1. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Sacrifice Your Body, 2013
  2. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Chanel No.5 with Yellow Jacket, 2009 - 2013
  3. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Chanel No.5 with Yellow Jacket, 2009–2013
  4. Roe Ethridge, Flounder, 2013
  5. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Flounder (Big), 2013
  6. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Muck Covered Wheel, 2011
  7. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Surface, 2013
  8. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Football and Lavender, 2013
  9. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Chanel Tag, 2013
  10. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Gisele on the Phone , 2013
  11. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Hilary with Footballs, 2013
  12. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Hilary with Footballs (Big), 2013
  13. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Untitled (Alexis Bittar), 2013
  14. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Double Ramen, 2013
  15. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge,
  16. Courtesy Andrew Kreps Gallery
    Courtesy Andrew Kreps GalleryRoe Ethridge, Bonne Maman Jar is, 2013
  • Art, Photography
  • Recommended

Review

Roe Ethridge, “Sacrifice Your Body”

4 out of 5 stars
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Time Out says

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

Details

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