Eveningside
Gregory Crewdson
Presented by Fellowship
Dual-screen film by Harper Glantz (2021)
Eveningside by Gregory Crewdson is a collection of 20 main artworks, released as both prints and NFTs, and 180 supporting artworks (NFT only).
Eveningside by Gregory Crewdson is a portfolio of 20 main artworks, released as both print editions as well as unique 1/1 NFTs with supporting images.
In Eveningside (2021-2022), Crewdson explores moments of contemplation within the confines of quotidien life, in places of employment, and in moments just outside of those work structures. The figures populating the pictures are sparse, and are often seen through storefront windows, in mirror reflections, or positioned underneath the mundane proscenium found in the midst of their everyday routines: railroad bridges, doorways, porches, the overhanging roofline of a bank teller drive-thru, a dairy bar, a corner market, or a hardware store.
Bringing his vantage point closer to the figures, using a heightened range of light and darkness, special effects such as fog, rain, smoke, and haze, and for the first time using his now ubiquitous full production and lighting team in a monochromatic palette, the result is a rich gothic atmosphere, evocative of film noir and classic cinema, but with the capabilities and clarity of the most current technology available in digital photography.
Insights into the making of Eveningside
Gregory and his team discuss on video the tech behind the lighting of 6 artworks: ‘Madeline’s Beauty Salon’, ‘T & A Tools’, ‘The Departure’, ‘A1 Auto Sales’, ‘The Family Doctor’ and ‘8 to 10 Cleaning Services’.
Gregory Crewdson
1962 (USA)
Gregory Crewdson
1962 (USA)
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.