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to a remote home and studio in western Massachusetts--a period of time during which Crewdson chose to remain socially withdrawn, instead committing to daily, long-distance, open-water swims and cross-country skiing on wooded paths.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.

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.

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.

"Raymond Meeks is renowned for his use of photography and the book form to poetically distill the liminal junctures of vision, consciousness and comprehension. In 'ciprian honey cathedral', he brings this scrutiny close to home, delicately probing at the legibility of our material surroundings and the people closest to us. Meeks has long been fascinated by the way we construct the world around us; how we carry our possessions, these accumulated comforts, inheritances, markers of material success; how we adorn homes with trees and shrubs, a mantle clock to count the hours. Stumbling across an abandoned house or unkempt lawn becomes a search for common clues to tiny hidden transgressions. This question of knowledge and understanding is perhaps most drastic in our solipsistic reality. Meeks also photographed his partner, Adrianna Ault, in the early mornings before she awoke, on the threshold at which daily domestic life converges with the deepest state of sleep. This plight of supine trance is a place of reprieve beneath the surface of consciousness, free from the chaos and uncertainty of the sentient world above, and alludes to the veiled threat that, ultimately, we are utterly unknowable to one another."--Publisher's web page for the book.

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.

Step Out of Your Car and Right into Nature! New England’s Roadside Ecology guides you through 30 spectacular natural sites, all within an easy walk from the road. The sites include the forests, wetlands, alpines, dunes, and geologic ecosystems that make up New England. Author Tom Wessels is the perfect guide. Each entry starts with the brief description of the hike's level of difficulty—all are gentle to moderate and cover no more than two miles. Entries also include turn-by-turn directions and clear descriptions of the flora, fauna, and fungi you are likely to encounter along the way. New England’s Roadside Ecology is a must-have guide for outdoor enthusiasts, hikers, and tourists in Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, and Vermont.

“One of the distinguished gardening books of our time,” from the #1 New York Times–bestselling author of The Omnivore’s Dilemma (USA Today). Chosen by the American Horticultural Society as one of the 75 greatest books ever written about gardening After Michael Pollan bought an old Connecticut dairy farm, he planted a garden and attempted to follow Thoreau’s example: do not impose your will upon the wilderness, the woodchucks, or the weeds. That ethic did not, of course, work. But neither did pesticides or firebombing the woodchuck burrow. So Michael Pollan began to think about the troubled borders between nature and contemporary life. The result is a funny, profound, and beautifully written book in the finest tradition of American nature writing. It inspires thoughts on the war of the roses; sex and class conflict in the garden; virtuous composting; the American lawn; seed catalogs, and the politics of planting a tree. A blend of meditation, autobiography, and social history, Second Nature, from the renowned author of The Botany of Desire, In Defense of Food, and other bestsellers, is “as delicious a meditation on one man’s relationship with the Earth as any you are likely to come upon” (The New York Times Book Review). “Usually when Americans have wanted to explore their relationship to nature they’ve gone to the wilderness, or the woods. Michael Pollan went to the garden instead . . . and he’s returned with a quirky and pleasing book.” —Annie Dillard “A joy to read.” —Los Angeles Times