Andrew Moore / Blue Sweep, Dallas County, AL, 2017. Archival pigment print.
Yancey Richardson Gallery is pleased to announce Blue Sweep, an exhibition of new photographs taken in Alabama and Mississippi by American artist Andrew Moore. Following upon in-depth explorations of the economically ravaged city of Detroit (2007 – 2009) and the mythic high plains region along the 100th meridian (2011 – 2014), Blue Sweep continues the artist’s investigation of “the inner empire” of the United States. This is the artist’s seventh exhibition at the gallery.
Andrew Moore / Back Room at the Harmony Club, Selma, AL, 2017. Archival pigment print
Andrew Moore, Bottle Corner, Demopolis, AL, 2016. Archival pigment print / Les Rives du Bosphore, Molette Bend, AL, 2018. Archival pigment print.
Andrew Moore / Carmen, Saunders Hall, AL, 2015. Archival pigment print.
Andrew Moore / Temple Downtown, Mobile AL, 2017. Archival pigment print.
The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curtained entry to a Freemason’s temple, a worm-eaten map of Hale County and a ruined bridge in a verdant swamp to suggest the economic, social and cultural divisions that characterize the South and the love of history, tradition and land that binds its citizens. The exhibition juxtaposes three different views of domestic dwellings which allude to these themes: the richly adorned library of a grand plantation house; a modest bare-floor bedroom decorated with emblems of God and country hung on unpainted wooden walls; and a remote trailer home with a dirt swept yard, a traditional landscaping practice brought to the south by West African slaves.
Andrew Moore / Pearlie’s Black House, Wilcox County, AL, 2016. Archival pigment print.
Andrew Moore / Limestone Quarry, Russelville, AL, 2015. Archival pigment print.
Andrew Moore / Hale County Map, Marion, AL, 2018. Archival pigment print.
Andrew Moore / Trestle, Old Highway 61, MS, 2014. Archival pigment print.
The son of a Connecticut architect, Moore has frequently used architectural structures as a means to explore themes of time, culture and a complicated history of place. While he has often undertaken a study of place on the verge of change – the shuttered theaters of New York’s 42nd Street preceding its remaking as a vortex of consumerism, Havana just prior to the suspension of U.S. travel restrictions and early post Cold War Russia before the embrace of western capitalism – the images in the exhibition Blue Sweep suggest a place lost in time and in full embrace of the old.