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THE
ANNEX
GALLERY
Jorge Rodríguez Diez, known across the cultural circles of Havana, Madrid, and South Florida as R10, began his series on Donald Trump on November 9, 2016, only hours after he had won his first election. In the artist’s own words, it was an unexpected turn and a stark reminder that in today’s world anything—however unlikely or unthinkable—may indeed happen. The very first piece in the series was immediately acquired by collectors from North Florida, curiously together with a portrait of Trump’s predecessor, Barack Obama.
Jens G. Rosenkrantz’s collection of The New Yorker covers constitutes far more than an archive of graphic design or illustration. It is, instead, a lens through which one can read a century of American visual and political culture, refracted through the pages of one of the most influential magazines of the twentieth and twenty-first centuries. For Rosenkrantz, the act of collecting these images is not a passive accumulation but a curatorial gesture in itself—an insistence on the political significance of images that once circulated weekly, now reframed as testimony of their time.
Talia Chetrit’s presence on the contemporary map of photography is not defined solely by the dismantling of her own intimacy. Born in 1982, trained in the analog tradition and in a visual thinking acutely aware of its own mechanisms, she has turned the domestic sphere into a territory of suspicion, especially in the series where she grazes—without fully yielding—the experience of motherhood.
The fall edition of The Paris Review features the work of two artists. Martha Bonnie Diamond is one of them. Born in New York in 1944, she died just two years ago, in 2023. She was among the most singular pictorial voices of her generation. For more than six decades she explored the city as a perceptual register. Rendering it recognizable never interested her.
I have a rough idea of where New Zealand is on the map. And I’m quite pleased not to know it with any greater precision; in that vagueness, the place remains slightly mysterious, a little enigmatic. Even there —so far from what we consider the heart of the planet, which is our apartment— events unfold that feel uncannily familiar...
By the late nineteenth century, a group of Japanese statesmen had decided they’d had all the shogunate they could reasonably endure. However beautiful the swords and scabbards, it was time to catch up and tune themselves to the rest of the world. Japan had to modernize and find other uses for the wheel...
Many of us love stories about extraterrestrials. Enjoyable, measured, tinged with mystery. For some, though, they become a feverish fixation. They comb the internet the way people once prowled libraries, hunting for hidden messages, for the codes and arcana exchanged in some shadowy dimension—guardians of the secrets.
Black Recreation, Relaxation and Leisure
For those arriving from South Florida—particularly from cities like Miami—Michael Coppage’s exhibition at the Annex Gallery may resonate differently than it would for a viewer from the Midwest. This is not to suggest a hierarchy of readings, but rather to acknowledge that the lived experience of Caribbean and Latin American diasporas, especially those who have made a life in Miami, offers a particular lens through which to approach this work.
Discussing his New Book
Photographer and editor Robert A. Flischel presents What We Inherit, a visual chronicle of poverty and resilience across the American Midwest and Appalachia from 1900 to today. Through archival and contemporary images, Flischel reveals the enduring struggles and human strength that shape the region’s identity, offering a moving reflection for this talk at Annex Gallery.
Alternate Documents (1994–2024)
Willy Castellanos’ post-documentary practice emerged from the photographic record he made in Havana, Cuba, during the 1994 Rafter Crisis. Despite the scarcity of 35mm film in the years following the fall of the Berlin Wall, Castellanos photographed complete sequences of events that included the construction of the rafts, farewell rituals, and scenes of crowds launching into the sea. Between August and September 1994, over 35,000 Cubans embarked toward the United States on hand-built rafts in what became one of the most dramatic exoduses in contemporary history.