{"id":10540,"date":"2017-09-25T15:06:36","date_gmt":"2017-09-25T13:06:36","guid":{"rendered":"http:\/\/www.archive.camerimage.pl\/?p=10540"},"modified":"2017-09-25T15:49:28","modified_gmt":"2017-09-25T13:49:28","slug":"wystawa-fotografii-gregoryego-crewdsona","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/wystawa-fotografii-gregoryego-crewdsona\/","title":{"rendered":"EXHIBITION OF GREGORY CREWDSON PHOTOGRAPHY"},"content":{"rendered":"

<\/p>\n

Camerimage Film Festival<\/strong>, and the\u00a0Centre of Contemporary Art\u00a0\u201eZnaki Czasu\u201d<\/strong>\u00a0in Toru\u0144 are pleased to present new photographs by\u00a0Gregory Crewdson<\/strong>, in collaboration with\u00a0Gagosian New York<\/strong>.<\/div>\n
\u00a0<\/div>\n
\n
Dates:<\/strong>\u00a012.11.2017-07.01.2018<\/div>\n
Grand Opening:<\/strong>\u00a012.11.2017<\/div>\n
Venue:<\/strong>\u00a0Centre of Contemporary Art \u201eZnaki Czasu\u201d in Toru\u0144, Poland, Wa\u0142y Gen. Sikorskiego 13<\/div>\n
Organizers:<\/strong>\u00a0Tumult, CAMERIMAGE Festival, Centre of Contemporary Art \u201eZnaki Czasu\u201d in \u00a0Toru\u0144, Gagosian New York, Arts of the World Foundation<\/div>\n
Curator:<\/strong>\u00a0Marek \u017bydowicz\u00a0<\/div>\n

 <\/p>\n

CATHEDRAL OF THE PINES<\/strong><\/div>\n
GREGORY CREWDSON<\/strong><\/div>\n
\u00a0<\/div>\n
\u00a0<\/div>\n
It was deep in the forests of Becket, Massachusetts that I finally felt darkness lift, experienced a reconnection with my artistic process, and moved into a period of renewal and intense creative productivity<\/em>.<\/em><\/div>\n
\u00a0– Gregory Crewdson<\/div>\n
\u00a0<\/div>\n
\n
\u00a0<\/div>\n
\u00a0<\/div>\n
\u00a0\"\"<\/a><\/div>\n
\n
\n The work of the American photographer\u00a0Gregory Crewdson<\/strong>\u00a0has gained great acclaim from both critics and art collectors worldwide. His photographs are an embodiment of sophistication: meticulously composed and executed with great attention to detail, they easily engrave themselves in the viewer\u2019s memory. Some of\u00a0Crewdson\u2019s<\/strong>\u00a0earlier series had been planned months in advance and created with the help of a team of up to 40 people, which naturally evokes associations with a movie set. During his 20 years of activity as a photographer, his unmistakable style has won him global recognition. His latest project,\u00a0Cathedral of the Pines<\/em><\/span>, however, is his most intimate endeavour yet.<\/div>\n
\u00a0<\/div>\n
Cathedral of the Pines<\/em><\/span>\u00a0brings to mind not only nineteenth-century American and European paintings, but also old cinema, which\u00a0Crewdson<\/strong>\u00a0is very passionate about. The name of the project is derived from an actual location that the artist discovered in 2011 when he moved from New York to the rural town of Becket in western Massachusetts to live alone close to his family home following a divorce. It was there that he came upon a forest trail named “Cathedral of the Pines”, which inspired him to start a new project.<\/div>\n
\u00a0<\/div>\n
Cathedral of the Pines<\/em><\/span>\u00a0(2013\u201314) was made during three productions in and around the rural town of Becket, Massachusetts. In images that recall nineteenth-century American and European paintings,\u00a0Crewdson<\/strong>\u00a0photographed figures in the surrounding forests, including the actual trail from which the series takes its title. Interior scenes charged with ambiguous narratives probe tensions between art, life, connection and separation, intimacy and isolation.\u00a0Cathedral of the Pines<\/em><\/span>\u00a0makes more references to painting than any of the artist\u2019s previous works. It also seems to touch upon more intimate themes such as isolation and loneliness. As usual though,\u00a0Crewdson<\/strong>\u00a0does not provide the viewer with a simple key to decipher the message of his photographs.<\/div>\n
\u00a0<\/div>\n
The series comprises 31 digital pigment prints, each measuring 114\u00d7146 cm framed. In\u00a0Woman at Sink<\/span>,\u00a0<\/em>a woman pauses from her household upkeep, lost in thought. In\u00a0Pickup Truck<\/em><\/span>,\u00a0Crewdson<\/strong>\u00a0portrays a nude couple in the flatbed of a truck in a dense forest \u2013 the woman seated, the man turned away in repose.\u00a0Crewdson<\/strong>\u00a0situates his disconsolate subjects in familiar settings, yet their cryptic actions \u2013 standing still in the snow, or nude on a riverbank \u2013 hint at invisible challenges. Precisely what these challenges are, and what fate awaits these anonymous figures, is left to the viewer’s imagination.<\/div>\n
\u00a0<\/div>\n
For more than 20 years,\u00a0Crewdson<\/strong>\u00a0has used the streets and interiors of small-town America as settings for photographic incarnations of the uncanny. Working with a crew, he plans his images as meticulously as any movie director, from the black and white\u00a0Hover<\/em>\u00a0<\/span>series (1996\u201397), the nocturnal\u00a0Twilight<\/span><\/em>\u00a0<\/span>(1998\u20132002), to the cerebral\u00a0Beneath the Roses<\/span><\/em>\u00a0(2003\u201308). His careful crafting of visual suspense conjures up forerunners such as\u00a0Diane Arbus<\/strong>,\u00a0Alfred Hitchcock<\/strong>, and\u00a0Edward Hopper<\/strong>. In\u00a0Cathedral of the Pines<\/em><\/span>,\u00a0Crewdson\u2019s<\/strong>\u00a0persistent psychological leitmotifs evolve into intimate figurative dramas.<\/div>\n
\u00a0<\/div>\n
Before coming to the\u00a0Centre of Contemporary Art\u00a0<\/strong>in Toru\u0144,\u00a0Cathedral of the Pines<\/em><\/span>\u00a0was exhibited at the\u00a0Gagosian Gallery<\/strong>\u00a0in New York, where it was received with great acclaim. Toru\u0144 will be the second of two European cities to hold the exhibition, the other being London. On Sunday, 12th<\/sup>\u00a0November, the\u00a0Centre of Contemporary Art<\/strong>\u00a0will hold a meeting with the artist.<\/div>\n
\u00a0<\/div>\n
The exhibition organizers will invite the participants to a screening of the latest documentary film about the artist –\u00a0Gregory Crewdson: There But Not There<\/em><\/span>, directed by\u00a0Juliane Hiam<\/strong>.<\/div>\n
\u00a0<\/div>\n
\u00a0<\/div>\n
*****<\/div>\n
\u00a0<\/div>\n
\u00a0<\/div>\n
Gregory Crewdson<\/strong>\u00a0was born in 1962 in Brooklyn, New York, and lives and works in New York City and Massachusetts. Public collections include the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; the Art Institute of Chicago; Fotomuseum Winterthur; and the National Gallery of Victoria, Melbourne. Recent solo exhibitions include\u00a0Gregory Crewdson: 1985\u20132005<\/em>, Kunstverein Hannover (2005, travelled to Kunstmuseen Krefeld; Fotomuseum Winterthur; and Landesgalerie Linz);\u00a0Gregory Crewdson: In a Lonely Place<\/em>, C\/O Berlin (2011, travelled to Kulturhuset, Stockholm; The Black Diamond, Copenhagen; Stenersen Museum, Oslo; the Centre for Contemporary Photography, Melbourne; the Institute of Modern Art, Brisbane; City Gallery Wellington; and Dunedin Art Gallery);\u00a0Gregory Crewdson: Beneath the Roses<\/em>, Museum of Image and Sound, S\u00e3o Paulo (2014);\u00a0Gregory Crewdson: Fireflies<\/em>, Wave Hill, Bronx, New York (2014); and\u00a0Gregory Crewdson: Dream House<\/em>, San Diego Museum of Art (2015).<\/div>\n<\/div>\n<\/div>\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

Camerimage Film Festival, and the\u00a0Centre of Contemporary Art\u00a0\u201eZnaki Czasu\u201d\u00a0in Toru\u0144 are pleased to present new photographs by\u00a0Gregory Crewdson, in collaboration…<\/p>\n","protected":false},"author":1,"featured_media":10558,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[141],"tags":[],"class_list":["post-10540","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wiadomosci"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/10540"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=10540"}],"version-history":[{"count":13,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/10540\/revisions"}],"predecessor-version":[{"id":10565,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/10540\/revisions\/10565"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media\/10558"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=10540"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=10540"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=10540"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}