1310 PENDLETON STREET CINCINNATI, OH
| (513) 407-7077 | WED - SAT 13:00 PM - 16:00 PM
THE
ANNEX
NEWS
City Intersections, 2020 by Yudit Vargas Riveron
Captured in stark black and white, “City Intersections” confronts the viewer with the dualities embedded in urban life. The vertical geometry of skyscrapers and streetlights frames a moment of human disparity: a young passerby poised on the crosswalk contrasts with a figure seated on the ground, folded into the shadows of a towering lamppost.
The photograph invites reflection on visibility and invisibility, presence and absence. While the city surges forward with movement and progress, the foreground arrests us with stillness and fragility. The choice of monochrome intensifies the atmosphere, stripping the scene to its raw essence—form, contrast, and humanity.
Far from being a fleeting street scene, the work elevates the ordinary to the universal, asking: what do we see, and what do we choose not to?
An extension of Bridges Not Walls, an arts and culture exchange program, Through A Stranger’s Eyes brings together two Cuban and two American artists who met in Havana, Cuba, in 2017. The exhibition includes photographs and narrative components of the Cubans’ journey to the United States and the Americans’ impression of Havana after dozens of trips and thousands of photographs taken during their visits. From the perspective of the Americans, M. Katherine Hurley and Jens Rosenkrantz Jr., Cuba is a time capsule of the 1950s with old cars, crumbling buildings, empty shelves, and long lines. Having relocated to the United States, Cuban artists Evelyn Sosa and Yudith Vargas Riveron now create works that capture a new world of economic safety amidst a challenging and frenetic environment.
Date: OPENING RECEPTION: SEPTEMBER 19TH, 2024, 5 to 8pm
SEPTEMBER 19TH THROUGH JUNE 28, 2024
Venue Details
The Annex Gallery
1310 Pendleton St
The Annex Building
Cincinnati, OH 45202
(513) 407-7077
Wed–Sat 11:00–4 PM
FOTOFOCUS
backstories
BIENNAL
Philately was one of the small devotions of my childhood. I inherited hundreds of stamps from my father. I could never say whether he collected them himself or simply bought them for my brother and me. Among all of them, one in particular held my gaze with disproportionate insistence: a reproduction of The Sleeping Gypsy, the 1897 painting by Henri Rousseau that I finally saw years later at the MoMA.
Staged Self-Portraits, Erased Histories and the Recasting of the American Dream
The first solo exhibition of young photographer Mark Duc Nguyen
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