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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Gregory Crewdson
Gregory Crewdson

Gregory Crewdson

Country: United States
Birth: 1962

Gregory Crewdson (born September 26, 1962) is an American photographer who is best known for elaborately staged scenes of American homes and neighborhoods. Crewdson was born in the Park Slope neighborhood of Brooklyn, NY. He attended John Dewey High School, graduating early. As a teenager, he was part of a punk rock group called The Speedies that hit the New York scene in selling out shows all over town. Their hit song "Let Me Take Your Photo" proved to be prophetic to what Crewdson would become later in life. In 2005, Hewlett Packard used the song in advertisements to promote its digital cameras. In the mid 1980s, Crewdson studied photography at SUNY Purchase, near Port Chester, NY. He received his Master of Fine Arts from Yale University. He has taught at Sarah Lawrence, Cooper Union, Vassar College, and Yale University where he has been on the faculty since 1993. He is now a professor at the Yale University School of Art. In 2012, he was the subject of the feature documentary film Gregory Crewdson: Brief Encounters. Gregory Crewdson is represented by Gagosian Gallery worldwide and by White Cube Gallery in London.

Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic. They feature often disturbing, surreal events. His photographs are elaborately staged and lit using crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques. He has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safe as having influenced his style, as well as the painter Edward Hopper and photographer Diane Arbus.

Crewdson’s photography became a convoluted mix between his formal photography education and his experimentation with the ethereal perspective of life and death, a transcending mix of lively pigmentation and morbid details within a traditional suburbia setting. Crewdson was unknowingly in the making of the Pleasures and Terrors of Domestic Comfort exhibition of the Museum of Modern Art, earning him a following both from his previous educators and what would become his future agents and promoters of his work. The grotesque yet beautifully created scenes were just the beginning of Crewdson’s work, all affected with the same narrative mystery he was so inspired by in his childhood and keen eye for the surreal within the regular. Fireflies, has become a standout amongst his collections known for their heightened emotion and drama compared to its simplicity of color and spontaneity. the exploration of form within his own work was evident within his transformation of how the photo was taken rather than just focusing on the subject.

Source: Wikipedia

 

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More Great Photographers To Discover

Dmitry Ersler
Russia
1969
Dmitry Ersler is an award-winning fine art and advertising photographer with over two decades of experience. Born in Moscow, USSR and now based in Thailand, he began his artistic training under the guidance of his father. From 1976 to 1984, he studied at a Moscow public school, followed by public high school from 1984 to 1986. Between 1998 and 2004, he studied law at the Moscow Law University. Simultaneously, from 1999 to 2002, he pursued professional photography studies at the Moscow School of Art and Photography. Artist Statement: The artist's task is to awaken the viewer's imagination. My goal as a photographer is to evoke the viewer's imagination, trigger it, bring it to life. No one can create a picture better and brighter than the viewer's own imagination. It just needs a push, an impulse. My name is Dmitry, and I am a photographer. I create realistic-style photos depicting people in everyday life. However, most of my works are pictures with stories, with a narrative. The idea of creation such works is to photograph images with embedded stories and attempt to describe them using various techniques (interior details, clothing or props, lighting, model's pose, facial expressions, gestures, and so on). The people on these photographs are not just models; each of them is a participant in some events, a hero of their own story. And in each story, there was a past that happened just a moment before the viewer approached the photograph. There is also a present frozen while the viewer looks. And there is a future that will come as soon as the viewer steps away from the image. Each viewer has to examine the present himself, speculate about the past, and anticipate the future. What was in this imaginary past and what will be in the future entirely depends on the imagination of each viewer. The most important thing for me is that the viewer, flipping through a magazine or walking along the gallery wall, stops and looks at the image, freezes, and begins to ask themselves questions: What is happening here? Why is the protagonist of the picture doing this? What prompted him to do this? What will happen next? Making these questions arise is the essence of art.
Maciej Dakowicz
Poland
1976
Maciej Dakowicz is a Polish street photographer, photojournalist, gallerist and educator based in Poland. He studied computer science in Poland (2000). He lived in Cardiff, Wales, between 2004 and 2012, where he worked and studied for his PhD at the University of Glamorgan (now the University of South Wales) where he also worked. He left work at the university in 2009 and completed his PhD in 2010. In 2010 he set up and ran Third Floor Gallery along with Joni Karanka and Bartosz Nowicki. He left Cardiff for London, and since 2013 has been based in Mumbai, photographing in Tunisia, Yemen, India and Bangladesh. Dakowicz is best known for his series of photographs of Cardiff nightlife titled Cardiff after Dark, also the name of his later book. Photographed over four years, photographs from the series have featured in magazines and been exhibited in galleries. Individual images from the series have also been used out of context and with misleading captions by the British tabloid media to support a single narrative about alcoholic excess. This tabloid practice has been criticized; for example, Jonathan Jones wrote in The Guardian that "Humour is the most obvious thing about his pictures, and their attraction lies in the way they balance grotesque abandon with poised, coolly beautiful lighting." Sean O'Hagan said in The Guardian that "it is not all outrageousness and vulgarity: Dakowicz also catches the sense of camaraderie and celebration in Cardiff on a Saturday night. He has an outsider's eye for telling detail, a way of showing us, in often brilliantly dramatic fashion and with a degree of gleeful humour, what is right under our noses." In March 2013 Dakowicz became a member of the In-Public street photography collective. His book Sonepur Mela (2021) contains photographs taken at Sonepur Cattle Fair in India between 2010 and 2017. Currently he is mainly occupied with teaching his popular street photography workshops in Asia and Eastern Europe.Source: Wikipedia
José Ramón Bas
In 1979 José Ramón Bas was teaching himself photography when he met photographer Florencio García Méndez, who gave him a helping hand. In 1985 he began formal studies at the Escuela de la Imagen y el Diseño (IDEP) in Barcelona, where he was quickly attracted to contemporary forms of expression and the theme of travel memories. In 1989 he moved definitively to Barcelona and in 1997 he won the La Caixa Foundation’s Fotopress Award for young artists. He began working with the Berini Gallery in Barcelona and in 1998 moved into a studio in the Centro de Arte Contemporáneo Piramidón. After joining Galerie VU’ in 2001, he won the Federico Vender Prize in Italy in 2003, followed by the Arena Foundation Prize in 2004. In 2005 he began teaching the Masters in Creative Photography at EFTI in Madrid. He has exhibited in Holland, Boston, Lisbon and elsewhere.Source: www.rencontres-arles.com "He is an incurable traveller. He is a poet; to him it's like breathing. He is unclassifiable and, being in love with spaces and people, he invents objets that preserve the memory of his experiences and his emotions. He is not concerned about building a body of work but rather endeavors to reproduce times spent traveling in Africa, Cuba or Brazil. During his travels, he photographs, in a playful, compulsive way. Then, when he gets back to Barcelona, he looks at his contact sheets and decides to transform the images that he has recorded into objets. He prints them, with little interest for technique, and then he works on them: he may write on the proof, scratch it, or mistreat it, depending on the mood or inspiration of the moment, before setting it in a resin inclusion and dedicating it, between imagery and sculpture, to its status as an objet. For him, each negative is an opening onto infinite possibilities, which he will realize in various formats, from the square to the panoramic, and which are to convey his memory of the travel experience. Then, his parallelepipeds, which are lighter than air, occupy the wall with subtlety and encourage us to dream and be at peace."-- Christian Caujolle, Agence VU’ Galerie Source: Galerie VU
Ken Hermann
Based in Copenhagen, Ken Hermann possesses a natural urge to explore photography and world alike. He has traveled extensively, from secluded regions of India and Ethiopia to modern metropolises like New York. From every location, no matter how small or large, Hermann draws energy and inspiration; exploration of people, culture, and life is a central facet to his work, which is full of texture, volume, and atmosphere. From these experiences, he applies a cosmpolitan aesthetic to his commercial and editorial work. He is the winner of Hasselblad Masters 2012 for his City Surfer work.About Survivors:The true face of a victim.Every year people in Bangladesh are disfigured beyond recognition by acid attacks. The victims are literally scarred for life. Stigmatization follows, and rebuilding life and setting new goals for the future require both determination and strength. Most acid attacks are directed against women and children. Since 1999, more than 3,100 people in Bangladesh have been disfigured by acid. Thanks to the advocacy work done by the Dhaka-based NGO Acid Survivor Foundation only 71 cases was recorded last year – a reduction by almost 85% from just 10 years ago. The vast majority of victims are young women under the age of 35 who are mutilated by men they already know. Typically, attacks are motivated by suspicions of infidelity, rejection of marriage offers, demands for dowry, and disputes over land. One in four victims is a child.SURVIVORS is a story about people, not victims.
Sebastian Sardi
Sweden
1983
Sebastian Sardi was born in 1983 in Stockholm, Sweden. At the age of 22 he started taking classes in analog photography at the Peoples University in Stockholm. In 2009 he moved to Denmark to study photography at Fatamorgana the Danish school of art and photography. In 2011 he received a Bachelor’s degree in Art History and Visual Studies. He published his first photobook “A Cirkusz” in 2012. Sebastian began his work on photographing mines in 2008 after reading an article on how mining related injuries and deaths are systematically covered up by many authorities. 2019 his second book “Black Diamond” was published on Kehrer Verlag. Today Sebastian Sardi lives and works in Malmö and Copenhagen. Black Diamond It is an apocalyptic landscape. There are huge man-made craters everywhere that make up the visible landscape, the ground is burning, and a vast area is oozing with toxic gases, fire and smoke. Amongst all of this, there are men, woman and children digging in the soil with their bare hands. Coal is mined everywhere in Jharkhand, India, and large parts of it is sorted by hand. The locals call it; Kalaheera; or ”Black Diamond”.
Energy produced by the burning of coal is the single biggest contributor to the man-generated carbon dioxide emissions on this planet. Coal is a major part in the issue of global warming. In Jharkhand many people have been forced away from their lands when companies and authorities recognised the richness that hides in the ground. Underground fires force people to relocate. The mining companies claim they are unable to put out the fires, while the locals blame the companies for letting the fires burn so the coal can be reached and excavated from underneath their villages.

 There is a fragile balance between nature and mankind. A sense of discomfort is felt in the slow but seemingly unavoidable struggle towards the collapse of nature. The human inability to break patterns is painstakingly visible in these photographs, as we knowingly keep on extracting the ground beneath our own feet. Black Diamond is a close (self-)portrait of the people who work with extracting coal from the ground to supply the ever growing demands.


Sol Hill
United States
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Sol Hill was born in Albuquerque, NM in 1971, to artist parents who founded the first contemporary art gallery in Santa Fe. His early memories were of being with his parents in their respective studios and of being in their gallery in Santa Fe. As a child the mysterious objects and paintings that pervaded the gallery intrigued him. Contemporary art works were prevalent both in the gallery and at home. Looking at those artworks felt like observing some secret alchemical language that Hill wished to learn. Growing up, Hill lived all across the United States, and in Jamaica and Germany. He majored in International Affairs and German at Lewis & Clark College in Portland, OR and at Maximilian Ludwig Universität in Munich, Germany. He also studied printmaking in college and then became deeply involved with photography while in Germany. He later returned to Santa Fe and founded Zen Stone Furnishings with his wife, a paper artist from Brazil. Together they designed and manufactured hand crafted home furnishings from stone, twigs, copper and handmade paper. After an intense medical crisis, Hill decided to dedicate himself to fine art. He went on to study photography at the Brooks Institute in Santa Barbara, where he received an MFA in 2010. Hill travels regularly and often to Brazil to visit his wife’s family. Travel has powerfully affected his vision as an artist. Although Hill uses some of the latest digital photographic equipment and embraces digital photography, he finds that he is drawn to the kind of liberation found in embracing the mysterious and unfamiliar rather than that which is crisply defined and well known.About Token Feminine:The mannequin is a token feminine used to impart cultural conventions of the idealized female image In this body of work I examine mannequins in storefront windows as symbols of consumer culture. I see them as emblems upon which the desire and fantasy of sex and fashion are draped and from which complex valuations of body image are ingested. The mannequin is a token feminine presence used to impart cultural conventions of the idealized female image. I dissipate these literal mannequin pictures by interrupting the expected information and accepting the digital noise, which are undesirable artifacts produced by false exposure, inherent to the process of capturing digital images. This allows me to explore the nature of the boundary between the reverie of the token feminine and the reality of the commercial icon.About Urban Noise:I seek stillness within the modern day information overload through the act of unconventional street photography. Urban Noise combines an exploration of the aesthetic and conceptual value of digital noise in photography with a contemplative study of the contemporary urban environment. Digital noise is a reviled artifact inherent to digital imaging. I challenge the notion that this artifact is inherently worthless by using it to render photographs into contemporary visual tropes. It is my tool to address the digital nature of the contemporary world. Digital noise is false exposure produced by energies other than light, namely heat, electrical current and “cosmic noise.” Cosmic noise is the term for invisible wavelength energies comprised in part of man-made signals from our built and technological environment mixed with the electro magnetic energy produced by human bodies. The resulting noise from these interfering energies transforms my photographs. The contemporary urban environment is flooded with so much extraneous information that we necessarily turn most of it into background noise to survive. There is so much conflicting information competing for our attention that I am intrigued by how we sort out what is worthy of our attention, from meaningless background noise. I seek my own stillness within the overwhelming cacophony of modern day information overload through the act of unconventional street photography.
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