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An Eclipse of Moths
Within Crewdson’s body of work, An Eclipse of Moths (2018-19), we again encounter the artist’s fascination with the idea of a haunted American landscape. Set in post-industrial small-town America, An Eclipse of Moths tours viewers through the quiet wreckage of rusted and downtrodden working-class environments.
More than his previous work, feelings of emptiness pervade these pictures as the visual space depicts broad expanses of asphalt and concrete that appear neglected and forgotten. While Crewdson often uses human gesture to convey the deep-rooted anxieties that appear throughout his oeuvre, here the landscapes themselves become the subjects while their occupants perform as part of the environment, succumbing to it, and becoming defined by it.
As with all Crewdson’s work, we experience encounters with secrets that we aren’t allowed to know. The artist provides us surfaces that are charged with dark emotional energy, and it is up to us as viewers to speculate on what resides behind it all while answers remain just slightly beyond our grasp.
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Alone Street, 2018-2019
Cherry Street, 2018-2019
Redemption Center, 2018-2019
The Cobra, 2018-2019
Brown Street, 2018-2019
An Eclipse of Moths, 2018-2019
Gregory Crewdson is an artist based in New York.
He is a graduate of SUNY Purchase and the Yale University School of Art, where he is now director of graduate studies in photography. In a career spanning more than three decades, he has produced a succession of widely acclaimed bodies of work, from Natural Wonder (1992–97) to Cathedral of the Pines (2013–14). Beneath the Roses (2003–08), a series of pictures that took nearly ten years to complete—and which employed a crew of more than one hundred people—was the subject of the 2012 feature documentary Gregory Crewdson: Brief Encounters, by Ben Shapiro.
Gregory Crewdson’s photographs have entered the American visual lexicon, taking their place alongside the paintings of Edward Hopper and the films of Alfred Hitchcock and David Lynch as indelible evocations of a silent psychological interzone between the everyday and the uncanny. Often working with a large team, Crewdson typically plans each image with meticulous attention to detail, orchestrating light, color, and production design to conjure dreamlike scenes infused with mystery and suspense. While the small-town settings of many of Crewdson’s images are broadly familiar, he is careful to avoid signifiers of identifiable sites and moments, establishing a world outside time.
Press + Articles
Panoramic photographs of a desolate New England town look like dystopian oil paintings
Creative Boom (article)
GREGORY CREWDSON’S AN ECLIPSE OF MOTHS
Musee Magazine (article)