A Quote by Gregory Crewdson

I think that, in a sense, there's something about photography in general that we could associate with memory, or the past, or childhood. — © Gregory Crewdson
I think that, in a sense, there's something about photography in general that we could associate with memory, or the past, or childhood.
I'm not particularly invested in, nor do I really care about, photography in a general sense. It's a medium that's relatively ubiquitous, readily accessible, and that I have some facility with, so it makes sense for me to use it.
Memory is strange. Scientifically, it is not a mechanical means of repeating something. I can think a thousand times about when I broke my leg at the age of ten, but it is never the same thing which comes to mind when I think about it. My memory of this event has never been, in reality, anything except the memory of my last memory of that event. This is why I use the image of a palimpsest - something written over something partially erased - that is what memory is for me. It's not a film you play back in exactly the same way. It's like theater, with characters who appear from time to time.
My first memory was of stories about the past - a past that, according to the storytellers, was superior in every way to the life then being lived. It didn't take me long, however, to understand that the present was all we had, for the past was gone, and nothing could be done about it.
I think memory is essential to what we are. If we - we wouldn't be able to talk to each other without memory. And what we think of as the present really is the past. It is made out of the past.
I know what I really want for Christmas. I want my childhood back. Nobody is going to give me that. I might give at least the memory of it to myself if I try. I know it doesn't make sense, but since when is Christmas about sense, anyway? It is about a child, of long ago and far away, and it is about the child of now. In you and me. Waiting behind the door of or hearts for something wonderful to happen. A child who is impractical, unrealistic, simpleminded and terribly vulnerable to joy.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
[I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography had from the beginning of its existence.
I enjoy photography. It's a lot of fun. It keeps me on my P's and Q's and, when you think about it, most people think photography is just going to a game. But you start to think, dang, that would be a good picture. Or you're driving along and see something and think, 'that would be nice.'
I associate my childhood with two things, mainly: the North Devon countryside and a sense of connection to another world.
I have the idea that lyric poetry is a poetry that's driven by a sense of the presence of death. That there's something unbearable about the fact that we're going to die and that we can't stand it and I think you find that out in childhood and you don't really - at least I found it out in childhood and I found it hard to get over.
Historians constantly rewrite history, reinterpreting (reorganizing) the records of the past. So, too, when the brain's coherent responses become part of a memory, they are organized anew as part of the structure of consciousness. What makes them memories is that they become part of that structure and thus form part of the sense of self; my sense of self derives from a certainty that my experiences refer back to me, the individual who is having them. Hence the sense of the past, of history, of memory, is in part the creation of the self.
Perhaps 'photography' has become so all-pervasive that it no longer makes sense to think about it as a discreet practice or field of inquiry. In other words, perhaps 'photography,' as a meaningful cultural trope, is over.
I have a terrible memory of my own past. I can barely remember my childhood. I have few memories from college and law school - though once I got married, I got the advantage of being able to consult my husband's memory.
I think because I'm not a parent, my most immediate connection to childhood is my memory of my own childhood.
Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.
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