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Eveningside serves as a comprehensive culmination of a decade-long photographic trilogy by Gregory Crewdson. Accompanied by text from editor and art critic Jean-Charles Vergne, the volume brings together three major bodies of work produced between 2012 and 2022: Cathedral of the Pines (2012–2014), An Eclipse of Moths (2018–2019), and the titular Eveningside (2021–2022) series.
The book traces the evolution of Crewdson’s cinematic staging over this critical period. It shifts from the intimate, color-saturated woodland scenes of Cathedral of the Pines to the sprawling, dilapidated post-industrial landscapes of An Eclipse of Moths, finally concluding with the stark, monochromatic film-noir aesthetic of Eveningside. In this concluding chapter, Crewdson explores the quiet, gothic atmosphere of everyday places of employment—such as storefronts, dairy bars, salons, and bank drive-throughs, employing complex lighting, fog, and rain to capture moments of profound contemplation in mundane routines.
Additionally, the book introduces the trilogy by looking back at his seminal 1996 series, Fireflies, providing crucial historical context for the minimalist and intimate undercurrents that continue to inform his massive, highly engineered productions. Ultimately, the monograph offers a deep dive into the nuanced political and personal landscapes that define Crewdson’s contemporary vision of a fading middle America.
Eveningside serves as a comprehensive culmination of a decade-long photographic trilogy by Gregory Crewdson. Accompanied by text from editor and art critic Jean-Charles Vergne, the volume brings together three major bodies of work produced between 2012 and 2022: Cathedral of the Pines (2012–2014), An Eclipse of Moths (2018–2019), and the titular Eveningside (2021–2022) series.
The book traces the evolution of Crewdson’s cinematic staging over this critical period. It shifts from the intimate, color-saturated woodland scenes of Cathedral of the Pines to the sprawling, dilapidated post-industrial landscapes of An Eclipse of Moths, finally concluding with the stark, monochromatic film-noir aesthetic of Eveningside. In this concluding chapter, Crewdson explores the quiet, gothic atmosphere of everyday places of employment—such as storefronts, dairy bars, salons, and bank drive-throughs, employing complex lighting, fog, and rain to capture moments of profound contemplation in mundane routines.
Additionally, the book introduces the trilogy by looking back at his seminal 1996 series, Fireflies, providing crucial historical context for the minimalist and intimate undercurrents that continue to inform his massive, highly engineered productions. Ultimately, the monograph offers a deep dive into the nuanced political and personal landscapes that define Crewdson’s contemporary vision of a fading middle America.