Gregory Crewdson is a photographer, but he calls himself a storyteller. He has spoken of his belief that “every artist has one central story to tell,” and that the artist’s work is “to tell and retell that story over and over again,” to deepen and challenge its themes. True to this, Crewdson’s most recent body of work, Cathedral of the Pines, shares the aesthetic that has defined his career—cinematic scenes of domestic life in the Berkshires—but the images have quieted down. While once Crewdson burned down houses or called the police on himself in order to photograph officers, his concerns have shifted lately from the spectacular to the murky and internal.
The hallucinatory images for which Crewdson is best known—sod laid on living room carpets, crop circles and house fires, or tight beams of light emerging from a blank sky—evince the magnetism of catastrophe and the titillation of the strange. Those older works defined Crewdson’s signature style of cinematic production values applied to suburban surrealism and made him one of the most recognizable and influential contemporary photographers. To give a sense of his stature, his gallery is Gagosian, he was the subject of a feature-length documentary, and he directs the graduate photography department at Yale. Read More