{"id":28743,"date":"2016-03-29T11:58:15","date_gmt":"2016-03-29T16:58:15","guid":{"rendered":"http:\/\/www.artloversnewyork.com\/zine\/?p=28743"},"modified":"2016-03-30T10:44:54","modified_gmt":"2016-03-30T15:44:54","slug":"gregory-crewdson-opening-pix","status":"publish","type":"post","link":"https:\/\/www.artloversnewyork.com\/zine\/the-bomb\/2016\/03\/29\/gregory-crewdson-opening-pix\/","title":{"rendered":"~GREGORY CREWDSON . . CATHEDRAL of the PINES – OPENING PIX"},"content":{"rendered":"

GREGORY CREWDSON – ‘CATHEDRAL OF THE PINES’
\nopened Jan 28, 2016
\nthe show ran Jan 28 – March 12, 2016
\nGagosian Gallery, 522 West 21st St, Chelsea, NYC<\/p>\n

more background info: Gregory Crewdson, ‘Cathedral of the Pines’ – Gagosian Gallery <\/a>
\nhttp:\/\/www.gagosian.com\/exhibitions\/gregory-crewdson–january-28-2016<\/p>\n

the thing<\/strong> about GREGORY CREWDSON is . . he weaves a mighty fine spell.
\nwho wants to break the MYSTERY, and the ENCHANTMENT . . . by posting the opening pix right away ?
\nnot me.<\/p>\n

PIX FROM THE OPENING: THURS JAN 28, 2016:<\/p>\n

\"\"<\/a>
\nGREGORY CREWDSON, with his son, . . and KNIGHT LANDESMAN of ARTFORUM.<\/p>\n

\"\"<\/a>
\nJARED LeBOFF . . will be a producer on Gregory Crewdson’s next project, a full-length fictional narrative . . film.
\n“Oscar-nominated ‘Bridge of Spies’ producer MARC PLATT has optioned CARLA BUCKLEY’s novel The Deepest Secret<\/em>, with the plan for renowned art photographer GREGORY CREWDSON and his partner JULIANE HIAM to adapt it for the big screen. CREWDSON will be making his feature<\/strong> directorial debut<\/strong>.<\/p>\n

The book, published in 2014 by Bantam, is an intimate<\/strong> family drama that explores the profound power of the truths we’re scared to face: about our marriages, our children, and ourselves. PLATT & JARED LeBOFF are producing for Marc Platt Productions.”
\nsource & read more: DEADLINE HOLLYWOOD: GREGORY CREWDSON’S NEXT PROJECT<\/a>
\nPhotographer Gregory Crewdson Taking Shot At Movie Biz With ‘The Deepest Secret’ & Producer Marc Platt<\/a><\/p>\n

\"\"<\/a>
\nZOE KAZAN, and PAUL DANO, made the opening . .
\nso did . . .<\/p>\n

\"\"<\/a>
\nPETER SARSGAARD . . .<\/p>\n

\"\"<\/a>
\nand, WES ANDERSON. (!!)<\/p>\n

\"\"<\/a>
\nGREGORY CREWDSON, ‘Woman in Living Room’, 2013.
\nDigital Pigment Print.
\n45-1\/16 x 57-9\/16 in. framed.
\nEdition of 3.<\/p>\n

I overheard at the opening, that the show was completely sold out before it had even opened. <\/p>\n

\"\"<\/a>
\nthere was a lot of nudity<\/strong> in these photos – even more notable, as nakedness per se . . is not being seen too much in the art world these days, maybe on some critics’ IG pages, but not<\/strong> in the exhibited works. but it is a very characteristic, and very important tool for Crewdson. the nakedness reinforces the vulnerability, & the sense of alienation and loneliness that seems to engulf and swallow<\/strong> up whole, his rural, small town North East Kingdom lonely hearts characters.
\nit’s not a sexy or erotic nakedness, it is a kind of scientific, social study nakedness. a visual code – for human behavior . . that is just not<\/strong> going right. It draws you in, esp in the way the vignettes are staged . . . for sure. and that’s part of the magic.<\/p>\n

\"\"<\/a>
\nthe retro details, are also part of the magic, the mystery, the atmosphere . . and that hard to define . . but definitely tension-filled, wavering Crewdson ‘reality’ . . his signature ‘staged’ or ‘artificial’ narrative & absolutely fictional reality . . contrasting with the authenticity of the tiniest of ‘real’ details.
\nit’s a strange poet’s naked world, a world of lost dreams, rather than any real steamy passion, or desire. it’s about desire, but not of the erotic vein. desire of the . . soul.<\/p>\n

\"\"<\/a>
\nthe vintage retro details also serve to set the emotional stage, and the time window. somewhere between post-Woodstock, and . . pre-digital. the landline vs the wireless social media web. communication is<\/strong> there, or rather the device is: but nobody is talking – on the phone.<\/p>\n

and you wonder why melancholy seeps up like a toxic invisible force – from these gorgeous, somber photos, that’s one of the answers.
\ntangible visual symbols, and cues . . at play.
\nand, on another level, if you ever wonder why ‘vintage’, is so in vogue now \/ here’s one of your answers.<\/p>\n

\"\"<\/a>
\nGregory Crewdson’s ‘cinematic’ photographs are also about . . ‘scale’. the fragility of the human existence within the broader picture. the singular . . failure of hope ? joy ? family ? infrastructure ? the erosion of ‘organized’ faith ?<\/p>\n

which bye the way . . allows<\/strong> the photographer himself . . to reside in a converted local church, which is presumably no longer relevant in its original role to the community – it once bound together.<\/p>\n

on another purely<\/strong> technical level, it’s also of interest to note that although these photos are indeed<\/strong> gorgeous, and spaced-out most generously within the gallery, only one to a wall . . and still capable of provoking deep & profound emotions in the viewer – and although the gallery defines them as ‘large’ format – Crewdson’s previous photographs were quite more epic in size\/scale. for example in Crewdson’s – ‘Beneath the Roses’ exhibit of spring\/summer 2005 – some of the photos were as large as walls, themselves: 56-1\/4 x 94-1\/4 in. time to evolve, time to move on.<\/p>\n

\"\"<\/a>
\nGREGORY CREWDSON, ‘The Shed’, 2013.
\nDigital Pigment Print.
\n45-1\/16 x 57-9\/16 framed.
\nEdition of 3.<\/p>\n

\"\"<\/a>
\nlight sources, artificial and controlled, along with tightly ‘posed’ subjects – help tell the ‘anonymous’ yet universal, unspoken human story. which sees to be quite the . . tragedy. <\/p>\n

the light & the posed bodies .. create the ‘focus’ – amid the seamless clash of . . detailed fictional reality vs hidden but deep, and forlorn . . human emotions.
\nfor me, as for many others . . these photos act as ‘one frame’ films – and the effect is not, any less chilling . . than a recent full-length<\/strong> film, not any less violent in its take on the sad Bio contemopary human condition \/ the void \/ the spiritual void. and that would be: ‘THE REVENANT’, which also featured giant Pine trees.
\nwhat is it . . about Pine trees ?
\nhow they can morph from Christmas – to desolation . . in a split second.<\/p>\n

\"\"<\/a>
\nsome more gorgeous, vintage detail. they add a real depth, a profound character to the images. they stand in for: wisdom ? experience ? lost skills ? lost lives ?
\nlost – ways.<\/p>\n

\"\"<\/a>
\nfalling into a . . Crewdson, is easy.
\nand that’s what makes them so EPIC, nothing to do with the actual<\/strong> scale of the photographs themselves. it’s the details, the theatrical set-ups, the lighting. the care. the aim. and in these photos: his aim is true.<\/p>\n

\"\"<\/a>
\nGREGORY CREWDSON, ‘The VW Bus’, 2013.
\nDigital Pigment Print.
\n45-1\/16 x 57-9\/16 in. framed.
\nEdition of 3.<\/p>\n

yeah, time-wise: somewhere between Woodstock . . and Facebook.<\/p>\n

\"\"<\/a>
\nGREGORY CREWDSON, ‘Woman in Parked Car’, 2014.
\nDigital Pigment Print.
\n45-1\/16 x 9\/16 in. framed.
\nEdition of 3.<\/p>\n

my favorite CREWDSON photo projects, they all involve production crews . . have always been his . . snowy, snowy snow scenes.
\nthe atmosphere, the chill, the warmth of light sources, the coldness of existence.
\nbleak beauty. almost: brut. <\/p>\n

watch: GREGORY CREWDSON talk about his filmmaking<\/a> esp the technical aspects, including getting all that detail !!
\n