Roe Ethridge: Le Luxe. Mack, London, 2011. 206 pp. Quarto. First printing. SIGNED on title page. Clothbound. No jacket as issued. Color reproductions.
Roe Etheridge: Orange Grove. 16 pp. Uncredited publisher, n.d. [Andrew Kreps Gallery, 2005]. Softbound. Saddle-stitched [staple-bound]. 7 Color reproductions.
Recent series depicting a dilapidated Florida orange grove. "Roe Ethridge's work deals with the basic question of how you make pictures in a world that is fundamentally known through pictures," says Bennett Simpson, Associate Curator at the ICA. "His work is experimental, inquisitive, and uniquely human."
Le Luxe is included in Parr/Badger, The Photobook: A History, vol. III.
Now in it's second printing, it was selected as one of the Best Books of 2011 by a href=http://tinyurl.com/d774jm8>John Gossage
"American artist Roe Ethridge's latest book takes its title from the French "C'est pas du luxe", an ironic phrase which alludes to the superfluous nature of luxury whilst proclaiming how essential it is to existence. Such paradoxes are fluently woven through Ethridge's oeuvre and Le Luxe encompasses his practice from the past decade, without ever slipping into the moribund gravitas of a retrospective.
"Plumbing his diverse image inventories, from personal images and magazine commissions to an archive of online screen shots, the book continues his exploration of picture-making that disavows the potential for creating a finished work. Ethridge para-phrases Eggleston when he states that he is "at war with the finished" in an era of digital photography straining towards idealisation. The pristine conditions of photography are undermined in the book's design and riff on Henri Matisse's apposite aphorism "exactitude is not truth" (Matisse titled two of his paintings Le Luxe).
"Composed in three parts, Le Luxe contains an unusual backdrop, the everyday of the artist, who worked from November 2005 to January 2010 on one commission documenting a building in downtown Manhattan on a site adjacent to the World Trade Centre. This narrative offers an uneasy balance to the fissures between analogue and digital and Ethridge's consistent undermining of his own certainties."