1999 Surreal Suburbia; John Michael Kohler Art Center;
Sheboygan, Wisconsin
Twilight; Emily Tsingou Gallery; London
2000 Gregory Crewdson: Disturbed Nature; Charles H.
Scott Gallery, Emily Carr Institute of Art; Vancouver,
Canada
2001 Gregory Crewdson: Photographs; SITE Santa Fe;
Santa Fe, New Mexico
2002 Luhring Augustine Gallery; New York
2003 Gregory Crewdson: Photographs; Mass MoCA; North
Adams, Massachusetts
Group Exhibitions
1991 Pleasures and Terrors in Domestic Comfort; The
Museum of Modern Art; New York
1994 Recent Photography Acquisitions: Selections from the
Permanent Collection; Whitney Museum of American
Art; New York
New Work, New Directions 2; Los Angeles County
Museum of Art; Los Angeles, California
1995 La Belle et La Beˆte; Muse ́e d’Art Moderne de la Ville
de Paris; Paris, France
1996 EverythingThat’sInterestingisNew;TheDakisJoannou
Collection, organized by the DESTE Foundation. Athens
School of Fine Arts, ‘‘The Factory;’’ Athens, Greece
1997 Gothic; Institute of Contemporary Art; Boston, Mas-
sachusetts
1997 Kwangju Biennale; Kwangju, South Korea
1998 Where: Allegories of Site in Contemporary Art; Whit-
ney Museum of American Art; New York
1999 Making it Real, a traveling exhibition organized and circu-
latedbytheIndependentCurator’sInternational,NewYork.
Traveled from 1997–99 to the Aldrich Museum of Contem-
porary Art, Ridgefield, Connecticut; Reykjavik Municipal
Art Museum, Reykjavik, Iceland; Portland Museum of Art,
Portland,Maine;BaylyArt Museum,University of Virginia,
Charlottesville, Virginia; Bakalar Gallery, Massachusetts
College of Art, Boston, Massachusetts; Emerson Gallery,
Hamilton College, Clinton, New York
2000 Open Ends: Sets and Situations; Museum of Modern
Art, New York
2001 Settings and Players: Theatrical Ambiguity in Amer-
ican Photography, White Cube, London; City Gallery
of Prague, CzechoslovakiaSelected Works
Natural Wonderseries, 1989
hover[sic] series, 1996
Twilightseries, 1998–2002
Dream Houseseries, 2002Further Reading
Dompierre, Louise. ‘‘Gregory Crewdson.’’ InDigital Gar-
dens: A World in Mutation. Toronto: The Power Plant
Contemporary Art Gallery, 1996.
Feaster, Felicia. ‘‘Interview with Gregory Crewdson.’’Art
Papers(September/October 1996): 8–13.
Galassi, Peter.Pleasures and Terrors in Domestic Comfort.
New York: The Museum of Modern Art, 1991.
Goldberg, Vicki. ‘‘How Worshippers, Too, Can Denature
Nature.’’The New York Times, September 8, 2000.
Grant, Annette. ‘‘Lights, Camera, Stand Really Still: On the
Set with Gregory Crewdson.’’The New York Times,
May 30, 2004.
Harris, Melissa. ‘‘Our Town.’’Aperture(Spring 1992): cover.
Homes, A. M. ‘‘Dream of Life.’’Artforum(April 1993): 70–3.
Moody, Rick.Twilight. New York: Harry N. Abrams, Inc.,
2002.
———. Darcey Steinke, Joyce Carol Oates, and Bradford
Morrow.hover. San Francisco: Artspace Books, 1998.
Paini, Dominique, and Guy Cogeval, eds.Fatal Coinci-
dences, Hitchcock and Art, Montreal: Montreal Museum
of Fine Arts, 2000.
Steinke, Darcey, and Bradford Morrow.Gregory Crewdson:
Dream of Life. Spain: Ediciones Universidad de Sala-
manca, 1999.CRIME PHOTOGRAPHY
On April 20, 1865, ‘‘Wanted’’ posters were put up
all over the United States. Unlike the illustrated
ones of the old west, these particular ‘‘Wanted’’
posters featured the photographs of John Wilkes
Booth and his two supposed partners in crime,
John Surratt and David Harold. Photography,
still a fairly new science, had entered the realm
of criminal investigation in the 1840s, but the
photographs of John Wilkes Booth brought a
national legitimacy to this new form of investiga-
tion. Since that time, photography has continued
to play a key role in the recording, processing,
and prosecuting of criminal activity. There are
many different types of crime photography, all
of which serve some functional purpose, aiding in
the gathering or documenting of evidence either
for testimony, records, or for later investigation.
There is a distinct division between the actual
genesis of the crime photograph (photographs
which are usually taken at the scene of theCREWDSON, GREGORY