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Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Closing Today

Shared Space
A New Era, Photographs from the Bank of America Collection

Through December 15, 2019
Art Museum, University of Saint Joseph, West Hartford, Connecticut
www.usj.edu

This exhibition explores a changing social landscape captured in photography and video created over the span of nearly twenty-five years. Eighteen artists from nine countries explore how the physical spaces in which we interact—from city streets to rural landscapes—have evolved alongside our access to a virtual “global village.” Work by Gregory Crewdson and Andreas Gursky is included.

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Gregory Crewdson, Untitled, 2006 © Gregory Crewdson

Opening this Week

Gregory Crewdson in
Unseen: 35 Years of Collecting Photographs

December 17, 2019–March 8, 2020
J. Paul Getty Museum, Los Angeles
www.getty.edu

Commemorating the thirty-fifth anniversary of the J. Paul Getty Museum’s collection of photographs, this exhibition reveals the breadth and depth of the Getty’s acquisitions through an array of its hidden treasures, none of which have been exhibited at the museum before. Spanning the history of the medium from its early years to the present day, Unseen highlights visual associations between photographs from different times and places to encourage fresh discoveries and underscore a sense of continuity and change within the history of the medium. Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 2006 © Gregory Crewdson

Ed Ruscha, Hotel, 1962 © Ed Ruscha

On View

Edward Hopper and the American Hotel

Through February 23, 2020
Virginia Museum of Fine Arts, Richmond
www.vmfa.museum

Edward Hopper and the American Hotel explores the artist’s images of hospitality settings showcasing more than sixty of the artist’s paintings, drawings, watercolors, and illustrations. Also included are thirty-five works by American artists that similarly explore the visual culture of hotels, travel, and mobility from the early twentieth century to the present, including work by Gregory Crewdson, Ed Ruscha, and Cindy Sherman.

Ed Ruscha, Hotel, 1962 © Ed Ruscha

Cindy Sherman, Untitled (#112), 2003 © Cindy Sherman

On View

Andy Warhol bis Cindy Sherman
Amerikanische Kunst aus der Albertina

Through March 29, 2020
Schlossmuseum Linz, Austria
www.landesmuseum.at

Europe’s view of America is influenced by images of the entertainment industry: from film and television to advertising and newspapers. No other nation has placed so much reliance upon the power and impact of pictures and symbols as the US. With more than two hundred works of American art from 1960 to the present day, this large-scale exhibition, whose title translates to Andy Warhol to Cindy Sherman: American Art from the Albertina Museum, aims to illustrate how much our perceptions of truth and reality, facts and fake news, owe to America’s visual culture. Work by Gregory Crewdson, Roy Lichtenstein, Cindy Sherman, Andy Warhol, and Tom Wesselmann is included. 

Cindy Sherman, Untitled (#112), 2003 © Cindy Sherman

Gregory Crewdson, Untitled (beckoning bus driver), 2001–02, Whitney Museum of American Art, New York © Gregory Crewdson

Closed

Vantage Points
Contemporary Photography

September 14–November 10, 2019
Peoria Riverfront Museum, Illinois
www.peoriariverfrontmuseum.org

Vantage Points is a collaboration between the Peoria Riverfront Museum and the Whitney Museum of American Art in New York. The exhibition features photographs by twenty artists dating from the 1970s through the 2000s and explores the mythologies, theatricalities, and empirical narratives of identity and location from an American perspective. Work by Gregory Crewdson and Sally Mann is included.

Gregory Crewdson, Untitled (beckoning bus driver), 2001–02, Whitney Museum of American Art, New York © Gregory Crewdson

Installation view, Fiçcão e fabricação: Fotografia de arquitetura após a revolução digital, Museum of Art, Architecture and Technology, Lisbon, March 20–August 19, 2019. Artwork, left to right © Jeff Wall, © Gregory Crewdson

Closed

Fiçcão e fabricação
Fotografia de arquitetura após a revolução digital

March 20–August 19, 2019
Museum of Art, Architecture and Technology, Lisbon
www.maat.pt

This exhibition, whose English title is Fiction and Fabrication: Photography of Architecture after the Digital Turn, looks at artists who have created and engaged with imagery of architecture. It examines how digital manipulation has enabled a fictionalization of architectural spaces, and explores architecture’s role in an expanded practice of photography within contemporary art. Work by Gregory Crewdson, Andreas Gursky, and Jeff Wall is included.

Installation view, Fiçcão e fabricação: Fotografia de arquitetura após a revolução digital, Museum of Art, Architecture and Technology, Lisbon, March 20–August 19, 2019. Artwork, left to right © Jeff Wall, © Gregory Crewdson

Ed Ruscha, Azteca/Azteca In Decline, 2007, Broad Art Foundation © Ed Ruscha

Closed

A Journey That Wasn’t

June 30, 2018–February 10, 2019
The Broad, Los Angeles
www.thebroad.org

This exhibition explores complex representations of time and its passage. The show includes more than fifty works drawn from the museum’s collection of postwar and contemporary art and features more than twenty artists, including Richard Artschwager, Gregory Crewdson, Andreas Gursky, Anselm Kiefer, and Ed Ruscha.

Ed Ruscha, Azteca/Azteca In Decline, 2007, Broad Art Foundation © Ed Ruscha

Gregory Crewdson, Untitled, 2006 © Gregory Crewdson

Closed

New Territory
Landscape Photography Today

June 24–September 16, 2018
Denver Art Museum
denverartmuseum.org

This exhibition will survey contemporary landscape photography from around the world. More than eighty photographs will gauge how artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions, and values of our time. Work by Gregory Crewdson and Sally Mann will be included.

Gregory Crewdson, Untitled, 2006 © Gregory Crewdson

Ellen Gallagher, Untitled (10), 2000 © Ellen Gallagher

Closed

Praying for Time

March 2–July 8, 2018
Rose Art Museum, Brandeis University, Waltham, Massachusetts
www.brandeis.edu

Marked by the fall of the Berlin Wall, the attacks of September 11, and civil war, the end of the twentieth century can also be viewed as a time that presaged immense global revolutions, both social and digital, that have transformed our world. Praying for Time reflects the diversity of voices and concerns in art produced during that pivotal period from 1980 through the early 2000s. Work by Gregory Crewdson, Ellen Gallagher, Richard Prince, Richard Serra, and Andy Warhol is included. 

Ellen Gallagher, Untitled (10), 2000 © Ellen Gallagher

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Closed

Gregory Crewdson in
Making Home: Contemporary Art from the DIA

December 1, 2017–June 6, 2018
Detroit Institute of Arts
www.dia.org

This exhibition presents prints, drawings, and photographs that are concerned with idealistic representations of home. Works both affirm common symbols of domestic space and question popular ideas of home as a symbol of comfort, belonging, and permanency. Work by Gregory Crewdson is included.

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Gregory Crewdson, Untitled, 2001 © Gregory Crewdson

Closed

Inside Out
Photography and Psychology

February 7–May 12, 2018
DZ Bank Kunstsammlung, Frankfurt
www.dzbank-kunstsammlung.de

Photography and psychology are two very distinct fields that have significantly shaped our cultural modern age. The exhibition explores the correlation between the two areas and poses the question, In what ways has modern psychological inquiry influenced artistic and wider cultural production? And also, in counter to this, what potential does photography have to expose the capacities of the contemporary human psyche? Exhibits from the disciplines of both science and art will be on display. Work by Gregory Crewdson and Taryn Simon is included.

Gregory Crewdson, Untitled, 2001 © Gregory Crewdson

Gregory Crewdson, The Shed, 2013 © Gregory Crewdson

Closed

Gregory Crewdson
Cathedral of the Pines

November 12, 2017–January 7, 2018
Centre of Contemporary Art, Torun, Poland
en.csw.torun.pl

The deeply evocative series Cathedral of the Pines (2013–14), typical of Crewdson’s cinematic scope and complex narratives, is photographed against the backdrop of the rural town of Becket, Massachusetts. This exhibition has traveled from the Photographers’ Gallery in London.

Gregory Crewdson, The Shed, 2013 © Gregory Crewdson

Gregory Crewdson, Untitled, 2003/05 © Gregory Crewdson

Closed

Modes of Behavior Towards People When Affection Plays a Part

July 15–November 5, 2017
Kunstmuseum Stuttgart, Germany
www.kunstmuseum-stuttgart.de

The Kunstmuseum Stuttgart will present a selection from the collection of Alison and Peter W. Klein. The Kleins, who have been collecting for over thirty years, have amassed a varied collection of more than two thousand works by international artists. Work by Gregory Crewdson, Anselm Kiefer, and Karin Kneffel is included.

Gregory Crewdson, Untitled, 2003/05 © Gregory Crewdson

Gregory Crewdson, Cathedral of the Pines, 2014

Closed

Gregory Crewdson
Cathedral of the Pines

June 23, 2018–October 8, 2017
The Photographers’ Gallery, London
thephotographersgallery.org.uk

This is the first time the Cathedral of the Pines series has been exhibited in the UK and the first time the Photographers’ Gallery has devoted all three of its gallery spaces to one artist. The deeply evocative series, typical of Crewdson’s cinematic scope and complex narratives, is photographed against the backdrop of the rural town of Becket, Massachusetts.

Gregory Crewdson, Cathedral of the Pines, 2014

Gregory Crewdson, Untitled, 1996

Closed

Gregory Crewdson
The Becket Pictures

May 20–September 17, 2017
FRAC Auvergne, Clermont-Ferrand, France
www.frac-auvergne.fr

This exhibition features images of Fireflies (1996) together with the artist’s more recent series, Cathedral of the Pines (2013–14). Despite the fifteen-plus years separating the two series of images, both were created at the same site—near the town of Becket, Massachusetts—but in accordance with very different protocols. Fireflies was shot over two months with the most rudimentary means—the photographer worked alone, with his camera—while Cathedral of the Pines was photographed over two years, requiring the manpower and technology of a movie production.

Gregory Crewdson, Untitled, 1996