Roe Ethridge, “Sacrifice Your Body”

Critics' pick
Added to your love list
0 Love It
1/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Sacrifice Your Body, 2013
2/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Chanel No.5 with Yellow Jacket, 2009 - 2013
3/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Chanel No.5 with Yellow Jacket, 2009–2013
4/16
Roe Ethridge, Flounder, 2013
5/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Flounder (Big), 2013
6/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Muck Covered Wheel, 2011
7/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Surface, 2013
8/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Football and Lavender, 2013
9/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Chanel Tag, 2013
10/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Gisele on the Phone , 2013
11/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Hilary with Footballs, 2013
12/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Hilary with Footballs (Big), 2013
13/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Untitled (Alexis Bittar), 2013
14/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Double Ramen, 2013
15/16
Courtesy Andrew Kreps Gallery
Roe Ethridge,
16/16
Courtesy Andrew Kreps Gallery
Roe Ethridge, Bonne Maman Jar is, 2013
Free

Roe Ethridge is a master of the quirky, genre-blurring photograph, drawing no distinction between the artistic and the commercial, or between the digitally manipulated and the untouched image. Much of the time, when looking at Ethridge’s work, it’s difficult to tell which is which.

A tight close-up of a surfboard in Surface captures a textured blue field, printed with an eponymous logo, and sprinkled with a few decaying autumn leaves. A paradigm of the artist’s methods, it uses form and language to make witty, self-reflexive reference to the flattening effect of the lens, as well as the large-format camera’s capacity for picturing the materiality of objects.

Elsewhere, Double Ramen features a diptych of duplicate blown-up images of uncooked noodles, which seems slightly uncanny, like Frederick Sommer’s paired images of the Arizona desert. It hangs next to Untitled (Alexis Bittar), a shot of a model somewhat past her prime. Wearing a Bittar necklace and rings, she seems equally strange in affect, all the more so since the photo is an outtake from an actual ad for the hipster jeweler. The juxtaposition is baffling, until you notice that her dry, wavy hair resembles the ramen, and that her demeanor shares a certain brittleness with the foodstuff. Such slyly cryptic affinities suggest an artist’s sensibility knowingly masquerading as an editorial eye.—Joseph R. Wolin

Event phone: 212-741-8849
Event website: http://andrewkreps.com
LiveReviews|0
2 people listening