Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Like William Carlos Williams' poems in Spring and All, Andrew Moore's photographs honor what is most ignored and despised among us, and they do so in such a straightforward manner that unless we're attentive we can miss the art. When I write that these pictures are a revelation, I've not begun to describe their effect on me nor have I begun to describe the profundity of the debt I owe them. I had thought my city no longer mattered, and I--as one of its poets--had been writing for 65 years about next to nothing, that my life's work was only a footnote to the history of American idiocy and hubris. I had thought I knew what it meant to be from Detroit, to be of Detroit, to be Detroit. In truth I didn't know the half of it." Philip Levine, excerpted from his essay, "Nobody's Detroit," published in Andrew Moore: Detroit Disassembled.
Preface by Imani Perry. Text by Andrew Moore, Madison Smartt Bell.
“Precious and rare are the images and essays about Alabama that I recognize as belonging to my home … Blue Alabama is different. This book is true to my home.” –Imani Perry, from the Preface
Hbk, 13.75 x 10.75 in. / 160 pgs / 78 color. | 9/17/2019 | In stock $60.00
Published by Damiani. Preface by Imani Perry. Text by Andrew Moore, Madison Smartt Bell.
Andrew Moore photographs places in transition: Cuba, Detroit, the High Plains. In his latest project, he focuses on Alabama—a region with a complex relationship to the past. Spending four years in lower Alabama, Moore searched for what he called “that ‘deep history’ which resides in the humblest of settings.” And Alabama’s Black Belt—named for its fertile soil and deeply associated with the region’s African American culture—has that history. Before the Civil War, the region was the nation’s highest producer of cotton. Afterward, it was the site of some of the Jim Crow era’s most vicious violence and some of the Civil Rights Movement’s key battles.
Photographic history also runs thick through Alabama. The tenant farmers immortalized in James Agee and Walker Evans’ Let Us Now Praise Famous Men (1941) were residents, and some of the most famous images of the Civil Rights Movement—Bull Connor’s police dogs in Birmingham, the standoff at the Edmund Pettus Bridge in Selma—were produced here.
Moore’s photographs of the Black Belt honor its complicated histories but depart from them, avoiding stereotypes and finding the hope, resilience and creativity that animate this place. With the photographer acting “as a listener at history’s doorstep,” Blue Alabama offers a tender, surprising portrait of the South—a region marked by economic, social and cultural divisions, but also a love of history, tradition and land. The book includes a previously unpublished story by award-winning American novelist Madison Smartt Bell.
American photographer Andrew Moore (born 1957) is celebrated for his large-format photographs that document the effects of time and change. His publications include Detroit Disassembled (2010), Cuba (2012) and Dirt Meridian (2015).
Published by Damiani. Preface by Kent Haruf. Text by Toby Jurovics, Inara Verzemnieks.
In Dirt Meridian, acclaimed photographer Andrew Moore (born 1957) takes to the air to create an intimate vision of the High Plains. The title refers to the 100th meridian, the longitude that neatly bisects the United States and has long been considered the dividing line between the fertile green East and dry brown West. Much of the meridian traverses America’s “flyover country,” those remote and sparsely populated landscapes with a long history of repeated drought and failed dreams. Yet other parts of the meridian overlap bustling and contentious zones such as the heavily fracked Bakken formation in North Dakota.
Limited to 25 copies, the collector’s edition of Dirt Meridian includes a 15.9 x 13–inch color print of “Cash Meier Barn” (2012).
Published by Damiani. Preface by Kent Haruf. Text by Toby Jurovics, Inara Verzemnieks.
In Dirt Meridian, Andrew Moore takes to the air to document the High Plains of North Dakota, South Dakota and Nebraska in a series of stunning, large-format photographs. The "meridian" of the title refers to the 100th meridian, the longitude that neatly bisects the US and has long been considered the dividing line between the East and West. Much of the meridian traverses America's so-called flyover country, those sparsely populated landscapes between the urban centers on either coast. Other parts of the meridian cross contentious zones such as the heavily fracked Bakken formation in North Dakota. Dirt Meridian interweaves two stories: the myths and history of the vast, severe American High Plains alongside portraits of the people who live there today. Along the way, Moore worked with ranchers, farmers, crop dusters, game wardens, writers and historians to capture the mythology and reality of the High Plains. Many photographs in this book were taken using a specially modified camera in a low-flying plane; the resulting pictures, with their literal bird's-eye view, offer a unique perspective on this quintessential, seemingly boundless American landscape. American photographer Andrew Moore (born 1957) is widely acclaimed for his photographic series, usually taken over many years, recording the effects of time on the natural and built landscape.
Published by Damiani. Introduction by Joel Smith. Text by Orlando Luis Pardo Lazo.
Published in an edition of 50 copies, this special limited edition of Cuba includes a numbered and signed photograph by Andrew Moore, and is issued in a cloth slipcase. Taken from 1998 to 2012, the photographs in Cuba depict a series of poignant interiors that display the changing fortunes of the country over its 500-year history. Originally published as Inside Havana in 2002 to wide acclaim, this new version expands that book with a reconfigured layout, finer and larger reproductions, older photographs never before seen or published and new work made specifically for this edition. One of the themes introduced in this version is the contrast between the frayed patinas of Cuban homes versus the unspoiled beauty of the island’s nature itself.
Published by Damiani. Introduction by Joel Smith. Text by Orlando Luis Pardo Lazo.
American photographer Andrew Moore began photographing in Cuba in 1998, and over the next fourteen years he made ten further visits, working to reveal the many facets of the island’s unique character and life. In 2002, he published some of this work in Inside Havana, which is now out of print. This new edition includes many of Moore’s older classic images but reconceives its predecessor with a new layout and finer, larger reproductions. Cuba also features many older photographs never previously published, as well as new photographs made specifically for this edition. The afterword was especially commissioned for this edition from Orlando Luis Pardo Lazo, one of Cuba’s leading independent bloggers. Working with a large format camera, Moore insightfully records the shifting fortunes of Cuba, in superb photographs full of painterly light and dynamic color. His images span a tremendous variety of subjects, ranging from humble interiors to magnificent modernism, as well as portraits and landscapes. One theme introduced in this revised version is the contrast between the frayed patinas of Cuban homes and the great, unspoiled beauty of the island’s nature. Cuba is a stirring portrait of a country isolated from the globalized world, overflowing with its own remarkable riches. The photographs of Andrew Moore (born 1957) are represented in the collections of the Metropolitan Museum of Art, the Whitney Museum, Yale University Art Gallery, The Museum of Fine Arts Houston, the Library of Congress, the Israel Museum, the George Eastman House and the Canadian Centre for Architecture.
This signed and numbered deluxe edition reintroduces the Cuban photographs of Andrew Moore (born 1957). Taken from 1998 to 2012, Cuba offers a series of poignant interiors that display the changing fortunes of the country over its five-hundred-year history, with portraits and landscapes that hint at changes coming to this island nation. Originally published as Inside Havana in 2002 to wide acclaim, this new version expands that book with a reconfigured layout, finer and larger reproductions, older photographs never before seen or published, as well as new work made specifically for this edition. One of the themes introduced in this version is the contrast between the frayed patinas of Cuban homes versus the great, unspoiled beauty of the island’s nature itself. It is a stirring portrait of a country isolated from the globalized world, overflowing in remarkable riches.
Published by Damiani/Akron Art Museum. Text by Andrew Moore, Philip Levine.
No longer the Motor City of boom-time industry, the city of Detroit has fallen into an incredible state of dilapidation since the decline of the American auto industry after the Second World War. Today, whole sections of the city resemble a war zone, its once-spectacular architectural grandeur reduced to vacant ruins. In Detroit Disassembled, photographer Andrew Moore records a territory in which the ordinary flow of time-or the forward march of the assembly line-appears to have been thrown spectacularly into reverse. For Moore, who throughout his career has been drawn to all that contradicts or seems to threaten America's postwar self-image (his previous projects include portraits of Cuba and Soviet Russia), Detroit's decline affirms the carnivorousness of our earth, as it seeps into and overruns the buildings of a city that once epitomized humankind's supposed supremacy. In Detroit Disassembled, Moore locates both dignity and tragedy in the city's decline, among postapocalyptic landscapes of windowless grand hotels, vast barren factory floors, collapsing churches, offices carpeted in velvety moss and entire blocks reclaimed by prairie grass. Beyond their jawdropping content, Moore's photographs inevitably raise the uneasy question of the long-term future of a country in which such extreme degradation can exist unchecked.
Andrew Moore is best known for his large format photographs of Cuba, Russia, Times Square, Detroit, and most recently, the American High Plains. He graduated from Princeton University in 1979 where he studied with the esteemed photographer Emmet Gowin as well as the photo historian Professor Peter Bunnell. Moore's photographs are held in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Yale University Art Gallery, Museum of Fine Arts Houston, the George Eastman House and the Library of Congress amongst many others. His publications include Cuba (2012), Detroit Disassembled (2010), Russia; Beyond Utopia (2005), Governors Island (2004) and Inside Havana (2002). He currently teaches a graduate seminar in the MFA Photography Video and Related Media program at the School of Visual Arts in New York City.
No longer the Motor City of boom-time industry, the city of Detroit has fallen into an incredible state of dilapidation since the postwar decline of the American auto industry. Today, whole sections of the city resemble a war zone, its once-spectacular architectural grandeur reduced to vacant ruins. In Detroit Disassembled, photographer Andrew Moore records a territory in which the ordinary flow of time--or the forward march of the assembly line--appears to have been thrown spectacularly into reverse. For Moore, who throughout his career has been drawn to all that contradicts or seems to threaten America's postwar self-image (his previous projects include portraits of Cuba and Soviet Russia), Detroit's decline affirms the carnivorousness of our earth, as it seeps into and overruns the buildings of a city that once epitomized humankind's supposed supremacy. This limited edition of Detroit Disassembled comes with a signed archival print photograph by Moore (15 x 12 inches) and is housed in a linen cloth box.
Andrew Moore: Dirt Meridian
Andrew Moore: Dirt Meridian
Andrew Moore: Cuba
Andrew Moore: Cuba
Andrew Moore: Cuba
Andrew Moore: Detroit Disassembled
Andrew Moore: Detroit Disassembled