Extended through March 12, 2016
Works Exhibited
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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.
—Gregory Crewdson
Gagosian New York is pleased to present new photographs by Gregory Crewdson.
Cathedral of the Pines (2013–14) was made during three productions in and around the rural town of Becket, Massachusetts. In images that recall nineteenth-century American and European paintings, Crewdson photographed figures in the surrounding forests, including the actual trail from which the series takes its title. Interior scenes charged with ambiguous narratives probe tensions between art and life, connection and separation, intimacy and isolation.
The series comprises thirty-one digital pigment prints, each measuring 45 × 58 inches framed. In Woman at Sink, a woman pauses from her household upkeep, lost in thought. In Pickup Truck, Crewdson portrays 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, is left to the viewer’s imagination.
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Gregory Crewdson: Cathedral of the Pines
In his latest series of large-format color photographs, Cathedral of the Pines, Crewdson takes the viewer to the forests of Becket, Massachusetts—the locale of his earliest childhood memories and his home since 2011.
Gregory Crewdson: An Eclipse of Moths
Gregory Crewdson discusses his new work with actor Cate Blanchett.
