Gregory Crewdson: Cathedral of the Pines
This book was published on the occasion of the exhibition Gregory Crewdson: Cathedral of the Pines at Gagosian, West 21st Street, New York. It documents the thirty-one digital pigment prints comprising the titular series made in 2013–14 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 after which the series is named. Interior scenes charged with ambiguous narratives probe tensions between art and life, connection and separation, intimacy and isolation. The publication features an essay by art historian Alexander Nemerov.
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Gregory Crewdson: Cathedral of the Pines
Gregory Crewdson: Cathedral of the Pines
This book was published on the occasion of the exhibition Gregory Crewdson: Cathedral of the Pines at Gagosian, West 21st Street, New York. It documents the thirty-one digital pigment prints comprising the titular series made in 2013–14 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 after which the series is named. Interior scenes charged with ambiguous narratives probe tensions between art and life, connection and separation, intimacy and isolation. The publication features an essay by art historian Alexander Nemerov.
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Description
This book was published on the occasion of the exhibition Gregory Crewdson: Cathedral of the Pines at Gagosian, West 21st Street, New York. It documents the thirty-one digital pigment prints comprising the titular series made in 2013–14 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 after which the series is named. Interior scenes charged with ambiguous narratives probe tensions between art and life, connection and separation, intimacy and isolation. The publication features an essay by art historian Alexander Nemerov.
