Miles Aldridge is proud to participate in the Images for Humanity Ukraine Crisis Fundraiser to raise urgent funds for the Ukrainian Red Cross. Images for Humanity has teamed up with over 100 celebrated and acclaimed photographers to create a photographic fine art print sale to aid the people of Ukraine, 100% of all profits will be donated to the @redcrossukraine.

Miles Aldridge’s I Only Want You To Love Me #1 will be available as an 8 × 10 inches (20.5 × 25.5 cm) archival print from an unsigned and unnumbered edition of 10 printed on 100% cotton fine art paper for $250.

Press Release from Images for Humanity

Co-founded by renowned photographers Andy Anderson and Max Hirshfeld, we are a non-profit organization dedicated to helping people afflicted by crises around the world. Committed to transparency, diversity, and a belief in the power of creative excellence in photography, we partner with some of the world’s most acclaimed photographers and photography curators to raise money for charities and NGOs through print sales, and auctions, book publishing, and fundraisers.

Given the humanitarian crisis that is unfolding in Ukraine at the moment, we are presently raising funds for the Ukrainian Red Cross. Thanks to the generosity of world-renowned photographers including Ruven Afanador, David Burnett, Kurt Markus, The Herb Ritts Foundation, and Mark Seliger, we are offering an archival, unsigned print with each $250 donation.

Miles Aldridge is proud to participate in the Solidarity With Ukraine Charity Print Sale in collaboration with Have a Butchers and Hempstead May to raise urgent funds for the British Red Cross Ukraine Crisis Appeal.

A 10 × 8 inches (25.5 x 20.5 cm) print of Chromo Thriller #3 will be available as a special limited edition, unsigned print for £50 in an open edition until Friday 11th March.

Link to print sale:

https://www.haveabutchers.com/print-sale

Press Release from Have a Butchers

Solidarity With Ukraine

Have a Butchers in association with Hempstead May & May Print are launching an urgent charity print sale, to stand in solidarity with Ukraine. The invasion and attack on Ukraine is a global emergency and with the support of our photographers we are aiming to raise urgent funds to help the people of Ukraine through this devastating crisis. The sale will go live on Wednesday 2nd March – 11th March with prints being sold in an open edition for the 10-day duration of the charity fundraiser. All prints are unsigned and printed on fine art ‘Hahnamühle Lustre’ Archival paper at 10×8. Prints will be made once the sale ends.

All prints will be sold at £50 to remain inclusive to all, with proceeds being donated to the British Red Cross, Ukraine Crisis Appeal.

As part of the artgenève 2022 Art Fair the Christophe Guye Galerie will be showing a selection of screenprints and unique vintage Polaroids by Miles Aldridge, curated by Chiara Agradi.

The artgenève 2022 Art Fair opens this Thursday March 3rd at Palexpo, Geneva. Miles Aldridge’s work will be on show at the Christophe Guye Galerie’s booth in section A2, hall 2.

Link to artgenéve
https://artgeneve.ch/evenements/10edition/?lang=en

Press release from the Christophe Guye Galerie

We are pleased to announce our participation in this year’s artgenéve as part of the curated exhibition ‘artgenève/photography’. Chiara Agradi, the curator of the photography exhibition at this fair, has selected British artist Miles Aldridge, among others, for this special section. On display is an exciting collection of silkscreen prints and Polaroids. The works on view focus on the artist’s recent exploration of the medium of screenprinting as a new way of depicting his photographic images. Aldridge’s hyper-coloured work is well known for its cinematic depictions of the strange and surreal in modern life. In this exhibition, Aldridge’s vernacular of noir beauty is further emphasized through the screenprinting process, which allows a new heightened colour, as well as a print texture nostalgically reminiscent of pin-up magazines and pulp fiction book covers.

Aldridge proposes: ‘Nowadays anybody can take a decent enough photograph so what does the medium mean today?’ The works on view invite you to immerse in Miles Aldridge’s mediums of Polaroid studies and printing techniques. Each image is meticulously crafted to create his vivid dream-like world, lying between cinema, photography, and art where his images tell a story much wider than their frame.

Feel free to contact us, if you would like to receive more information or have any questions. We look forward to welcoming you to section A2 in hall 2!

Sincerely,

Christophe Guye

The Fahey/Klein Gallery is pleased to present “Miles Aldridge: High-Gloss”, an exhibition of photographs and screenprints by renowned artist, Miles Aldridge. This exhibition features a selection of familiar and newly release images that, in pure Aldridge fashion, are glamorous – yet probe society’s idealized notions of domestic bliss, where sinister undercurrents swirl beneath a flawless surface.

Miles Aldridge is a photographer who is well known for staging elaborate mise-en-scènes that have a film noir quality. The technicolor dream-like worlds he constructs are vibrant, fragmented narratives that defy expectations. Long interested in art history, his highly stylized work draws inspiration from representations of the female nude in art, as well as in pulp fiction and pin-ups. As Aldridge states:

“In my work there is always a push and pull between high and low art.”

Aldridge is a contemporary artist with a unique talent for inspiring the viewers to ask themselves questions. With a keen eye for social absurdities, disguising them in colorful beauty, and then elevating them to thought-provoking art Aldridge highlights a deep truth in his hyper-realities.

Miles Aldridge has worked prolifically for more than twenty-five years, and today he remains one of the few photographers still shooting predominately on film. Born in London in 1964, the son of famed art director and illustrator, Alan Aldridge, Miles’ interest in photography began at an early age when he was given a Nikon F camera by his father. After studying graphic design at Central Saint Martins, Aldridge initially worked as an illustrator and music-video director, before turning his attention to photography. In 1996 he began working with Franca Sozzani, the legendary editor-in-chief of Vogue Italia, and their boundary-pushing collaboration would continue for twenty years. In addition to the many international editions of Vogue, Aldridge’s images have featured regularly in prestigious titles, including Harper’s Bazaar, Numéro, W, The New York Times Magazine, and The New Yorker. His fascination with art history led Aldridge to undertake projects with several significant contemporary artists including Maurizio Cattelan, Gilbert & George, and Harland Miller. London’s National Portrait Gallery houses a large collection of Aldridge’s portraits, and his work is held in prestigious museums and institutions around the world, including: the V&A, and British Museum in London; the Fondation Carmignac, and the Palais Galliera in Paris; the Davis Museum at Wellesley College, Massachusetts; and the International Centre of Photography in New York.

Aptly named ‘Process’, this exhibition of small format photographic works by Miles Aldridge illustrates the artistic journey from initial idea to final image. Through this progression, the image is captured first on Polaroid before being shot on colour negative film. Once processed in his lab, the frames are printed up as contact sheets for the artist to review. After careful edits and annotations, the final image is chosen. Each of these stages is essential to Aldridge’s practice as, unlike most photographers working today, he continues to work with traditional film rather than digitally. A close look at these precursors to his fully realised photographs reveals their own unique character and give us a keen insight into the artist’s working method.

The Polaroids and contact sheets included in this exhibition have come directly from the artist’s archive and span over 20 years of his career. Each has been carefully chosen for the insights they offer into some of his most iconic images and because of their own particular beauty, which is often spontaneous and unexpected.

This is the first time Aldridge’s contact sheets have been publically shown and we are delighted to be able to include several examples in this exhibition. They are rich with markings, notation, and edits – evidence of the artist’s hand and witness to his creative decision-making. Each sheet tells a story as an image unfolds from one shot to the next – a model’s eyes slowly open and close, a glass is raised and lowered, a diamond ring is fractionally moved to capture the different reflections of light. Moment to moment, we see the gentle shifts and subtle nuances that Aldridge relentlessly refines in pursuit of the perfect image. Once all the film is shot and the negatives are laid out on the contact sheets, he is able to carefully examine each frame, looking for the particular still that will become the final photograph.

Alongside the contact sheets, we have included a selection of Polaroids. These have all been newly released from the studio archive and are inc-luded in the forthcoming book – ‘Please, Please Return Polaroid’. This is the second book dedicated solely to Aldridge’s’ Polaroids and contains both recent work and earlier projects. Described by Aldridge as ‘sketches’, the Polaroids offer an intimate glimpse into the early stages of an image’s development, where his experiments with light and composition are laid bare.

Seen together in this exhibition, the Polaroids and contact sheets show the balance between consideration and spontaneity embedded in Aldridge’s artistic process. Where an idea is discovered, repeated, refined, and examined until eventually, the final image emerges.

Miles Aldridge’s 20 year retrospective Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020. opens this week at Fotografiska museum NYC as part of Frieze week.

Open to Frieze VIP’s Wednesday May 5

Fotografiska members Thursday May 6

General public Friday May 7

To celebrate the opening of Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020. The Philip Glass Ensemble will be performing a special concert at NeueHouse, Madison Square with performances at 7:30pm and 9pm.

Link to Fotografiska and to purchase tickets for Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020.
https://www.fotografiska.com/nyc/exhibition/virgin-mary-supermarkets-popcorn-photographs-1999-to-2020/

Link to NeueHouse
https://www.neuehouse.com/frieze-week-2021/

Press Release

Fotografiska New York is proud to present Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020, a photographic exhibition by British artist and photographer Miles Aldridge.

Opening on Friday, May 7th at Fotografiska New York, the exhibition will be Aldridge’s first museum retrospective in the US, comprising 66 works spanning the artist’s career. The show draws on Aldridge’s highly composed and cinematically inspired tableaus, including his 2015 project (after Cattelan) in which the artist Maurizio Cattelan invited Aldridge to respond to his sculptures over the course of one night together in a Paris museum. Aldridge’s unique style is also applied to portraiture and his subjects include Marina Abramović, Gilbert and George, Sophie Turner, Viola Davis, Michael Fassbender, Donatella Versace and David Lynch.

An exhilarating ride through Aldridge’s universe, the show reflects on three strands of his colorful cosmos. Virgin Mary references the religious paintings by artists such as Caravaggio, who like Aldridge represent experiences in an artificial, almost cinematic manner through their use of dramatic lighting, costuming and staging. Supermarkets are a metaphor the consumer society; the hope of self-improvement through retail therapy. Lastly, Popcorn is a nod to the influence of cinema in Aldridge’s work and the many auteur directors such as Hitchcock, Lynch and Fellini, who serve as a source of inspiration for his style and approach. With so many diverse influences coming from the history of Cinema, when everything was still shot on analogue film, Aldridge likewise prefers to shoot on film rather than digital. Every print in the exhibition was captured on Kodak Colour Negative.

A recurring theme throughout Aldridge’s oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy colored telephones, and well-groomed pets denote success. The images of domesticity are often undercut with a bittersweet edge; a personal reflection of Aldridge’s childhood memories of his mother after a shattering divorce.

Aldridge’s work conflates historic and modern motifs and makes subtle reference to the art historical canon. Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial.

Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020 is curated by Nadine Barth, barthouse Berlin, in collaboration with Johan Vikner, Director of Global Exhibitions at Fotografiska International. This installment marks the second iteration of the show which debuted at Fotografiska Stockholm in September 2020 and ran till March 2021. The exhibition has been made in close collaboration with the artist and his galleries; Fahey Klein Gallery, Los Angeles, Lyndsey Ingram Gallery, London, Christophe Guye Gallerie, Zurich, Reflex Gallery, Amsterdam, and Casterline Goodman Gallery, Aspen.

Hello and I Will Love You Tomorrow are the first screenprints from a new series entitled Subtitles. Printed on 410 gsm Somerset paper in three passes – a matt halftone dot, a high gloss black border and the subtitles in a satin acid yellow. Both screenprints are available either unframed or in a polished aluminium frame designed by the artist.

‘This series of screenprints extends and enhances the influence of cinema on the photographic practice of Miles Aldridge, further exploring the mood and allure of theatrically constructed images. Artifice is everywhere in these screenprints, proposing figure, setting and event as both immediate and static – reprising the aesthetic of the tableau vivant as it might be conceived by Luis Buñuel or Eric Rohmer. Aldridge has long been fascinated by the transposition of suspense – as it might occur in film noir – to the mise-en-scene of sexually loaded pictorial narratives. These narratives, here broken down into the film-still idiom of individual sub-titled scenes, become at once  visually amplified and ambiguous. Pictorially, each screenprint depicts an open-ended dramatic image that calls on both the coldness and glamour of Pop art. While proposing a scene with dialogue – the urbane high passion of European cinema is implied – they resemble frozen fragments of mass media. Insoluble mysteries, as present yet remote as a billboard, acting in silence.’

– Michael Bracewell

Hello

2020

Screenprint in colours

Printed on 410 gsm Somerset paper

Signed and numbered in pencil verso

28 ¾ × 37 ½ inches (73.5 × 95 cm)
Edition of 15 plus 3 artist’s proofs

I Will Love You Tomorrow

2020

Screenprint in colours

Printed on 410 gsm Somerset paper

Signed and numbered in pencil verso

28 ¾ × 37 ½ inches (73.5 × 95 cm)
Edition of 15 plus 3 artist’s proofs

View Hello and I Will Love You Tomorrow in Works

View a list of the galleries in Contact

Please Please return Polaroid is Miles Aldridge’s ongoing love letter to Polaroid, a process once integral to the craft of many photographers but now more or less extinct, apart from the rare and out-of-date material traded on eBay for exorbitant prices. The sequel to Aldridge’s Please Return Polaroid of 2016, this book presents new and vintage Polaroids from his more than 20-year archive in a seemingly random sequence shaped by a dreamlike logic and surprising juxtapositions. Please Please Return Polaroid explores Aldridge’s to analogue processes where cut-and-paste is still a manual process, made with scissors, gaffer tape, intuition and not a little patience. Aldridge continues to use Polaroids as part of his work-in-progress “sketches,” often scratching, tearing and taping them together, even drawing over them: each mark part of the creative act. Known for creating immaculate photos of a less than perfect world, Aldridge revels in these unpolished images, transforming some into extreme enlargements filling double pages with their re-worked and damaged surfaces. Long live Polaroid!

Please Please return Polaroid

208 pages, 117 images

11 ¾ x 11 ¾ inches (29.5 x 29.5 cm)

Clothbound hardcover

ISBN 978-3-95829-748-7

€ 45.00

www.steidl.de/Books/Please-Please-Return-Polaroid