Word: crewdson
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...National Gallery of Victoria until Oct. 7, some of these will rub shoulders with cutting-edge contemporaries such as performance artist Marina Abramovic, photographer Gregory Crewdson and Matthew Barney, who refuses to be confined to one medium. The latter also happens to grace Peggy's palazzo, albeit very oddly, in the current show "All in the Present Must Be Transformed: Matthew Barney and Joseph Beuys." Rylands imagines Guggenheim "would have been intrigued and bemused" by Barney's Baroque video antics. Still, "the avant-garde experience is absolutely Peggy's spirit"-one that's intoxicating Melbourne right...
Wall talks freely about his debt to filmmaking, his desire to achieve the beguilements of cinema. (One day someone will have to attempt a history of cinema-envy in the arts.) Some of the photographers who make staged images have virtually become directors. The American artist Gregory Crewdson operates like a small studio. He conceives his pictures, casts them and then has complicated sets constructed and lit by large crews. Klieg lights and fog machines are involved. Like a good director, he doesn't even always get behind the camera himself. He's directing--somebody else can click the shutter...
...Crewdson returns again and again to the same territory, a scene from the suburbs or from rural America invaded by its desires and anxieties. A man attempts to lay lawn turf across the road in front of his house. A woman kneels in a flower garden that has sprung up in her kitchen. It's no surprise that he loves David Lynch. To get into Crewdson's perennial frame of mind, Lynch's Blue Velvet is recommended viewing. It's also not surprising that his father was a psychoanalyst, because Crewdson has the good Freudian's obsession with fetishes. Circles...
...Crewdson has made some fascinating pictures, enigmatic scenes of puzzlement, regret and frustration. But for an artist, an infatuation with movies can be a tricky thing. He made a wrong turn with the Dream House series he worked on from 1998 to 2002, where for the first time he recruited famous faces to play his people. No doubt getting Gwyneth Paltrow and Philip Seymour Hoffman to appear in your photographs brings you enhanced market cred. Put Julianne Moore in front of your camera, and you're practically doing a Vanity Fair shoot. Let's assume that Crewdson also hoped that...
...outside world. And what's more banal than celebrity? Yes, yes, we've heard, stardom is a fantasy too, but it's the type that steamrollers every more intimate kind. Anybody who thinks that the red carpet is the royal road to the unconscious has lost his bearings. Crewdson's pictures stop working the minute you find yourself wondering about the wrap party...