Geffin, David. "Creating Photographic Art - Exclusive Interview With Gregory Crewdson." Fstoppers. Fstoppers, 11 Oct. 2014. Web. 24 Feb. 2017.
In his article, David Geffin, an Associate Editor for Resource Magazine and a Contributing writer for Fstoppers – which is one of the top photo and video online publications in America, offers the reader a front row seat in his exclusive Q&A interview with Gregory Crewdson. Geffin, in a well-crafted introduction, portrays Crewdson as very talented and praises his work as “perfect, beautiful cinematic movie stills” which tend to leave the viewer intrigued to know about the photographer-artist. The interview unveils Crewdson’s strategy in scouting locations, the compelling nature of the American small
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town depicted in the artist’s work, importance of capturing the details, artist’s obsessions, inspirations and challenges of telling his story. As an experienced journalist, Geffin carefully selects his questions, responses to which tend to feed void and mystification – eventually bringing closure to those who have viewed Crewdson’s work. In general, the article is different from the other sources as it offers a first person perspective from the artist himself. This will be a helpful resource for the research paper. It is credible and is full of useful information that will be incorporated in the review as it greatly helps understand the artist’s intentions and significance of his work. Smith, Roberta. "Art in Review; Gregory Crewdson." The New York Times. The New York Times, 03 June 2005. Web. 24 Feb. 2017. Art in Review; Gregory Crewdson is an article that appears in the June 3rd 2005 publication of the New York Times by Roberta Smith, an art critic for the New York Times since 1986 and also a lecturer on contemporary art.
In the article, Smith writes about the overall mood that the photographs depict and gives a vivid description stating that the artist compresses “melodrama of an entire movie, or soap-opera season, into a single, elaborately constructed scene.” Smith continues to mention that the images are overwrought, also goes ahead comparing them with previous work by the artist, they “have become ornate, hollow, implicitly academic exercises … and so monotonously joyless that they start to seem light, almost comic.” In addition, Smith suggests that Crewdson needed to reinvent his style as she thinks that the theatrical craft has taken over his art. The author’s tone is rather condescending as she doesn’t necessarily agree with the artist’s style. Nevertheless, in any argument it is necessary to acknowledge the opposing views, and therefore necessary to include Smith’s article as a useful and credible source in the research. The goal of this source is to create a counter argument that will facilitate the construction of a stronger …show more content…
research. Crewdson, Gregory. "Beneath The Roses by Russell Banks." Beneath the Roses. New York, NY: Abrams, 2008. 6-10. Print. Beneath the Roses, published in March 2008, features an introductory essay by acclaimed fiction writer Russel Banks – a member of the International Parliament of Writers and also the American Academy of Arts and Letters.
Banks is known for writing stories that revolve around moral themes and personal relationships. He starts off by mentioning the fact that Crewdson’s work has been compared to movies and goes further to indicate that the technicality involved in creating the pictures might be similar to that of creating movies. However, he explains that the pictures are not like the movies and require the viewer to be engaged just as in the case of a good fiction book. According to Banks, it requires the viewer to expose themselves into the fictional world, whereby one’s imagination fills out blanks with their own imagination. This in turn has a greater impact on the viewer’s life. Banks goes into great detail defending the artist’s use of mystery mentioning that his pictures have no beginning or end – this according to the writer makes them timeless. Banks’ use of comparison and descriptive writing prepares the audience on what to expect when viewing the images. It helps one understand the reason behind the style and social context used by the artist when creating the pictures. Just like an intellectual key the essay helps to open one’s understanding of Crewdson’s
work.
For my museum selection I decided to attend Texas State University’s Wittliff Collection. When I arrived, there was no one else there besides me and the librarian. To be honest, I probably would have never gone to an art museum if my teacher didn’t require me to. This was my first time attending the Wittliff Collection, thus I asked the librarian, “Is there any other artwork besides Southwestern and Mexican photography?” She answered, “No, the Wittliff is known only for Southwestern and Mexican photography.” I smiled with a sense of embarrassment and continued to view the different photos. As I walked through Wittliff, I became overwhelmed with all of the different types of photography. There were so many amazing pieces that it became difficult to select which one to write about. However, I finally managed to choose three unique photography pieces by Alinka Echeverria, Geoff Winningham, and Keith Carter.
Piper’s use of imagery in this way gives the opportunity for the reader to experience “first hand” the power of words, and inspires the reader to be free from the fear of writing.
"History of Art: History of Photography." History of Art: History of Photography. N.p., n.d. Web. 24 May 2014. .
Photographs capture the essence of a moment because the truth shown in an image cannot be questioned. In her novel, The Lovely Bones, Alice Sebold uses the language of rhetoric to liberate Abigail from the façade of being a mother and spouse in a picture taken by her daughter, Susie. On the morning of her eleventh birthday, Susie, awake before the rest of the family, discovers her unwrapped birthday present, an instamatic camera, and finds her mother alone in the backyard. The significance of this scene is that it starts the author’s challenge of the false utopia of suburbia in the novel, particularly, the role of women in it.
Distinctively visual language and cinematic techniques highlight to the responder the particular literal and metaphorical experiences characters are faced with, within a text. Peter Goldsworthy’s novel Maestro, Don McLean’s song ‘Vincent’ and the intriguing film Australia by Baz Luhrrman, explore the ways in which the human experiences of an individual’s connection to landscape is fundamental in shaping one’s sense of identity, personal growth and development. Composers further explore the realisation that our lives can be enriched by an understanding and appreciation of art as well as a deeper understanding of the importance of love and lust. The depiction of characters is conveyed through distinctively visual images to highlight the subsequent development of courage and resilience leads responders to a deeper understanding of how human experiences can create a sense of individuality.
Bishop’s In the Waiting Room forces the reader to view the world through the eyes of young Elizabeth. “The moment is a coming of age, but without any of the social ballasts required for a seven-year-old child, however precocious” (Lensing, 1992). A brilliant piece of literature, the cultural awakening that Elizabeth experiences, through the exposure of the photos in National Geographic and through her surroundings, is captivating. Like Bishop’s visual artistry, her poetic artistry captivates the reader. Her words through In the Waiting Room paint a picture of human-kind and subtly coax the reader into thinking about one’s place in the world.
... turning some who can be seen as a blank canvas into someone new. In both ways, Evelyn and Henry Higgins are the artists to their work. Though they might not treat the people they are working with as a human, in the grander idea they have made them better. Adam finally comes to terms with his true personality, while Evelyn exposes what society believes are the norms for a person’s appearance. While, with Eliza, she leaves the life of being a beggar and becoming a duchess, showing how through hard work a person can change, and it becomes hard to return to one’s prior self. Both instances show art playing a large role in shaping their lives. From learning about life through art, people then strive to be on the same level as the art the see, trying to live a grander lifestyle. Showing that to a certain extent art can influence life more than life can influence art.
Bishop’s use of imagism in “One Art” helps the reader to comprehend the ability of the speaker to move on from lost items such as a mother’s watch or loved houses.
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
Gregory Crewdson is an American photographer. His photographs feature elaborately staged, surreal scenes of small town and suburban American life.
...ch as time, dates, and the exact relationships between the different characters are is not spelled out. This active involvement of the viewer is necessary for the work of art to stand on its own. This takes the challenge thrown out by modernists to reject easy conventions and make new ones, and pushes it further to the point where conventions become a joke. Those who understand the references get the joke, and this creates a new kind of meaning beyond the surface meaning of the narrative.
Crewdson’s distinctive style is that his works concentrates predominately on the use of narrative and the openness of the narrative to the viewers. Gregory Crewdson also works visually concentrate on the use of light, coulor and composition. Crewdson’s photograph, usually takes place in a small-town in America, in that small town that he choices are usually where he finds the people that will be in the photograph.
Through digital manipulation, Shayne Higson’s work is primarily photographic, although she often augments her images using hand-drawn elements. Her practice frequently engages with topical or historical issues as a form of social commentary and has always responded to her geographic context. Higson was not interested in photography at school, but concentrated on
James Joyce's A Portrait of the Artist as a Young Man presents an account of the formative years of aspiring author Stephen Dedalus. "The very title of the novel suggests that Joyce's focus throughout will be those aspects of the young man's life that are key to his artistic development" (Drew 276). Each event in Stephen's life -- from the opening story of the moocow to his experiences with religion and the university -- contributes to his growth as an artist. Central to the experiences of Stephen's life are, of course, the people with whom he interacts, and of primary importance among these people are women, who, as his story progresses, prove to be a driving force behind Stephen's art.
"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.