Yancey Richardson is pleased to present Dirt Meridian, the sixth solo exhibition at the gallery by American artist Andrew Moore. The title of the exhibition refers to the 100th meridian west, the longitudinal line which runs through North and South Dakota, Nebraska, Kansas, Oklahoma and Texas, and is historically regarded as the geographic beginning of the American West.
Best known for his expansive projects in Cuba, Russia, and most recently, Detroit, Moore’s large format photographs often use architecture as subject and means to illustrate a complicated history of place. In this sense, Dirt Meridian can be seen on a continuum with his previous work, especially the highly acclaimed Detroit series. In Detroit, Moore focused on the new and unexpected landscape that has arisen from the degradation of a great American urban center. To the West, in the arid high plains, the artist has turned to what remains of the isolated homesteads and other structures once central to the American agrarian identity. Although the 1862 Homestead Act created a surge of population in the region, historically inhospitable conditions have kept it a largely empty quarter of the country, and the few inhabitants who remain are for the most part descendants of the original settlers. As Moore describes:
“What’s remarkable about the 100th meridian is that as the very center line of this country, the absolute divide between East and West, it teeters between being lost in time, so to speak, yet at the same moment it’s highly affected by large scale global forces, such as climate change, energy exploration, resource management, and food production. All these issues directly affect the land along the hundredth meridian and are connected to the history of the land since it was first settled. My goal for this project is to present these changes and transformations within and alongside the enduring myths of this quintessential “American” landscape.”
Moore has been making photographs in this region of the country since 2005. In 2011, he began taking flights with a crop duster pilot in western Nebraska, which opened the project to a wider exploration of the landscape, and allowed for greater access to deeply isolated locations. Eventually, viewing the terrain from the air led to the placement of a camera on the strut of the plane, which Moore controlled from the cockpit. The series includes both digital aerial photographs as well as large format negatives taken from the ground.
Born in Connecticut in 1957, Andrew Moore lives and works in New York City. He has had solo museum exhibitions at the Akron Art Museum, the Queens Museum of Art, the Grand Rapids Art Museum, Colby College Museum of Art, and the National Building Museum, Washington D.C, among others. His work has been acquired by numerous museums in the United States and internationally, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Library of Congress, the Israel Museum, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, Yale University Art Gallery, and the Detroit Institute of Arts, among many others. Four monographs of his work have been published: Inside Havana (2002, Chronicle), Russia (2005, Chronicle), Detroit Disassembled (2010, Damiani), and Andrew Moore: Cuba (2012, Damiani).