Gregory Crewdson – Cathedral of the Pines

For the first time ever, the Photographers’ Gallery have turned over all three principal gallery spaces to a single exhibition, Cathedral of the Pines by Gregory Crewdson. I visited on the first day, in June, and it has taken me two months to shake off my writer’s block and blog something about it. There are multiple threads to discussing a Crewdson project, so let’s just dive in and have a go (in no particular order).

First, there is the image quality. No reproduction on a website or in a book is going to come close. These are large-format images, presented slightly larger than 900x1200mm and with pretty much front-to-back sharpness. Lighting appears natural (if slightly cool) although it is really very tightly controlled.

Second, there is the size of the production team. Many photographers are used to working alone, or having a very small team – an assistant or two to move lights around, a make-up artist and/or stylist for the model – but Crewdson works with a group of about 15 (video interview played at the exhibition), looking more like the production team of a small movie. I find I am asking myself questions about authorship; is it correct to name Crewdson alone, or would it be more honest to have something like movie end-credits displayed somewhere. My questions could be exemplified and summarised in one, “Why does a photographer need a Director of Photography?”

Third, and by no means least, there are the images themselves. We find ourselves in the small town of Beckett, Massachusetts and its surrounding pine forests. The cast of actors (a better word than ‘models’ given the filmic, big production style) show us a version of rural American life, but distinctly surreal or dream-like; Indeed, the amount of nudity reflects a classic dream trope. The actors seem isolated, slightly awkward, and universally deadpan in expression. (Crewdson says his frequent instruction is “give me less”)

I am intrigued by my own changing reaction to this work. At the gallery, I was dismissive, asking myself “Why bother with a big production to shoot what are essentially snapshots?” However, over the past few weeks I have been mentally revisiting (and looking at my photographs – above – taken of the images) and reassessing. These images all have a narrative – there is a sense of a story before and after – and an attention to detail that is not, at first, apparent. I will be returning before the exhibition closes in October.

References

Photographers’ Gallery (2017) Gregory Crewdson: Cathedral of the Pines [online] Available at <http://thephotographersgallery.org.uk/content/gregory-crewdson-cathedral-pines&gt; [Accessed 24/8/2017].

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