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Gladstone Gallery

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Current Viewing: Roe Ethridge : Shelter Island FOAM (Amsterdam) : 8 April – 5 June 2016

Kite in the Water, 2015 © Roe Ethridge / Courtesy of the artist and Gladstone Gallery, New York and BrusselsKite in the Water, 2015 © Roe Ethridge / Courtesy of the artist and Gladstone Gallery, New York and Brussels

Foam presents Shelter Island, the newest work of Roe Ethridge (1969, US). At the eastern end of Long Island, New York, the photographer turned to his family and the characteristically American ‘Kit House’ they rented for the summer of 2015. There he became fascinated by a range of stored away possessions from the homeowners and their children.

Employing an array of classic photographic genres – from portraiture to still life to landscape – Ethridge captures his subjects and surrounding environment in intimate detail. The artist combines the glossy effect of commercial photography with the sensitivity of fine art photography. The outcome is a body of work that is both familiar and uncanny, and nostalgic as well as contemporary.

Current Viewing: Allora & Calzadilla: Fault Lines : Gladstone Gallery: Until October 11, 2014

Fault Lines explores the complex mechanics of the voice produced in the space between the body and speech.Fault Lines explores the complex mechanics of the voice produced in the space between the body and speech.

Fault Lines will explore the overlapping mechanics of polyphonic vocal texturing, geological and sculptural displacements, and adversarial rhetorical language

Current Viewing: Sarah Lucas: Nud Nob : Gladstone Gallery ( New York)

Referencing the Greek gods of love and fertility, Lucas uses the titling of her work to infuse the sculptures with humor.Referencing the Greek gods of love and fertility, Lucas uses the titling of her work to infuse the sculptures with humor.

This show features a series of large-scale bronze and cast-concrete sculptures displayed variously on pedestals, and, at other times, installed directly on the floor. Characteristic of Lucas’s practice, the works simultaneously suggest multiple forms, as with the two monumental bronze works Florian and Kevin, which appear as both oversized vegetables and phallic-shaped sculptures. By confronting viewers with objects that are at once familiar and disorienting, Lucas proposes a reading of her work that seeks to subtly subvert socially constructed norms.

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