourself“

- Gregory Crewdson

In Beneath the Roses, anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios. In one image a lone and pregnant woman stands on a wet street corner just before dawn: she is a small but a portentous still point in a world of trajectories. On a stormy night in another nondescript town, a man in a business suit stands beside his car, holding out a hand to the cleansing water in apparent mystification. In a plush bedroom, a man and a woman—prototypes of middle-class American dislocation—are visited by a songbird, who gazes at the woman from its perch on the vanity. Crewdson’s scenes are tangibly atmospheric: visually alluring and often deeply disquieting. Never anchored precisely in time or place, these and the other narratives of Beneath the Roses are rather located in the dystopic landscape of the anxious American imagination.
Crewdson’s latest project falls into the tradition of classic American genres that explore the conflation of theater and everyday life. His tableaux, in their fine detail and focus on the perplexing psychology of vernacular America, evoke the paintings of Edward Hopper and the photographs of Walker Evans and Diane Arbus. At the same time, in their vast scope and relentless grip, Crewdson’s images inevitably bring to mind the world of film-particularly the work of Alfred Hitchcock, Douglas Sirk, and Terrence Malick. Indeed, Crewdson’s process and approach are patently cinematic. Beneath the Roses has taken shape over the course of three years with the collaboration of a full production team. His projects are made both on studio soundstages and on location in various small towns. After the photograph is taken, Crewdson continues his obsessive process in post-production, using state-of-the-art digital composting and special effects. And in the end-like film at its best-Crewdson’s fictions, elaborately staged and plotted though they may be, convey an experience that is intensely real.
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Inquire about Untitled (Man in Living Room With Hole) by Gregory Crewdson

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Gregory Crewdson

Untitled (Man in Living Room With Hole)

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ERC-721

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Artwork ID
202
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Unique
In Beneath the Roses, anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios. In one image a lone and pregnant woman stands on a wet street corner just before dawn: she is a small but a portentous still point in a world of trajectories. On a stormy night in another nondescript town, a man in a business suit stands beside his car, holding out a hand to the cleansing water in apparent mystification. In a plush bedroom, a man and a woman—prototypes of middle-class American dislocation—are visited by a songbird, who gazes at the woman from its perch on the vanity. Crewdson’s scenes are tangibly atmospheric: visually alluring and often deeply disquieting. Never anchored precisely in time or place, these and the other narratives of Beneath the Roses are rather located in the dystopic landscape of the anxious American imagination.
Crewdson’s latest project falls into the tradition of classic American genres that explore the conflation of theater and everyday life. His tableaux, in their fine detail and focus on the perplexing psychology of vernacular America, evoke the paintings of Edward Hopper and the photographs of Walker Evans and Diane Arbus. At the same time, in their vast scope and relentless grip, Crewdson’s images inevitably bring to mind the world of film-particularly the work of Alfred Hitchcock, Douglas Sirk, and Terrence Malick. Indeed, Crewdson’s process and approach are patently cinematic. Beneath the Roses has taken shape over the course of three years with the collaboration of a full production team. His projects are made both on studio soundstages and on location in various small towns. After the photograph is taken, Crewdson continues his obsessive process in post-production, using state-of-the-art digital composting and special effects. And in the end-like film at its best-Crewdson’s fictions, elaborately staged and plotted though they may be, convey an experience that is intensely real.
Read More

Artists