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Roe Ethridge,
Double Teresa Oman, 2015

C-print, 54 ½ × 41 ½ inches framed (138.4 × 105.4 cm), edition of 5

Roe Ethridge, Thanksgiving 1984 (table), 2009 Chromogenic print, 33 × 42 inches (83.8 × 106.7cm), edition of 5

Roe Ethridge,
Thanksgiving 1984 (table), 2009

Chromogenic print, 33 × 42 inches (83.8 × 106.7cm), edition of 5

Roe Ethridge, Trick or Treat, 2009 Ink jet print, 50 × 34 inches (127 × 86.4cm), edition of 5

Roe Ethridge,
Trick or Treat, 2009

Ink jet print, 50 × 34 inches (127 × 86.4cm), edition of five

Roe Ethridge, Sunset #6, 2008 Chromogenic print, 57 × 42 inches (144.8 × 106.7cm), edition of 5

Roe Ethridge,
Sunset #six, 2008

Chromogenic print, 57 × 42 inches (144.8 × 106.7cm), edition of 5

Roe Ethridge, Self Portrait (Polaroid), 2008 Chromogenic print, 31 ½ × 25 ½ inches (80 × 64.8cm), edition of 5

Roe Ethridge,
Self Portrait (Polaroid), 2008

Chromogenic print, 31 ½ × 25 ½ inches (80 × 64.8cm), edition of 5

Roe Ethridge, Aloha Jake, 2008 Chromogenic print, 60 × 40 inches (152.4 × 101.6cm), edition of 5

Roe Ethridge,
Aloha Jake, 2008

Chromogenic print, 60 × 40 inches (152.4 × 101.6cm), edition of five

Roe Ethridge, Teddy Bears, 2008 Chromogenic print, 54 × 42 inches (137.2 × 106.7cm), edition of 5

Roe Ethridge,
Teddy Bears, 2008

Chromogenic impress, 54 × 42 inches (137.2 × 106.7cm), edition of 5

Roe Ethridge, Studio Wall, 2005 Chromogenic print, 31 × 25 inches framed (78.7 × 63.5cm framed), edition of 5

Roe Ethridge,
Studio Wall, 2005

Chromogenic print, 31 × 25 inches framed (78.7 × 63.5cm framed), edition of 5

Well-nigh

A sequence has to sing. It’south not just something to decode and find the truthful significant of. I accept to experience its harmonies and disharmonies. Information technology’s like a son.

—Roe Ethridge

In his photographs, Roe Ethridge uses the real to suggest—or disrupt—the ideal. Through commercial images of fashion models, products, and advertisements, as well every bit intimate moments from his own daily life, he reveals the fine line between the generic and the personal, merging art-historical genres such as the still life or portrait with the increasingly pervasive image civilization of the nowadays.

Born in Miami, Ethridge received a BFA from the Atlanta Higher of Art in 1995. He moved to New York City 2 years afterwards and began working equally a commercial photographer. During this time, he was producing a serial that catalogued trees on highway medians, seeking to apply his interest in the typologies of German objective photography to the realities (and mythologies) of the American open road. While working on this project, which he looks back on as an endeavour at “tough, smart, conceptual” photography, Ethridge realized that an outtake from a dazzler editorial he did for
Alluremagazine was “every bit good or improve than anything [he] intentionally fabricated as an ‘artist.’” This realization would fix in move a continuous cross-pollination of fine art and practical exercise that has come up to exist the hallmark of Ethridge’s work, and which he often traces back to his fascination with the artistic approaches of Andy Warhol and Lee Friedlander. The results of this hybrid approach were exhibited for the first fourth dimension in MoMA PS1’s
Greater New York
in 2000, in which an outtake from the
Allureshoot and a photograph of a UPS store that Ethridge were paired together.

In 2005 the Constitute of Contemporary Art, Boston, presented Ethridge’s first solo museum exhibition, Momentum 4: Roe Ethridge, which included close-upwardly photographs of ordinary things—from a young pino tree to a pink ribbon that Ethridge found in his female parent’south basement. Identified with what was being called “the new school of synthetic photography,” his work was included in the 2008 Whitney Biennial, and two years subsequently he was one of four artists selected for the exhibition
New Photography 2010at the Museum of Modern Art, New York. Ethridge’due south photograph
Sometime Fruit
(2010)—a deadpan shot of a bowl of rotting produce, its grimy banality contrasting with the airbrushed, hyperbolized glamour of his editorial images. The breadth of Ethridge’due south subject field matter and style would be showcased further in 2012, in a solo exhibition at Le Consortium, Dijon, France. The evidence, which subsequently traveled to Museum Leuven, Kingdom of belgium, included photographs of overflowing ashtrays juxtaposed with outtakes from fashion photo shoots, close-ups of the surfaces of a suburban backyard, a large snake slithering through dry out grasses, and other images that refuse to settle into a single narrative.

Ethridge was historic with a mid-career survey as part of the FotoFocus Biennial 2016 in Cincinnati. Spanning over fifteen years of his career,
Roe Ethridge: Nearest Neighbortraced the (pointedly nonlinear) evolution of his visual languages and epitome-making techniques—its title referring both to the process of editing digital photographs and to the recurrence of family and friends in his work.The 2017 exhibition
Roe Ethridge: Innocence II
, at Gagosian in San Francisco,

featured a serial of large-scale layered photographs printed on brass, as well every bit several
Contumely Bins
, pedestal-similar sculptures containing ordinary objects. Both series adjure to the spirit of experimentation that drives Ethridge’south do, with multiple exposures, transparencies, and reflections synthesizing on the gleaming metallic surfaces—producing chimeric figures out of way model Louise Parker, Looney Tunes characters, and fifty-fifty Ethridge himself, pictured at various ages.

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#RoeEthridge

From the Quarterly

Roe Ethridge, Oslo Grace at Willets Point, 2019, dye sublimation print on aluminum.

In Conversation

Roe Ethridge and Antwaun Sargent

From his early on piece of work for magazines in the 1990s to recent projects with the designer Telfar Clemens, Roe Ethridge has consistently challenged the distinctions between commercial and conceptual photography that long defined the medium. Antwaun Sargent recently caught upward with him to discuss the moment that confirmed the creative person’s agreement of the photographic image’due south potential for purlieus-hopping ubiquity in the contemporary era.

Twelve Tracks: Roe Ethridge

Shortlist

Twelve Tracks: Roe Ethridge

Roe Ethridge shares the transportive powers of his playlist “Teenage Chemicals in 1985,” a soundtrack that began playing in those formative years and hasn’t stopped since.

Photograph of pink satin bow by Roe Ethridge

Roe Ethridge

During a conversation with David Rimanelli, Roe Ethridge reflected on photographs that he fabricated during the late 1990s and early 2000s afterward moving to New York. They spoke equally Ethridge was
 preparing for his exhibition
Sometime Fruit
.

The cover of the Spring 2020 edition of the Gagosian Quarterly magazine. A Cindy Sherman photograph of herself dressed as a clown against a rainbow background.

At present bachelor

Gagosian Quarterly Spring 2020

The Spring 2020 result of
Gagosian Quarterly
is now available, featuring Cindy Sherman’s
Untitled #412
(2003) on its encompass.

Diana Widmaier-Ruiz-Picasso standing in front of a bookcase

Picasso and Maya: An Interview with Diana Widmaier-Ruiz-Picasso

Diana Widmaier-Ruiz-Picasso curated an exhibition at Gagosian, Paris, in 2017–18 titledPicasso and Maya: Begetter and Daughter. To gloat the exhibition, a publication was published in 2019; the comprehensive reference publication explores the effigy of Maya Ruiz-Picasso, Pablo Picasso’s beloved eldest daughter, throughout Picasso’s work and chronicles the loving relationship between the creative person and his girl. In this video, Widmaier-Ruiz-Picasso details her ongoing interest in the subject and reflects on the process of making the book.

Self-Reflections: Roe Ethridge Innocence II

Cocky-Reflections: Roe Ethridge Innocence II

Angela Brown considers the broad-ranging photographs included in
Roe Ethridge: Innocence 2.

Innocence II

Innocence 2

A photography portfolio by Roe Ethridge, accompanied past Saul Anton’s
The Story of L.

Fairs, Events & Announcements

Georg Baselitz, No, ja, 2020 © Georg Baselitz. Photo: Jochen Littkemann

November 13–14, 2021, booth C02
Shanghai Exhibition Center
www.art021.org

Gagosian is pleased to participate in ART021 Shanghai 2021.
The gallery will feature works by artists includingGeorg Baselitz,Dan Colen,Edmund de Waal,Roe Ethridge,Urs Fischer,Katharina Grosse,Simon Hantaï,Damien Hirst,Jia Aili,Harmony Korine, Takashi Murakami (as an individual artist and in collaboration with Virgil Abloh),Rudolf Stingel,Spencer Sweeney, andTatiana Trouvé.

To receive a
pdf
 with detailed information on the works, please contact the gallery atinquire@gagosian.com.

Georg Baselitz,
No, ja, 2020 © Georg Baselitz. Photo: Jochen Littkemann

Jeff Koons, Bluebird Planter, 2010–16 © Jeff Koons

March two–12, 2021

Gagosian is pleased to present
Printemps oublié
for the first online edition of FIAC. This curated presentation reflects the dual graphic symbol of springtime as a reminder of past trials and the harbinger of a vibrant new season to come.

All the artworks will appear on the Gagosian website and a rotating selection will appear in the
inaugural FIAC Online Viewing Rooms, from March four to vii.

Jeff Koons,
Bluebird Planter, 2010–16 © Jeff Koons

Mark Grotjahn, Untitled (Capri 53.57), 2020 © Mark Grotjahn

October xv, 2020–March 23, 2021

The benefit exhibition
Ice and Fire
features works past more forty artists who have indelible relationships with the Kitchen in New York. Installed within the arrangement’s 3-story space in Chelsea, which is currently airtight due to the global pandemic, the iii-function exhibition is viewable online. Proceeds from sales will get toward a planned renovation on the occasion of the Kitchen’s fiftieth anniversary, ensuring that the nonprofit space will remain a platform for creative experimentation in its historic and beloved building. Work by Cecily Brown, Roe Ethridge, Mark Grotjahn, Alex Israel, Ed Ruscha, Taryn Simon, Mary Weatherford, and Christopher Wool is included.

Marking Grotjahn,
Untitled (Capri 53.57), 2020 © Marker Grotjahn

See all News for Roe Ethridge

Museum Exhibitions

Urs Fischer, Green Solace, 16 Handles, Red Solace, 2017 © Urs Fischer. Photo: Mats Nordman

Closed

Mad World

August eighteen, 2018–January 14, 2019
Marciano Foundation, Los Angeles
marcianoartfoundation.org

Mad World
brought together works from the Marciano collection reflecting the rampant absurdities of contemporary life. Many of the exhibited works address the overwhelming accumulation of information, images, and ideas emanating from our phones, computers, billboards, televisions, and radios. Work past Roe Ethridge, Urs Fischer, and Nate Lowman was included.

Urs Fischer,
Green Solace, xvi Handles, Red Solace, 2017 © Urs Fischer. Photograph: Mats Nordman

Roe Ethridge, Beach Scene (Louis Feraud), 2008, Museum of Contemporary Art Chicago © Roe Ethridge

Closed

Flick Fiction

Kenneth Josephson and Contemporary Photography

April 28–Dec 30, 2018
Museum of Contemporary Art Chicago
mcachicago.org

Picture Fictionconsidered the conceptual photography of Kenneth Josephson. In addition to presenting four major series made by the Chicago-based artist roughly betwixt 1960 and 1980, the exhibition highlighted links between Josephson and other contemporary artists working in photography, film, and sculpture, including Roe Ethridge, Ed Ruscha, and Jeff Wall.

Roe Ethridge,
Embankment Scene (Louis Feraud), 2008, Museum of Gimmicky Art Chicago © Roe Ethridge

See all Museum Exhibitions for Roe Ethridge

Gagosian Shop / Roe Ethridge

Press

Source: https://gagosian.com/artists/roe-ethridge/