Don’t miss the last few weeks of the the Gregory Crewdson exhibition, Cathedral of Pines presented by the Photographers’ Gallery in London, a highly anticipated exhibition of the most recent body of work by acclaimed American artist Gregory Crewdson (b. 1962). This exhibition, Crewdson’s first major solo show in a UK public institution, will be presented in its entirety in their state of the art central London venue this summer, from 23 June – 8 October 2017.
This is the first time that the Gallery has dedicated all of its spaces to one exhibition, in order to show the scale and intensity of this important series of work. It provides a unique opportunity for UK audiences to encounter this extraordinary photographer up close, and will feature all thirty-one images from the Cathedral of the Pines series, presented as large-scale digital pigment prints. A publication with an essay by art historian Alexander Nemerov, published by Aperture, coincides with the exhibition.
"It was deep in the forests of Becket, Massachusetts that I finally felt darkness lift, experienced a reconnection with my artistic process, and moved into a period of renewal and intense creative productivity."
With this series, produced between 2013-14, Crewdson returns to the uncanny suburban subjects, and explores 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.
Gregory Crewdson – Cathedral of Pines
The Photographers’ Gallery, London
JUNE 23, 2017 – OCTOBER 08, 2017