ARTPIL Profiles of the Arts
Gregory Crewdson: Cathedral of the Pines
Through Oct 8 / The Photographers’ Gallery

 

 

 

This is the first UK exhibition of Cathedral of the Pines, a new body of work by acclaimed American artist Gregory Crewdson, and it is also the first time The Photographers’ Gallery has devoted all three of its gallery spaces to one artist.

With this series, produced between 2013 and 2014, Crewdson departs from his interest in uncanny suburban subjects and explores human relations within more natural environments. In images that recall nineteenth-century American and European paintings, Crewdson photographs figures posing within the small rural town of Becket, Massachusetts, and its vast surrounding forests, including the actual trail from which the series takes its title. Interior scenes charged with ambiguous narratives probe tensions between human connection and separation, intimacy and isolation.

 

 

 

 

Crewdson describes this project as ‘his most personal’, venturing to retrieve in the remote setting of the forest, a reminiscence of his childhood. The images in Cathedral of the Pines, located in the dystopian landscape of the anxious American imagination, create atmospheric scenes, many featuring local residents, and for the first time in Crewdson’s work, friends and family. In Woman at Sink, a woman pauses from her domestic chores, lost in thought. In Pickup Truck, Crewdson shows a nude couple in the flatbed of a truck in a dense forest—the woman seated, the man turned away in repose. Crewdson situates his disconsolate subjects in familiar settings, yet their cryptic actions—standing still in the snow, or nude on a riverbank—hint at invisible challenges. Precisely what these challenges are, and what fate awaits these anonymous figures, are left to the viewer’s imagination.

Crewdson’s careful crafting of visual suspense conjures forebears such as Diane Arbus, Alfred Hitchcock, and Edward Hopper, as well as the influence of Hollywood cinema and directors. In Cathedral of the Pines, Crewdson’s persistent psychological leitmotifs evolve into intimate figurative dramas.

Visually alluring and often deeply disquieting, these tableaux are the result of an intricate production process: For more than twenty years, Crewdson has used the streets and interiors of small-town America as settings for photographic incarnations of the uncanny. Working with a large crew, he plans his images as meticulously as any movie director.

 

The Photographers’ Gallery / London
On view through October 8, 2017
Visit the exhibition page >

Recent Articles
Design Awards 2018 / Wallpaper
Announcing the 2018 winners
The wait is over. Glittering gongs have been pinned on the past…
The wait is over. Glittering gongs have been pinned on the past year’s world rockingest people, places, and…
Unnecessary Alcove / Shreyas Karle
Through Mar 3, 2018 / Project 88
“The objects in themselves as the residue of the scratched surfaces hold…
“The objects in themselves as the residue of the scratched surfaces hold no entity if they do not…
The Armory Show / 24th Edition
March 8–11, 2018 / New York
The Armory Show, New York’s premier art fair and a leading destination…
The Armory Show, New York’s premier art fair and a leading destination for discovering and collecting art presents…
Something Resembling Truth / Jasper Johns
Through May 13, 2018 / The Broad
Organized with the Royal Academy in London, this exhibit with loans from…
Organized with the Royal Academy in London, this exhibit with loans from numerous collections features over 120 of…
ARCO Madrid / 2018
37th Edition / Feb 21-26, 2018
ARCO Madrid is back for the 37Th International Contemporary Art Show bringing…
ARCO Madrid is back for the 37Th International Contemporary Art Show bringing together over 200 galleries from 29…
ARTPIL / Prescription .031
This week in review
Well into the new year now, there’s no rewinding. Irony, Tragedy, and…
Well into the new year now, there’s no rewinding. Irony, Tragedy, and Scandal already neck and neck for…
Amy Sillman: Mostly Drawing
Through Mar 3, 2018 / Gladstone Gallery
Comprised primarily of works on paper incorporating silkscreened, painted, and drawn elements,…
Comprised primarily of works on paper incorporating silkscreened, painted, and drawn elements, this exhibit continues Sillman’s decades-long examination…
Artists’ Film International
Various venues / Spring 2018
Artists’ Film International is a collaborative project featuring film, video and animation…
Artists’ Film International is a collaborative project featuring film, video and animation from around the world with 18…
Gregory Crewdson: Cathedral of the Pines
Through Oct 8 / The Photographers’ Gallery

 

 

 

This is the first UK exhibition of Cathedral of the Pines, a new body of work by acclaimed American artist Gregory Crewdson, and it is also the first time The Photographers’ Gallery has devoted all three of its gallery spaces to one artist.

With this series, produced between 2013 and 2014, Crewdson departs from his interest in uncanny suburban subjects and explores human relations within more natural environments. In images that recall nineteenth-century American and European paintings, Crewdson photographs figures posing within the small rural town of Becket, Massachusetts, and its vast surrounding forests, including the actual trail from which the series takes its title. Interior scenes charged with ambiguous narratives probe tensions between human connection and separation, intimacy and isolation.

 

 

 

 

Crewdson describes this project as ‘his most personal’, venturing to retrieve in the remote setting of the forest, a reminiscence of his childhood. The images in Cathedral of the Pines, located in the dystopian landscape of the anxious American imagination, create atmospheric scenes, many featuring local residents, and for the first time in Crewdson’s work, friends and family. In Woman at Sink, a woman pauses from her domestic chores, lost in thought. In Pickup Truck, Crewdson shows a nude couple in the flatbed of a truck in a dense forest—the woman seated, the man turned away in repose. Crewdson situates his disconsolate subjects in familiar settings, yet their cryptic actions—standing still in the snow, or nude on a riverbank—hint at invisible challenges. Precisely what these challenges are, and what fate awaits these anonymous figures, are left to the viewer’s imagination.

Crewdson’s careful crafting of visual suspense conjures forebears such as Diane Arbus, Alfred Hitchcock, and Edward Hopper, as well as the influence of Hollywood cinema and directors. In Cathedral of the Pines, Crewdson’s persistent psychological leitmotifs evolve into intimate figurative dramas.

Visually alluring and often deeply disquieting, these tableaux are the result of an intricate production process: For more than twenty years, Crewdson has used the streets and interiors of small-town America as settings for photographic incarnations of the uncanny. Working with a large crew, he plans his images as meticulously as any movie director.

 

The Photographers’ Gallery / London
On view through October 8, 2017
Visit the exhibition page >