1310 PENDLETON STREET CINCINNATI, OH
| (513) 407-7077 | WED - SAT 13:00 PM - 16:00 PM
THE
ANNEX
GALLERY
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
One of the people I love most in the world—among other reasons, for something like this—cried for several minutes upon realizing that the book which had occupied her for a brief stretch of time had come to an end. To close it and return it to the shelf meant abandoning a world she already considered her own: one where good and evil were distinguished in every conceivable way. Beyond its beauty, that universe offered purpose, a sanctioned form of contemplation, and a steadfast commitment to the benevolence of the spirit.
More than a dozen portraits of the current President of the United States
A Selection of Iconic New Yorker Covers from Jens Rosenkrantz’s Private Collection
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