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Roe Ethridge,
Double Teresa Oman, 2015

C-print, 54 ½ × 41 ½ inches framed (138.4 × 105.four 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 impress, 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 impress, 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,
Dusk #vi, 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 impress, sixty × forty 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 print, 54 × 42 inches (137.2 × 106.7cm), edition of five

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.seven × 63.5cm framed), edition of five


A sequence has to sing. It’south not just something to decode and discover the true significant of. I take to feel its harmonies and disharmonies. It’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, too 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 equally the nonetheless life or portrait with the increasingly pervasive image culture of the present.

Born in Miami, Ethridge received a BFA from the Atlanta College of Art in 1995. He moved to New York Urban center 2 years later and began working every bit a commercial photographer. During this fourth dimension, he was producing a series that catalogued trees on highway medians, seeking to use his interest in the typologies of High german objective photography to the realities (and mythologies) of the American open road. While working on this project, which he looks dorsum on as an effort at “tough, smart, conceptual” photography, Ethridge realized that an outtake from a dazzler editorial he did for
Alluremagazine was “equally proficient or improve than anything [he] intentionally made as an ‘artist.’” This realization would set up in move a continuous cross-pollination of fine art and practical exercise that has come up up to exist the authentication of Ethridge’s piece of work, and which he oftentimes 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 get-go fourth dimension in MoMA PS1’south
Greater New York

in 2000, in which an outtake from the
Attractionshoot and a photo of a UPS shop that Ethridge were paired together.

In 2005 the Establish of Contemporary Art, Boston, presented Ethridge’s get-go solo museum exhibition, Momentum 4: Roe Ethridge, which included shut-upwardly photographs of ordinary things—from a immature pino tree to a pinkish ribbon that Ethridge found in his female person parent’due south basement. Identified with what was being called “the new school of synthetic photography,” his work was included in the 2008 Whitney Biennial, and 2 years later on he was ane of four artists selected for the exhibition
New Photography 2010at the Museum of Modern Art, New York. Ethridge’due due south photograph
Quondam Fruit

(2010)—a deadpan shot of a basin of rotting produce, its grimy banality contrasting with the airbrushed, hyperbolized glamour of his editorial images. The breadth of Ethridge’due south bailiwick field affair and style would be showcased farther in 2012, in a solo exhibition at Le Consortium, Dijon, France. The evidence, which subsequently traveled to Museum Leuven, Kingdom of kingdom of belgium, included photographs of alluvion ashtrays juxtaposed with outtakes from way 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 every bit function of the FotoFocus Biennial 2016 in Cincinnati. Spanning over fifteen years of his career,
Roe Ethridge: Nearest Neighbourtraced 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 big-scale layered photographs printed on brass, as well equally several

Contumely Bins

, pedestal-similar sculptures containing ordinary objects. Both serial attest to the spirit of experimentation that drives Ethridge’southward 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-50 Ethridge himself, pictured at various ages.

Read more than


From the Quarterly

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

In Chat

Roe Ethridge and Antwaun Sargent

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

Twelve Tracks: Roe Ethridge


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 chat 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 nowadays bachelor

Gagosian Quarterly Spring 2020

The Jump 2020 effect 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 celebrate the exhibition, a publication was published in 2019; the comprehensive reference publication explores the figure of Maya Ruiz-Picasso, Pablo Picasso’southward dearest eldest daughter, throughout Picasso’due south work and chronicles the loving human relationship between the creative person and his daughter. In this video, Widmaier-Ruiz-Picasso details her ongoing interest in the subject and reflects on the process of making the volume.

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, berth C02
Shanghai Exhibition Centre

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 (equally an private artist and in collaboration with Virgil Abloh),Rudolf Stingel,Spencer Sweeney, andTatiana Trouvé.

To receive a


 with detailed data 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 volition 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–xvi © Jeff Koons

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

October xv, 2020–March 23, 2021

The do good exhibition
Ice and Burn down

features works past more forty artists who have enduring relationships with the Kitchen in New York. Installed inside the arrangement’southward 3-story space in Chelsea, which is currently airtight due to the global pandemic, the iii-function exhibition is viewable online. Gain 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 honey building. Work by Cecily Brown, Roe Ethridge, Mark Grotjahn, Alex Israel, Ed Ruscha, Taryn Simon, Mary Weatherford, and Christopher Wool is included.

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

Run into all News for Roe Ethridge

Museum Exhibitions

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


Mad World

August eighteen, 2018–January fourteen, 2019
Marciano Foundation, Los Angeles

Mad World

brought together works from the Marciano drove reflecting the rampant absurdities of contemporary life. Many of the exhibited works accost the overwhelming aggregating 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,
Greenish Solace, xvi Handles, Cherry Solace, 2017 © Urs Fischer. Photograph: Mats Nordman

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


Flick Fiction

Kenneth Josephson and Contemporary Photography

April 28–Dec xxx, 2018
Museum of Contemporary Art Chicago

Moving picture Fictionconsidered the conceptual photography of Kenneth Josephson. In improver to presenting four major series made by the Chicago-based artist roughly between 1960 and 1980, the exhibition highlighted links betwixt Josephson and other gimmicky 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


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