New York

Roe Ethridge

Andrew Kreps Gallery

For his recent book Rockaway, NY (2007), Roe Ethridge exploited its namesake place as theme and organizational principle. With customary relish, he slotted images—actually taken in places as far-flung as Mumbai, St. Barts, and Cornwall, England, despite the volume’s doggedly all-American title—of coolly nostalgic boardwalks, surf, and side streets next to a jaunty double vision of Santa Claus, a gamely nautical self-portrait, and an oddly affecting shot of a dead shark. A sort of one-man game of exquisite corpse, the photographs’ interrelations become, literally, more than the sum of their parts in Ethridge’s books and installations alike. But for “Rockaway Redux” at Andrew Kreps, a show of fifteen large-scale C-prints, which built quite explicitly on the earlier project, the process ran the risk of devolution into a foregone game of solitaire. Indeed, in making such an intuitive casting

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