In his ninth exhibition with Andrew Kreps Gallery titled “Sanctuary 2,” postmodernist photographer Roe Ethridge will investigate the concept of “sanctuary” and its political and personal definitions. Throughout the exhibition, Ethridge maintains a similar nostalgic style to which he is known for, exploring the consumerist nature of photography and making very real subjects and scenes feel contrived and otherworldly. Most notably, the artist’s new photograph Oslo Grace at Willets Point (pictured above) makes it appear as though the subject is copied and pasted in front of the very disconnected backdrop of Citi Field.
The photographs on view carry a constant theme, but they all vary between private and public scenes in subject matter, as well as studio photography, still life, and candid cell phone images in technique. “[Ethridge's] initially divergent subjects work in tandem to create a visual understanding or tenor throughout the exhibition, reflecting our own impulse to build meaning through the aggregation of images,” states Andrew Kreps Gallery’s website. Most of the images reference consumerism in some form, whether it be as blatant as a row of Ultra Premium Plenty paper towels on a convenience store shelf or as subtle as repurposing a Raggedy Andy container in a nostalgic still life.
“Sanctuary 2” kicks off tonight with an opening reception at Andrew Kreps Gallery from 6 pm to 8 pm EST. The show will mark the gallery’s first show at its new Cortlandt Alley location.
Gallery hoppers on the west coast can check out the opening of Kim Cogan’s current exhibition at Hashimoto Contemporary in San Francisco tomorrow night.
Andrew Kreps Gallery
22 Cortlandt Alley
New York, NY 10013
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We’re pleased to announce Roe Ethridge’s exhibition Sanctuary 2, the first exhibition at the gallery’s new Cortlandt Alley location, and Ethridge’s ninth with the gallery. The exhibition opens Friday, September 6 and will be on view through November 2. Moving from private to public life, and between vernaculars of commercial studio photography, composed still life, and candid cell phone images, Ethridge’s initially divergent subjects work in tandem to create a visual understanding or tenor throughout the exhibition, reflecting our own impulse to build meaning through the aggregation of images. Despite pointed insertions, such as a Penn brand tennis ball in a still life that references the photographer of the same name, Ethridge’s works refuse to assimilate to a prescribed narrative and instead forms an open-ended reflection on nostalgia, sincerity, and desire. Above: #RoeEthridge, Oslo Grace at Willets Point, 2019 #22CortlandtAlley