An Eclipse of Moths extends Gregory Crewdson's obsessive exploration of the small-town, postindustrial American landscape. Each of these sixteen, never-before-published images is composed at a cinematic scale with the artist's signature auteurial care. Downed streetlights, abandoned baby carriages, and decommissioned carnival rides set the scene for a cast of classic Crewdsonian characters--full of equal parts yearning and ennui. This collection of images is offered in a limited-edition, slipcased volume, sumptuously produced at a scale that offers an immersive experience of each of these carefully crafted scenes.

Alone Street brings together two major bodies of work by Gregory Crewdson, Cathedral of the Pines (Aperture, 2016) and An Eclipse of Moths (Aperture, 2020), in a single, elegant, and affordable monograph. Both series expand on the artist's obsessive exploration of the psychogeography of small-town, post-industrial New England and underscore the precision and depth of Crewdson's unique mode of photographic storytelling. In each image, light, color, and carefully crafted scenography evoke the feeling that, as art historian Alexander Nemerov has astutely described, "all that ever happened in these places seems crystallized in his tableaux, as if the quiet melancholy of Crewdson's scenes gathered the unruly sorrows and other little-guessed feelings of people long-gone who once stood on those spots." In addition to the full set of images from each series, Alone Street, presents a selection of behind-the-scenes images and storyboards, revealing the extensive preparation and planning that went into the making of each work.

Cathedral of the Pines presents Gregory Crewdson's first new body of work in over five years. The series marks a return to Crewdson's classic style of storytelling via the single image, using light and color to create newly intimate, psychologically charged imagery. It also marks a time of transition for the artist, including a retreat from New York to a remote home and studio in western Massachusetts--a period of time during which Crewdson chose to remain socially withdrawn, instead committing to daily, long-distance, open-water swims and cross-country skiing on wooded paths. Cathedral of the Pines is named after one of these trails, deep in the forests of Becket, Massachusetts, the site where he found the inspiration to make these new pictures. It was there that he felt darkness lift, experienced a reconnection with his artistic process, and moved into a period of renewal and intense creative productivity. The photographs are accompanied by an essay by Alexander Nemerov, who addresses the work in relation to the American past, focusing in particular on the way the images draw space and time down to ceremonial points, in which "all that ever happened in these places seems crystallized in his tableaux, as if the quiet melancholy of Crewdson's scenes gathered the unruly sorrows and other little-guessed feelings of people long gone who once stood on those spots." Gregory Crewdson (born 1962) is a graduate of SUNY Purchase and the Yale School of Art, where he is now Director of Graduate Studies in Photography. His series Beneath the Roses is the subject of the 2012 documentary Gregory Crewdson: Brief Encounters. His work has been exhibited widely in the US and Europe, including a survey that toured throughout Europe from 2001 to 2008. He is represented by Gagosian Gallery, New York.

Black and white portraits of the back lot of Cinecitt ̉film studio in Rome.

Text by Gerry Badger, Toby Jurovics.

This volume chronicles Gregory Crewdson's Twilight series, elaborate tableaux that capture bizarre surrealities behind deceptively familiar suburban facades. The images are accompanied by an essay from Rick Moody, a novelist renowned for exposing the underbelly of small-town, middle-class America.

This highly collectible, limited-edition pop-up book is a work of art in itself, rendering Daniel Gordon's sculptural forms into a new layer of materiality and animating them in a pop-up performance. The book consists of six works in pop-up form, some featuring simple plants, others unfolding more elaborate tableaux. Inspired by his interest in the popularity of certain subjects on the internet--houseplants among them--Gordon meticulously cuts up pictures found online to create sculptural and fantastical still lifes. He uses photography not to show reality, but to present a new version of it. The crumpled paper and mix of realistic and unnatural colors render the objects slightly goofy. "Without seams and faults and limitations, my project would be very different," Gordon says. "The seamlessness of the ether is boring to me, but the materialization of that ether, I think, can be very interesting." His pieces are a perfect marriage of digital and analog processes and of high and low artistic references, complicating what is understood as sculpture, photography, painting, and the cutout.