In Eveningside (2021-2022), Crewdson explores moments of contemplation within the confines of quotidien life, in places of employment, and in moments just outside of those work structures. The figures populating the pictures are sparse, and are often seen through storefront windows, in mirror reflections, or positioned underneath the mundane proscenium found in the midst of their everyday routines: railroad bridges, doorways, porches, the overhanging roofline of a bank teller drive-thru, a dairy bar, a corner market, or a hardware store. Bringing his vantage point closer to the figures, using a heightened range of light and darkness, special effects such as fog, rain, smoke, and haze, and for the first time using his now ubiquitous full production and lighting team in a monochromatic palette, the result is a rich gothic atmosphere, evocative of film noir and classic cinema, but with the capabilities and clarity of the most current technology available in digital photography.
Edition: 1 of 1
Set of 10.
Each set includes 10 images: the final version and 9 supporting images.
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THE LOUNGE
EXT. EVENINGSIDE - LOUNGE - TWILIGHT
We are standing in the middle of the street looking upon the facade of a local lounge roam housed in a one story brick building storefront. A BUDWEISER sign hangs over its door, and the small word LOUNGE is painted on its large street-facing windows. The building is flanked on either side by other businesses, and we can just see a small piece of sky above.
It's late in the day, and the light is almost gone in the sky.
Inside, dim fluorescents and a TV illuminate the otherwise dark, smoky atmosphere. An attractive WOMAN is lost in thought as she looks up at the television. She's bathed in its light, and is captivated by it; motionless; with a bottle of beer in her hand.
Meanwhile, an OLDER MAN is exiting the bar, facing camera. He uses a walker. A light from above illuminates him, and we can see the details of weathered good looks on his face, as well as something slightly haunted in his expression. He is framed by the doorway, and has paused just inside the threshold, contemplating leaving, a nightly routine he has repeated a thousand times before.
