This work comprises a body of work made by the artist during a summer stay in Long Island, New York.

"Roe Ethridge's practice is that of a restless maverick and his constantly evolving visual sensibility has spawned a myriad of copyists in what has become known as 'the new school of synthetic photography'. In this his latest artist book, Ethridge conflates a rich array of photographic tropes, combining personal documentary images made in western Palm Beach County, his mother's childhood home, with surreal collage works, and a series discarded from a Chanel fashion shoot. These are interwoven with what appears to be a carefully directed scene depicting a teeth-white Durango SUV sinking into and then being retrieved from a canal. The clash of visual styles, histories and meaning establish a flatline of dissonance underscored by the touchline admonition of the neon title - SACRIFICE YOUR BODY." --Publisher's description, from MACK Books website, http://www.mackbooks.co.uk/books/1019-Sacrifice-Your-Body.html, viewed on February 26, 2014.

The mood of Roe Ethridge's Rockaway, NY suggests a nostalgic depiction of scenes from a coastal village. The snow-covered boardwalk, the cemetery, the shops in town, and a quiet street in late summer all appear at first glance to be genre scenes, revealing Ethridge's casual application of diverse pictorial modes and themes. The locales blend, imitate and disguise one another. Photographed in disparate geographical sites, from St. Barts to upstate New York, Ethridge plays the roles of both a thematic archivist and a wandering narrator, mapping an uncertain ground in which it is unclear if the representation is a blank image, nothing more than the sum of it's surface, or the fountainhead of some deeper significance. In 2003, Ethridge was given the cover of the October issue Artforum. Kate Bush wrote, "As technically adept as a commercial photographer yet as thoughtful as a Conceptualist about photography's role and meaning in the modern world, Ethridge believes the ubiquity of the photograph and the instantaneity of its transmission and reception in this age of increasing "ecstatic communication" is to be embraced rather than mourned. In his work there appears no cause and no ending, no discrimination between editorial and art, between document and construct, between technology and affect." Roe Ethridge was born in Miami in 1969 and currently lives and works in New York. His work has been exhibited widely in museums and galleries across the U.S. and Europe--most recently in solo shows at the Institutes of Contemporary Art in Boston, Palm Beach and Philadelphia, as well as at Gagosian Gallery, Los Angeles, Andrew Kreps, New York and Greengrassi Gallery, London.

The catalogue is not a mere reiteration of the exhibition; it excludes some images that hang on the wall, like a still-life of crystals that looks at once tongue-in-cheek and hippie-chic, while lavishing attention on others left out of the show. There are twenty-six pages devoted to pictures of Ethridge?s drive through the Rocky Mountains in January, all of them timeless vistas, in which the natural world dwarfs what little evidence there is of human encroachment. A passing car fades into insignificance beneath striated rockface that it took the Earth millennia to create. The landscapes are grouped in the catalogue according to the three-day period over which they were taken: January 19th, 20th, and 21st, the days before, during, and after the Presidential Inauguration. Political critique or pure coincidence? Exhibition: Andrew Kreps Gallery, New York, United States (23.02.-08.04.2017).

This publication reissues a beloved photobook classic--acknowledged as such by Martin Parr and Gerry Badger in the third volume of The Photobook: A History--that has been out of print since the hardcover edition was published in 2010. As photographer Jason Fulford (born 1973) recently learned firsthand, mushrooms have a way of growing and spreading wherever they touch ground. It all started when a friend of Fulford's gave him a box, found at a flea market, full of photos of mushrooms--unassuming pictures taken by an unknown but almost certainly amateur photographer, apparently as notes for some mycological studies. Fulford's art photographs (aside from his well-known book Dancing Pictures, which depicted people getting down to their favorite songs) are usually of staid, quasi-mute objects: a smashed Dorito chip overrun with ants, two bronzed doorknobs spooning, the blank back of a street sign. Yet these mushroom images got stuck in Fulford's mind, like a bad song sometimes does, and they started to grow in his own work. The Mushroom Collector combines some of the original flea-market mushroom pictures with his own images and text by the artist about the project.

A comprehensive exploration and chronicle of Picasso's depictions of his eldest daughter, Maya, and the relationship between father and child. In 2016 and 2017, Diana Widmaier-Picasso curated two exhibitions for Gagosian: the first gathered works from the collection of her mother, Maya Ruiz-Picasso, Pablo Picasso's beloved eldest daughter; and the second commemorated the relationship between Picasso and Maya. More than just a catalog of these two exhibitions, this book is a comprehensive reference publication that explores the figure of Maya throughout Picasso's work and chronicles the relationship between the artist and his daughter. The volume features an intimate interview between Ruiz-Picasso and Widmaier-Picasso, along with archival photographs by Edward Quinn and from the Picasso family, many of which have never been published before. New scholarly essays complete the publication, with contributions by distinguished Picasso scholars such as Elizabeth Cowling, Carmen Giménez, and Pepe Karmel. A section of the book is devoted to Picasso's plaster sculpture La Femme Enceinte (1959) and includes a discussion of Roe Ethridge's vivid, specially commissioned photographs of this work.

"Paul Graham curates a subtle thesis and revitalising manifesto for photography. The dynamic and diverse work gathered here advocates an unashamed, but not uncomplicated, dedication to the brilliant tangle of reality. Without being tempted by the artifice of the studio or the restrictive demands of conventional documentary, these artists tell open-ended stories that shift, warp, and branch, attuned unfailingly to life-as-it-is. Included are Gregory Halpern's Californian waking dream ZZYZX; Vanessa Winship's peripatetic exercise in empathy she dances on Jackson; the human assemblages of Curran Hatleberg's Lost Coast; Stanley Wolukau-Wanambwa's rich and multitudinous One Wall a Web; the mortality-tinged America of Richard Choi's What Remains; RaMell Ross' visionary documentary work South County; the collaborative project Index G by Emanuele Bruti & Piergiorgio Casotti; and Kristine Potter's disorientating exploration of the American landscape and masculinity in Manifest. All these works are brought together in harmony and enlightening dissonance, as Graham teases out a new photographic form"--Publisher's description.

"12 contemporary photographers were commissioned to travel the United States and document its land and people. Selections from the bodies of work they created were presented at the Wattis Institute alongside a number of photographs from the Farm Security Administration, whose photographers had, some 80 years earlier, received similar instructions to travel the country and document the America they saw"--P. 11.

"The Notion of Family, offers an incisive exploration of the legacy of racism and economic decline in America's small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political-- an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations--her Grandma Ruby, her mother, and herself--against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock's only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape."--Publisher's website.