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
The Opening Up of the World / Simryn Gill
Through Dec 3, 2017 / Lunds Konsthall
Lunds Konsthall is proud to present Simryn Gill’s first institutional solo presentation…
Lunds Konsthall is proud to present Simryn Gill’s first institutional solo presentation in northern Europe, articulating the experience…
ARTPIL / Prescription 11.12.17
The past week in the arts
Feeling the chill of mid November’s coastal winds with bivouac offices now…
Feeling the chill of mid November’s coastal winds with bivouac offices now along the seaside, here is our…
82 Portraits and 1 Still Life / David Hockney
Through Feb 25, 2018 / Guggenheim Bilbao
”Other people fascinate me, and the most interesting aspect of other people–the…
”Other people fascinate me, and the most interesting aspect of other people–the point where we go inside them–is…
The Royal Road: In Transformation
Photos by Laure d'Utruy
A photo series exploring dualities in the aspects of the Iranian society:…
A photo series exploring dualities in the aspects of the Iranian society: between tradition and modernity, religion and…
Image Is the Only Memory I Have
by Nerina Toci / Preface by Letizia Battaglia
An intense first book, rich with suggestive photos, Nerina Toci explores her…
An intense first book, rich with suggestive photos, Nerina Toci explores her own image which becomes the subject…
The Salon Art + Design
November 9-13, 2017 / New York
The Salon Art + Design welcomes the world’s finest galleries exhibiting historical,…
The Salon Art + Design welcomes the world’s finest galleries exhibiting historical, modern and contemporary furniture, groundbreaking design…
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 >