The Festival of Disruption features Isabella Rossellini, Naomi Watts, Gregory Crewdson, a hefty lineup of musical acts, and, of course, a talk by Lynch himself.
As Walkers: Hollywood Afterlives in Art and Artifact, the Museum of the Moving Image’s auspicious foray into exhibiting contemporary art, wryly suggests, it might be film and its iconic images that help stave off decay.
A decade passed between the summer of 1996, which photographer Gregory Crewdson spent meditating on the sprinkle of fireflies in the dusk of Becket, Massachusetts, and when he finally developed the film. After nearly another decade, the Fireflies series is being exhibited as a whole for the first time starting this month at Wave Hill in the Bronx.
In art, control is an elemental if underappreciated principle. At a basic level, art entails control; control over material, control over process, a lack of control over chance. Amid the chaos of life, what do you seek to selectively remove and stage? Richard Avedon viewed it as art’s defining element, reflecting, “I think all art is about control — the encounter between control and the uncontrollable.”
Photographer Gregory Crewdson is largely known for his surreal suburban landscapes, posed and shot like something out of a postmodern Edward Hopper painting. But the artist also has a more sensitive side. In this series featured in the New York Times, Crewdson shoots a partly retired Italian movie set with a different kind of sensitivity.