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Roe Ethridge

September 6–October 9, 2013
Beverly Hills

Installation video Play Button

Installation video

Installation view, photo by Josh White

Installation view, photo by Josh White

Installation view Photo by Josh White

Installation view Photo by Josh White

Installation view Photo by Josh White

Installation view Photo by Josh White

Installation view Photo by Josh White

Installation view Photo by Josh White

Works Exhibited

Roe Ethridge, Untitled (confetti #1), 2012 Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #1), 2012

Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #4), 2012 Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #4), 2012

Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #5), 2012 Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #5), 2012

Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #10), 2012 Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #10), 2012

Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #14), 2012 Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

Roe Ethridge, Untitled (confetti #14), 2012

Chromogenic print, 46 × 35 inches (116.8 × 88.9 cm), edition of 5

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

In Conversation
Roe Ethridge and Antwaun Sargent

From his early 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 up with him to discuss the moment that confirmed the artist’s understanding of the photographic image’s potential for boundary-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 made during the late 1990s and early 2000s after moving to New York. They spoke as Ethridge was preparing for his exhibition Old 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.

Now available
Gagosian Quarterly Spring 2020

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

Diana Widmaier-Picasso standing in front of a bookcase

Picasso and Maya: An Interview with Diana Widmaier-Picasso

Diana Widmaier-Picasso curated a presentation at Gagosian, Paris, to celebrate the publication of Picasso and Maya: Father and Daughter at the end of 2019. This comprehensive reference publication explores the figure of Maya Ruiz-Picasso, Pablo Picasso’s beloved eldest daughter, throughout Picasso’s work and chronicles the loving relationship between the artist and his daughter. In this video, Widmaier-Picasso details her ongoing interest in the subject and reflects on the process of making the book.

Self-Reflections: Roe Ethridge Innocence II

Self-Reflections: Roe Ethridge Innocence II

Angela Brown considers the wide-ranging photographs included in Roe Ethridge: Innocence II.  

News

Photo: Vincent Dilio

Artist Spotlight

Roe Ethridge

April 29–May 5, 2020

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 as intimate moments from his own daily life, he subverts the residual authority of established artistic genres such as the still life or the portrait, merging them with the increasingly pervasive image culture of the present. The continuous cross-pollination of fine art and applied photography has come to be the hallmark of Ethridge’s practice.

Photo: Vincent Dilio