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DOCUMENT is a contemporary art gallery located in Chicago and Lisbon with a focus on image-based practices, sculpture, and installation art. Since its inception in Chicago in 2012, the gallery has organized over 100 exhibitions.
In 2017, DOCUMENT relocated to West Town and has since anchored its program as a conversation between emerging voices and established figures. The gallery has developed a reputation for championing artists and exhibiting challenging works across disciplines. In 2023, the gallery opened a second location in Lisbon, Portugal.
Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from the region and beyond, making a wide range of printing techniques available for gallery artists to realize their works.
Image: Kiah Celeste and Gordon Hall: Artifact Unidentified, installation view at DOCUMENT Chicago, 2025
","location":"1709 West Chicago Ave. Chicago, IL 60622","display_location":"1709 West Chicago Ave. Chicago, IL 60622","slug":"document","latitude":"41.895707","longitude":"-87.670211","contact":"Aron Gent","state":"published","created_at":"2017-01-17 17:16:34","updated_at":"2025-11-15 03:18:55.112","sub_district_id":"2","promoted_at":"2018-10-24T18:43:16.715Z","optional_sort_name":"","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1763165254/glhgdf0fc7ql7kblpwys.jpg","paid":true},"sociable_links":[{"id":4086,"address":"https://www.facebook.com/documentspace/","social_linkable_id":892,"social_linkable_type":"Organization","position":null,"kind":"Facebook","created_at":"2025-11-15 03:18:57.321","updated_at":"2025-11-15 03:18:57.321"},{"id":4087,"address":"https://www.instagram.com/documentspace/","social_linkable_id":892,"social_linkable_type":"Organization","position":null,"kind":"Instagram","created_at":"2025-11-15 03:18:57.321","updated_at":"2025-11-15 03:18:57.321"}],"events":[{"id":34038,"title":"Alexandra Barth: The Awnings","starts_at":"2026-09-17 17:00:00","ends_at":"2026-11-07 17:00:00","body":"DOCUMENT is delighted to present The Awnings, Alexandra Barth’s second solo exhibition with the gallery and the artist’s first in Chicago.
Alexandra Barth is a Slovakian artist based in a small town near Verona, in Northern Italy. Her painting practice is grounded in the observation of quietly evocative interiors and furnishings, rendered through precisely layered applications of airbrushed paint. For the past two years, she has turned this attention toward the retractable awning, a common feature of commercial and residential buildings across Italy and Southern Europe. Painting from unstaged photographs sourced on the web, Barth focuses on the awning in every form except its fully functional state—emphasizing instead its everyday, technical, and non-aesthetic aspects, and the tension between its familiar Italian character and its purely mechanical qualities.
The exhibition treats the awning less as a functional object than as a symbol, tracing the hidden lifecycle it typically undergoes unseen: manufacture, retail display, and eventual resale. Barth’s source images are drawn from online marketplaces such as Facebook Marketplace and Subito, where sellers of secondhand units post close-up photographs of pattern and condition alongside pictures of shuttered awnings removed from the storefronts and entryways they once shaded.
In The Showroom, a formation of small-scale models in various awning shapes curiously adorns an interior wall, echoing the display logic of the retail settings found throughout the exhibition. Red, orange, pink, blue, beige, and gray tones—drawn from the retail displays and online listings that inspire the work—dominate the paintings’ palette.
By foregrounding the awning’s “behind-the-scenes” existence, Barth invites viewers to reconsider the quiet, overlooked architecture that structures public space.
Alexandra Barth (b. 1989, Malacky, Slovakia) lives and works in Sanguinetto, Italy. She received her degree from the Academy of Fine Arts and Design in Bratislava, Slovakia in 2013. Recent solo exhibitions include DOCUMENT, Lisbon, Portugal (2025); LOOM Gallery, Milan, Italy (2024); Mrs., Maspeth, NY (2023); Photoport, Bratislava, Slovakia (2023); A SUD, Pescara, Italy (2022); Stone Projects, Prague, Czech Republic (2022); Chris Sharp, Los Angeles, CA (2021). Group exhibitions include Photoport, The Elevator, Temporary Parapet, MDŽ, and White&Weiss, in Bratislava, Slovakia. In 2024 she was awarded the TCP Art Finance Prize at The Armory Show, and her work is in the collections of the Zahorie Gallery of Jan Mudroch in Senica, Slovakia and the Morgan Stanley Collection, New York, NY.
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Plump Caruncles Rippling Dewlaps Dangling Snoods and Sumptuous Plumage with Piercing Eyes Sunken Ears and Shrouded Breaks II
DOCUMENT Chicago
November 13 – December 19, 2026
Opening reception Friday, November 13, 5–8pm
DOCUMENT is delighted to present Plump Caruncles Rippling Dewlaps Dangling Snoods and Sumptuous Plumage with Piercing Eyes Sunken Ears and Shrouded Beaks II, Andrew Norman Wilson's fifth solo exhibition with the gallery.
Mating season, 2023. A technician and Wilson set out to document a series of performances in which both the performers and the audience consisted of turkeys. Such performances take place around the world every spring, with males strutting about for audiences of female turkeys in expressions of sexuality, and for other male turkeys in expressions of territory. In these states of excitement the males’ blood vessels swell, which scatters light differently and causes their dangling snoods, rippling dewlaps, and plump caruncles to shift from red to pink, white, and blue.
Image: Andrew Norman Wilson, Plump Caruncles a Rippling Dewlap a Dangling Snood and Sumptuous Plumage II, 2026. Archival pigment print; 7 3/4 x 7 3/4 in. (18 x 18 in. framed).
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\r\n\r\nFeaturing work by:
\r\n\r\nChristopher Meerdo
\r\n\r\nLaura Letinsky and Paul Morabito
\r\n","type":"Event","state":"published","slug":"document-at-material-art-fair","created_at":"2018-10-22 20:39:44.317921","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'art':4A,9B 'christoph':16B 'citi':12B 'document':1A 'fair':5A,10B 'featur':13B 'laura':18B 'letinski':19B 'materi':3A,8B 'meerdo':17B 'mexico':11B 'morabito':22B 'partip':6B 'paul':21B 'work':14B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669428/event_ics_1721669428704.ics","carousel":null,"category_name":null},{"id":4038,"title":"Geraldo de Barros","starts_at":"2017-02-25 17:00:00","ends_at":"2017-02-25 20:00:00","body":"Exhibition on view February 25-April 8
\r\nOpening reception: Saturday, February 25, 5-8pm
DOCUMENT is pleased to present Geraldo de Barros’ first solo exhibition at the gallery. De Barros (São Paulo, Brazil, 1923-1998) concentrated on photography within two periods of time, each resulting in the production of the two bodies of work represented in this exhibition: the Fotoformas (1949-51) and the Sobras (1996-1998). By using a medium that so persuasively locates itself within day-to-day reality, de Barros was able interrogate the relationship between photography and other forms of capturing experience. In both series, he overlaid photographic document with the making-visible of imaginative or formal associations, and collapsed different moments of time into a single image.
\r\n\r\nFotoformas and Sobras bridge the beginning and end of de Barros’ working life as an artist. Between the two, his activity had included participating in the formation of the Concrete Art group Ruptura (1952-1959); co-founding both the collectivist furniture factory Unilabor (1954-1961) and the graphic design consultancy forminform (1958); creating, with Nelson Leirner and Wesley Duke Lee, an anarchic space named Rex Gallery and Sons (1966- 1967), and founding the furniture company Hobjeto (1964-1989). The artistic output of this varied trajectory encompassed abstract painting, industrial and graphic design, assemblages produced by painting over found billboard fragments, and abstract reliefs made of Formica. This multifaceted career suggests a wilful and dextrous heterogeneity that is also contained within De Barros’ attitude towards photography.
\r\n\r\nThrough their use of cutting, cropping and collage, the Sobras also recall the processes first used in the production of the Fotoformas. Whereas the relationship between the two series is consistently apparent at the level of technique, the set of photo-collages on paper that also forms part of Sobras creates a more explicit connection to the Fotoformas. Their source materials were reproductions of his earliest images, as produced for a book published for his 1994 retrospective in São Paulo. Being fortunate enough to be witness to the beginnings of his own historicisation, the Sobras thus allowed de Barros to submit his photographic practice to a degree of chronological disobedience. As a deliberate return to photography, his final series again marked out the distinct parameters of his approach to this medium. This is a series of work that de Barros began at the end of his life, but it is also one provoked by a need to recall his first motivations for engaging with photography. The Sobras, formed by a process of looking back that acted against both nostalgia and narrative, continue to invite the intrusion of the present.
\r\n\r\n— Isobel Whitelegg
\r\n\r\nRead the full essay here
\r\n\r\n
Exhibition on view February 25-April 8
\r\nOpening reception: Saturday, February 25, 5-8pm
DOCUMENT is pleased to present Geraldo de Barros’ first solo exhibition at the gallery. De Barros (São Paulo, Brazil, 1923-1998) concentrated on photography within two periods of time, each resulting in the production of the two bodies of work represented in this exhibition: the Fotoformas (1949-51) and the Sobras (1996-1998). By using a medium that so persuasively locates itself within day-to-day reality, de Barros was able interrogate the relationship between photography and other forms of capturing experience. In both series, he overlaid photographic document with the making-visible of imaginative or formal associations, and collapsed different moments of time into a single image.
\r\n\r\nFotoformas and Sobras bridge the beginning and end of de Barros’ working life as an artist. Between the two, his activity had included participating in the formation of the Concrete Art group Ruptura (1952-1959); co-founding both the collectivist furniture factory Unilabor (1954-1961) and the graphic design consultancy forminform (1958); creating, with Nelson Leirner and Wesley Duke Lee, an anarchic space named Rex Gallery and Sons (1966- 1967), and founding the furniture company Hobjeto (1964-1989). The artistic output of this varied trajectory encompassed abstract painting, industrial and graphic design, assemblages produced by painting over found billboard fragments, and abstract reliefs made of Formica. This multifaceted career suggests a wilful and dextrous heterogeneity that is also contained within De Barros’ attitude towards photography.
\r\n\r\nThrough their use of cutting, cropping and collage, the Sobras also recall the processes first used in the production of the Fotoformas. Whereas the relationship between the two series is consistently apparent at the level of technique, the set of photo-collages on paper that also forms part of Sobras creates a more explicit connection to the Fotoformas. Their source materials were reproductions of his earliest images, as produced for a book published for his 1994 retrospective in São Paulo. Being fortunate enough to be witness to the beginnings of his own historicisation, the Sobras thus allowed de Barros to submit his photographic practice to a degree of chronological disobedience. As a deliberate return to photography, his final series again marked out the distinct parameters of his approach to this medium. This is a series of work that de Barros began at the end of his life, but it is also one provoked by a need to recall his first motivations for engaging with photography. The Sobras, formed by a process of looking back that acted against both nostalgia and narrative, continue to invite the intrusion of the present.
\r\n\r\n— Isobel Whitelegg
\r\n\r\nRead the full essay here
\r\n\r\n
Participating in NADA New York
\r\n\r\nFeaturing work by Phillip Maisel
\r\n","type":"Event","state":"published","slug":"document-at-nada-new-york","created_at":"2018-10-22 20:39:52.685539","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'document':1A 'featur':11B 'maisel':15B 'nada':3A,8B 'new':4A,9B 'particip':6B 'phillip':14B 'work':12B 'york':5A,10B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669429/event_ics_1721669428713.ics","carousel":null,"category_name":null},{"id":4457,"title":"Technical Images: John Opera","starts_at":"2017-04-15 17:00:00","ends_at":"2017-05-27 20:00:00","body":"Exhibition on view: April 15-May 27, 2017
\r\nOpening reception: April 15, 5-8pm
Exhibition on view: June 3-July 8, 2017
\r\nOpening reception: June 3, 5-8pm
Document is pleased to present Psychopompopolis, Erin Jane Nelson’s second solo exhibition at the gallery. This body of work continues the artist’s practice of printing and collaging photographic experiments on fabric, which are often displayed in a site-specific environment. The works in the exhibition are based on a short story by Nelson of the same name. You can read the full text at: http://psychopompopolis.net/.
\r\n
\r\nErin Jane Nelson is an artist living in Atlanta, Georgia. She studied at The Cooper Union School of Art in New York and The Malmö Art Academy in Sweden. Recently, her work has been shown at Andrew Rafacz Gallery (Chicago), Atlanta Contemporary Art Center (Atlanta), Honor Fraser (Los Angeles), Galerie Division (Montreal), and Hester (NYC). She co-directs Species, an artist run gallery in Atlanta.
Exhibition on view: July 14-August 26, 2017
\r\nOpening reception: July 14, 5-8pm
Document is pleased to present Paris, London, Hong Kong, Portland, Brooklyn, Detroit, Los Angeles, Chicago, San Diego, Oak Park, Berlin, a group exhibition with seventeen artists who will continue to explore the gallery's focus on contemporary photography, film, sculpture and media based art. The exhibition will run from July 14th to August 26th with a reception on Friday July 14th from 5-8pm.
\r\n
\r\nElizabeth Atterbury, Jude Broughan, Mary Helena Clark, James Collins, Scott Fortino, Owen Kydd, Sterling Lawrence, Laura Letinsky, Jaclyn Mednicov, Christopher Meerdo, Sara Greenberger Rafferty, Victoria Fu and Matt Rich, Alison Ruttan, Sean Snyder, Greg Stimac, Andrew Norman Wilson, Scott Wolniak.
Image caption: Christopher Meerdo, Fields of Environmental Sensing, 2017, raspberry pi, micro sd card, power adapter, 16Gb shark flash drive, 2 LED USB light, programmable RGB LED USB fan
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\r\n\r\n\r\n\r\n
Elizabeth Atterbury, Jude Broughan, Mary Helena Clark, James Collins, Scott Fortino, Owen Kydd, Sterling Lawrence, Laura Letinsky, Jaclyn Mednicov, Christopher Meerdo, Sara Greenberger Rafferty, Victoria Fu and Matt Rich, Alison Ruttan, Sean Snyder, Greg Stimac, Andrew Norman Wilson, Scott Wolniak
\r\n","type":"Event","state":"published","slug":"paris-london-hong-kong-portland-brooklyn-detroit-los-angeles-chicago-san-diego-oak-park-berlin","created_at":"2018-10-22 20:41:02.208454","updated_at":"2018-10-22 20:41:02.208454","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':79B '14th':66B,76B '26th':69B '5':78B 'alison':110B 'andrew':116B 'angel':9A,29B 'art':59B 'artist':41B 'atterburi':82B 'august':68B 'base':58B 'berlin':15A,35B 'brooklyn':6A,26B 'broughan':84B 'chicago':10A,30B 'christoph':100B 'clark':87B 'collin':89B 'contemporari':52B 'continu':44B 'detroit':7A,27B 'diego':12A,32B 'document':16B 'elizabeth':81B 'exhibit':38B,61B 'explor':46B 'film':54B 'focus':50B 'fortino':91B 'friday':74B 'fu':106B 'galleri':48B 'greenberg':103B 'greg':114B 'group':37B 'helena':86B 'hong':3A,23B 'jaclyn':98B 'jame':88B 'jude':83B 'juli':65B,75B 'kong':4A,24B 'kydd':93B 'laura':96B 'lawrenc':95B 'letinski':97B 'london':2A,22B 'los':8A,28B 'mari':85B 'matt':108B 'media':57B 'mednicov':99B 'meerdo':101B 'norman':117B 'oak':13A,33B 'owen':92B 'pari':1A,21B 'park':14A,34B 'photographi':53B 'pleas':18B 'pm':80B 'portland':5A,25B 'present':20B 'rafferti':104B 'recept':72B 'rich':109B 'run':63B 'ruttan':111B 'san':11A,31B 'sara':102B 'scott':90B,119B 'sculptur':55B 'sean':112B 'seventeen':40B 'snyder':113B 'sterl':94B 'stimac':115B 'victoria':105B 'wilson':118B 'wolniak':120B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669458110.ics","carousel":null,"category_name":"Exhibitions"},{"id":5076,"title":"DOCUMENT at EXPO CHICAGO","starts_at":"2017-09-13 17:00:00","ends_at":"2017-09-17 18:00:00","body":"","type":"Event","state":"published","slug":"document-at-expo-chicago","created_at":"2018-10-22 20:41:37.424357","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'chicago':4A 'document':1A 'expo':3A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669466/event_ics_1721669465960.ics","carousel":null,"category_name":"Art Fairs"},{"id":5067,"title":"Art After Hours: Laura Letinsky Book Signing","starts_at":"2017-09-15 18:00:00","ends_at":"2017-09-15 21:00:00","body":"Laura Letinsky book signing.
\r\n\r\nPart of EXPO Chicago's Art After Hours.
\r\n","type":"Event","state":"published","slug":"art-after-hours-laura-letinsky-book-signing","created_at":"2018-10-22 20:41:42.44177","updated_at":"2018-12-20 22:47:56.989267","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'art':1A,17B 'book':6A,10B 'chicago':15B 'expo':14B 'hour':3A,19B 'laura':4A,8B 'letinski':5A,9B 'part':12B 'sign':7A,11B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669462291.ics","carousel":null,"category_name":"Tours"},{"id":5049,"title":"Andy Cahill","starts_at":"2017-11-03 17:00:00","ends_at":"2017-12-23 20:00:00","body":"Exhibition on view: November 3-December 23, 2017
\r\n\r\nOpening reception: Friday, November 3, 5-8pm
\r\n","type":"Event","state":"published","slug":"andy-cahill","created_at":"2018-10-22 20:42:00.710606","updated_at":"2018-10-22 20:42:00.710606","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':17B '2017':10B '23':9B '3':7B,15B '5':16B 'andi':1A 'cahil':2A 'decemb':8B 'exhibit':3B 'friday':13B 'novemb':6B,14B 'open':11B 'pm':18B 'recept':12B 'view':5B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461910.ics","carousel":null,"category_name":"Exhibitions"},{"id":5260,"title":"DOCUMENT: Mary Helena Clark","starts_at":"2018-01-06 09:00:00","ends_at":"2018-02-17 17:00:00","body":"Mary Helena Clark is an artist working in film, video, and installation. Her work uses the language of collage to explore dissociative states through cinema, bringing together disparate subjects and styles that suggest an exterior logic or code. Using the transportive qualities of cinema – rhyming sound and image, the constructed spaces of montage – her films explore shifting subjectivities and the limits of the embodied camera. Her work has recently been exhibited at Künstlerhaus Stuttgart, Germany, JOAN, Los Angeles, Kadist, San Francisco, the 2017 Whitney Biennial, New York, Museum of Contemporary Art Kiasma, Finland, e-flux, New York, Contemporary Art Centre, Vilnius, Lithuania, Grazer Kunstverein, Graz, Austria, Laura Bartlett Gallery, London, San Francisco Museum of Modern Art, San Francisco, and at festivals including the International Film Festival Rotterdam, the New York Film Festival, the Toronto International Film Festival, and the Hong Kong International Film Festival. This is her second exhibition at DOCUMENT.
\r\n","type":"Event","state":"published","slug":"document-mary-helena-clark","created_at":"2018-10-22 20:42:14.789984","updated_at":"2018-10-22 21:16:32.991211","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2017':88B 'angel':83B 'art':96B,105B,122B 'artist':10B 'austria':112B 'bartlett':114B 'biennial':90B 'bring':30B 'camera':69B 'centr':106B 'cinema':29B,48B 'clark':4A,7B 'code':42B 'collag':23B 'construct':54B 'contemporari':95B,104B 'dispar':32B 'dissoci':26B 'document':1A,157B 'e':100B 'e-flux':99B 'embodi':68B 'exhibit':75B,155B 'explor':25B,60B 'exterior':39B 'festiv':127B,132B,138B,143B,150B 'film':13B,59B,131B,137B,142B,149B 'finland':98B 'flux':101B 'francisco':86B,118B,124B 'galleri':115B 'germani':80B 'graz':111B 'grazer':109B 'helena':3A,6B 'hong':146B 'imag':52B 'includ':128B 'instal':16B 'intern':130B,141B,148B 'joan':81B 'k':77B 'kadist':84B 'kiasma':97B 'kong':147B 'kunstverein':110B 'languag':21B 'laura':113B 'limit':65B 'lithuania':108B 'logic':40B 'london':116B 'los':82B 'mari':2A,5B 'modern':121B 'montag':57B 'museum':93B,119B 'new':91B,102B,135B 'nstlerhaus':78B 'qualiti':46B 'recent':73B 'rhyme':49B 'rotterdam':133B 'san':85B,117B,123B 'second':154B 'shift':61B 'sound':50B 'space':55B 'state':27B 'stuttgart':79B 'style':35B 'subject':33B,62B 'suggest':37B 'togeth':31B 'toronto':140B 'transport':45B 'use':19B,43B 'video':14B 'vilnius':107B 'whitney':89B 'work':11B,18B,71B 'york':92B,103B,136B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668404/hpdziyieqxmzozlqougd.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669470/event_ics_1721669470301.ics","carousel":null,"category_name":"Exhibitions"},{"id":5263,"title":"Paul Mpagi Sepuya: Dark Room","starts_at":"2018-04-13 17:00:00","ends_at":"2018-05-26 20:00:00","body":"DOCUMENT is pleased to present Dark Room, Paul Mpagi Sepuya’s second solo exhibition at the gallery. The exhibition will open on Friday, April 13th with a reception from 5pm-8pm and will continue through May 26th.
\r\n\r\nPaul Mpagi Sepuya’s work is part of a common plea for a sincere regard of feeling and sensuality as tools for photographic inquiry. Touch and distance are formulated as requisite foundations for articulating, linking and retooling elided knowledge structures. Working within the lineage of homoerotic photography, Sepuya crafts unique frameworks for understanding how bodies and subjectivities emerge as actionable properties of entanglements, which result from a cohabitation of haptic visuality and spatial arrangements. What we are presented with are libidinally-charged ecosystems that unfold affects and positions, extending our relationship to the world, and touched bodies, across time and space. (…)
\r\n\r\n– Mark Pieterson
\r\n","type":"Event","state":"published","slug":"paul-mpagi-sepuya-dark-room","created_at":"2018-10-22 20:42:46.120751","updated_at":"2018-10-22 21:16:30.103596","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'13th':30B '26th':43B '5pm':36B '5pm-8pm':35B '8pm':37B 'across':142B 'action':103B 'affect':130B 'april':29B 'arrang':117B 'articul':77B 'bodi':98B,141B 'charg':126B 'cohabit':111B 'common':53B 'continu':40B 'craft':92B 'dark':4A,11B 'distanc':70B 'document':6B 'ecosystem':127B 'elid':81B 'emerg':101B 'entangl':106B 'exhibit':19B,24B 'extend':133B 'feel':60B 'formul':72B 'foundat':75B 'framework':94B 'friday':28B 'galleri':22B 'haptic':113B 'homoerot':89B 'inquiri':67B 'knowledg':82B 'libidin':125B 'libidinally-charg':124B 'lineag':87B 'link':78B 'mark':146B 'may':42B 'mpagi':2A,14B,45B 'open':26B 'part':50B 'paul':1A,13B,44B 'photograph':66B 'photographi':90B 'pieterson':147B 'plea':54B 'pleas':8B 'posit':132B 'present':10B,121B 'properti':104B 'recept':33B 'regard':58B 'relationship':135B 'requisit':74B 'result':108B 'retool':80B 'room':5A,12B 'second':17B 'sensual':62B 'sepuya':3A,15B,46B,91B 'sincer':57B 'solo':18B 'space':145B 'spatial':116B 'structur':83B 'subject':100B 'time':143B 'tool':64B 'touch':68B,140B 'understand':96B 'unfold':129B 'uniqu':93B 'visual':114B 'within':85B 'work':48B,84B 'world':138B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668404/jkosa8mhrgvvdluttls8.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669470/event_ics_1721669470399.ics","carousel":null,"category_name":"Exhibitions"},{"id":5262,"title":"Sterling Lawrence: Setting Place","starts_at":"2018-06-01 09:00:00","ends_at":"2018-07-07 17:00:00","body":"DOCUMENT is pleased to present Setting Place, Sterling Lawrence’s second solo exhibition at the gallery. The exhibition will open on Friday, June 1st with a reception from 5pm-8pm and will continue through July 7th.
\r\n\r\nIn the exhibition, Setting Place, setting is a space of inquiry mapping place and time. This figurative body of work explores a casted figure's proportion to functional design, the crafting of a “knock off” through sculpture, and video. Works in Setting Place give preference to setting addressing space and designed objects as container for the body, an object of touch. Reflective surfaces mirror their environment and “grounds” which stake a temporary claim of space to stage setting. Selecting objects which refer to volumes of measure, markers of time, and supports for the body, Lawrence’s alteration of form and material shifts liberate things from concepts that convention has assigned to them. Lawrence’s sculptures present formal elements who often reference a function but stop short of our ability to call upon them through alteration. The result is a sculptural form that in its unique outward form and function sets a huddle for our expectations, leaving the works to balance a line between potential outcomes and labels. Opening temporal possibilities, spatial engagement, inviting the viewer to grapple with the object’s call to the body, Lawrence explores how objects invoke, reproduce, and stage space. Parsing objects wading through time and space, Lawrence explores the casted figure’s final exhibition.
\r\n\r\nSterling Lawrence (1980, OR) currently lives and works in Chicago where he received an MFA from the School of the Art Institute of Chicago. Lawrence has had solo exhibitions with Devening Projects (2013), Chicago; Tony Wight Gallery (2011), Chicago; and has been included in group exhibitions at DePaul Art Museum (2017), Illinois State Museum (2017), Et al., San Francisco (2016); Scotty Enterprises, Berlin; Soloway, NY (2014); Columbia College, Chicago; Devening Projects, Chicago; and New Capital via Forever and Always, Chicago. Selected Projects include OVERRIDE / a billboard project with Expo Chicago (2016); Edition works for The Society for Contemporary Art Benefit (2014).
\r\n\r\n","type":"Event","state":"published","slug":"sterling-lawrence-setting-place","created_at":"2018-10-22 20:43:05.704066","updated_at":"2018-10-22 21:16:30.745581","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1980':253B '1st':28B '2011':288B '2013':283B '2014':316B,351B '2016':310B,341B '2017':301B,305B '5pm':34B '5pm-8pm':33B '7th':41B '8pm':35B 'abil':170B 'address':89B 'al':307B 'alter':138B,176B 'alway':329B 'art':271B,299B,349B 'assign':151B 'balanc':201B 'benefit':350B 'berlin':313B 'billboard':336B 'bodi':59B,98B,135B,226B 'call':172B,223B 'capit':325B 'cast':64B,246B 'chicago':260B,274B,284B,289B,319B,322B,330B,340B 'claim':114B 'colleg':318B 'columbia':317B 'concept':147B 'contain':95B 'contemporari':348B 'continu':38B 'convent':149B 'craft':72B 'current':255B 'depaul':298B 'design':70B,92B 'deven':281B,320B 'document':5B 'edit':342B 'element':159B 'engag':213B 'enterpris':312B 'environ':107B 'et':306B 'exhibit':17B,22B,44B,250B,279B,296B 'expect':196B 'explor':62B,228B,244B 'expo':339B 'figur':58B,65B,247B 'final':249B 'forev':327B 'form':140B,182B,188B 'formal':158B 'francisco':309B 'friday':26B 'function':69B,164B,190B 'galleri':20B,287B 'give':85B 'grappl':218B 'ground':109B 'group':295B 'huddl':193B 'illinoi':302B 'includ':293B,333B 'inquiri':52B 'institut':272B 'invit':214B 'invok':231B 'juli':40B 'june':27B 'knock':75B 'label':208B 'lawrenc':2A,13B,136B,154B,227B,243B,252B,275B 'leav':197B 'liber':144B 'line':203B 'live':256B 'map':53B 'marker':128B 'materi':142B 'measur':127B 'mfa':265B 'mirror':105B 'museum':300B,304B 'new':324B 'ny':315B 'object':93B,100B,121B,221B,230B,237B 'often':161B 'open':24B,209B 'outcom':206B 'outward':187B 'overrid':334B 'pars':236B 'place':4A,11B,46B,54B,84B 'pleas':7B 'possibl':211B 'potenti':205B 'prefer':86B 'present':9B,157B 'project':282B,321B,332B,337B 'proport':67B 'receiv':263B 'recept':31B 'refer':123B,162B 'reflect':103B 'reproduc':232B 'result':178B 'san':308B 'school':268B 'scotti':311B 'sculptur':78B,156B,181B 'second':15B 'select':120B,331B 'set':3A,10B,45B,47B,83B,88B,119B,191B 'shift':143B 'short':167B 'societi':346B 'solo':16B,278B 'soloway':314B 'space':50B,90B,116B,235B,242B 'spatial':212B 'stage':118B,234B 'stake':111B 'state':303B 'sterl':1A,12B,251B 'stop':166B 'support':132B 'surfac':104B 'tempor':210B 'temporari':113B 'thing':145B 'time':56B,130B,240B 'toni':285B 'touch':102B 'uniqu':186B 'upon':173B 'via':326B 'video':80B 'viewer':216B 'volum':125B 'wade':238B 'wight':286B 'work':61B,81B,199B,258B,343B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668404/mxk0crrb9sfeggzjbjtz.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669470/event_ics_1721669470211.ics","carousel":null,"category_name":"Exhibitions"},{"id":5261,"title":"Friend of a Friend: Elizabeth Atterbury, Gordon Hall, Huong Ngo, Em Rooney","starts_at":"2018-07-13 17:00:00","ends_at":"2018-08-31 20:00:00","body":"Summer Group Show featuring artists Elizabeth Atterbury, Gordon Hall, Huong Ngo and Em Rooney. Opening reception Friday, July 13.
\r\n\r\nCheck website for details.
\r\n\r\nPhoto: Sunny Side, FL (Tomb), 2016 Enamel paint, steel 12 x 7 1/2 x 5 1/2 in
\r\n\r\n\r\n","type":"Event","state":"published","slug":"friend-of-a-friend-elizabeth-atterbury-gordon-hall-huong-ngo-em-rooney","created_at":"2018-10-22 20:43:24.649666","updated_at":"2018-10-22 21:16:31.642558","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1/2':48B,51B '12':45B '13':31B '2016':41B '5':50B '7':47B 'artist':17B 'atterburi':6A,19B 'check':32B 'detail':35B 'elizabeth':5A,18B 'em':11A,25B 'enamel':42B 'featur':16B 'fl':39B 'friday':29B 'friend':1A,4A 'gordon':7A,20B 'group':14B 'hall':8A,21B 'huong':9A,22B 'juli':30B 'ngo':10A,23B 'open':27B 'paint':43B 'photo':36B 'recept':28B 'rooney':12A,26B 'show':15B 'side':38B 'steel':44B 'summer':13B 'sunni':37B 'tomb':40B 'websit':33B 'x':46B,49B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668404/srvj3siyah9soltlkm8b.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669470/event_ics_1721669470308.ics","carousel":null,"category_name":"Exhibitions"},{"id":5265,"title":"Stan VanDerBeek: Poemfield","starts_at":"2018-09-14 17:00:00","ends_at":"2018-10-27 20:00:00","body":"DOCUMENT is pleased to present Poemfield, Stan VanDerBeek’s first exhibition at the gallery. The exhibition will present a 16mm film installation of Poemfield no. 7 (1967-68), a digital projection of the film Symmetricks (1972), and a selection of works on paper (1973-83).
\r\n","type":"Event","state":"published","slug":"stan-vanderbeek-poemfield","created_at":"2018-10-22 20:44:00.51752","updated_at":"2018-10-22 21:16:29.466305","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-68':31B '-83':48B '16mm':23B '1967':30B '1972':39B '1973':47B '7':29B 'digit':33B 'document':4B 'exhibit':14B,19B 'film':24B,37B 'first':13B 'galleri':17B 'instal':25B 'paper':46B 'pleas':6B 'poemfield':3A,9B,27B 'present':8B,21B 'project':34B 'select':42B 'stan':1A,10B 'symmetrick':38B 'vanderbeek':2A,11B 'work':44B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668404/uyrvyxju0vcyrdwaln1b.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669470/event_ics_1721669470309.ics","carousel":null,"category_name":"Exhibitions"},{"id":6505,"title":"1709 W Chicago Galleries Open House","starts_at":"2018-09-30 12:00:00","ends_at":"2018-09-30 16:00:00","body":"12:00–4:00pm | Open House
\r\n\r\n1709 W Chicago Galleries
\r\n\r\nCome and sample Marz Community Brewing Company's new fall releases and spend an afternoon of art viewing at David Salkin Creative, DOCUMENT, Paris London Hong Kong, Volume, and Western Exhibitions, all while enjoying creative beers and snacks.
\r\n\r\nPart of EXPO Chicago's EXPO Art Week
\r\n\r\n","type":"Event","state":"published","slug":"1709-w-chicago-galleries-open-house","created_at":"2018-10-22 20:44:23.170457","updated_at":"2019-01-04 14:58:01.315053","excerpt":null,"is_timeless":false,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00':8B '00pm':10B '12':7B '1709':1A,13B '4':9B 'afternoon':31B 'art':33B,61B 'beer':52B 'brew':22B 'chicago':3A,15B,58B 'come':17B 'communiti':21B 'compani':23B 'creativ':38B,51B 'david':36B 'document':39B 'enjoy':50B 'exhibit':47B 'expo':57B,60B 'fall':26B 'galleri':4A,16B 'hong':42B 'hous':6A,12B 'kong':43B 'london':41B 'marz':20B 'new':25B 'open':5A,11B 'pari':40B 'part':55B 'releas':27B 'salkin':37B 'sampl':19B 'snack':54B 'spend':29B 'view':34B 'volum':44B 'w':2A,14B 'week':62B 'western':46B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668454/fn2qpqbh0n0hhnc0huk3.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669519/event_ics_1721669519066.ics","carousel":null,"category_name":null},{"id":6427,"title":"Sara Greenberger Rafferty","starts_at":"2018-11-02 16:00:00","ends_at":"2018-12-22 17:00:00","body":"Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at MoMA PS1, New York; The Kitchen, New York; Eli Marsh Gallery at Amherst College, Massachusetts; Fine Arts Center Gallery at University of Arkansas; and a commissioned sculpture for the Public Art Fund. Gloves Off, the first traveling survey of her work with accompanying fully illustrated catalogue published by SUNY Press, completed a three-venue tour last year.
The artist was included in the 2014 Whitney Biennial and the 2014 Hammer Biennial in addition to group shows at the Portland Institute for Contemporary Art, Oregon; Museum of Contemporary Art San Diego, California; and The Jewish Museum, New York, among many others. Her work is included in the collections of the Museum of Modern Art, the Whitney Museum of American Art, and the University of Chicago Booth School of Business. Rafferty is Associate Professor and Director of Graduate Studies in Photography at Pratt Institute in Brooklyn.
DOCUMENT is pleased to present Kodak, Andrew Norman Wilson’s third solo exhibition at the gallery.
The exhibition will open on January 11th with a reception from 5pm to 8pm, and will continue through February 23rd, 2019.
Much of Andrew Norman Wilson’s video “KODAK” centers on an exchange between a boss and a worker. The terms of that exchange, like the labor relation it indexes, are asymmetrical: Rich, a career-long employee of Kodak who has long since been laid off, pores over the audio-tape memoirs of George Eastman, the heralded founder of the Kodak Corporation. With masturbatory glee, and a deftness of navigation that can only come from compulsive reuse, Rich shuffles through the hordes of tapes in a public library, seeking something. Although Eastman died generations ago, it is he, rather than Rich, who mostly speaks to us, and about whom we mostly learn: Eastman the dynamo, the captain of industry, whose personal mythology is inextricable from the titanic legacy of his corporation. As for Rich, we come to know him mostly for his adoration for Eastman (Rich instead warmly calls him “George,” as though they are old friends), and his pride in his career. Together, they comprise his only relief from a life of poverty, blindness, incontinence, divorce, and regret. Even in death, the boss is somehow more alive. – Nick Irvin
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DOCUMENT is pleased to present our second solo exhibition with Geraldo de Barros (Brazil, 1923-1998). We will exhibit a selection of earlier photographs the artist took between 1947 and 1954.
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—Danielle Dutton, 2019
Image: Laura LetinskyTo Want for Nothing 25,2018, Archival pigment print. Edition of 7.
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In Gallery 2
\"In Amulet, Greg Stimac presents a new body of photographic prints alongside his series of sculptures made from rifle-stocks. The imagery depicted in the new photographs—which recall Rorschach tests—reference the earth’s masses of land and bodies of water, and represent a kind of experimental cartography. In both the photographs and sculptures, Stimac creates, with simple moves applied to familiar subjects, something surprising and unfamiliar. Amulet offers a particular chance to reflect on the intimate proximity of processes that are typically experienced as foreign to one another. Namely: mundane, everyday thinking and wonder and imagination. In Stimac’s hands, rifle-stocks and landmasses—icons of purely material, modern existence—take on the semblance of something whose nature lies instead in imaginative reflection.
Upon viewing the work: you look, and you find something...and you also find something else, something more. Here, the gun is always at the same time a body; and the landmass, a monster. An elemental creature, a whimsical silhouette, a haunting mask, an erotic organ—for Stimac, these can all be names for the same thing.\"
—Scott Cowan
Image: Greg Stimac, Atlantic (NE), 2019, Silver Gelatin Print
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Join us for a reading and discussion with Danielle Dutton, author of \"SPRAWL\" (Wave Books, 2018), which was inspired by Laura Letinsky's photographs.
Dutton also wrote the exhibition essay for the current show at DOCUMENT. Excerpt:
\"1.
One week it was alligators in frozen ponds. Their jaws rose out of the ice like Chinese peaks. The creatures looked both dead and in pain, but scientists called them “survival machines” and insisted they were asleep.
The week before it was a large disc of ice revolving at the confluence of two small rivers in Maine. It’s not as if she went looking for them. But every week some new picture got stuck at the front of her mind. The disc had looked exactly like the moon. Was it fair to say exactly? She knew she often exaggerated for effect. The river was black and the moon revolved on it for days.
It was like she was disappearing; clearly she wanted for nothing.\"
Dutton's writing has appeared or is forthcoming in The Paris Review, Harper's, The White Review, Fence, BOMB, and others. She is on the faculty of the writing program at Washington University in St. Louis and is co-founder and editor of the feminist press Dorothy, a publishing project.
DOCUMENT is pleased to present an exhibition of new works by John Opera. The exhibit opens on Friday, June 7th with a reception from 5-8pm and continues through June 27th, 2019.
“Opera devises his experimental works without a lens-based mechanism, relying instead on the light from his own invented systems to map layered photographic hallucinations and invented psychedelia. While previous pieces showcased the bold shape of the sun in single and double iterations, Opera’s new cyanotypes radiate the light source without reference to its orb. Soft yellow is achieved through bleaching, the sea and sky are mimicked with the classic Prussian blue of cyanotype, and the green of sun-dappled foliage is achieved through layered tints.
Spinning like the hands of a clock, eight-foot-long fluorescent bulbs covered in dotted laser cut vinyl are suspended over a canvas. Using a turntable, Opera creates a burn at ten o’clock, then at twelve o’clock, and sometimes one, continuing to twist the canvas in a circular motion. His resulting radial works use the colors, textures, and methods of nature to produce his own reality—unpredictable landscapes bound to a flattened plane.” –Kate Sierzputowski, 2019
John Opera earned his BFA from SUNY New Paltz (1998) and MFA from the School of the Art Institute of Chicago (2005). He lived, worked, taught, and exhibited in Chicago for more than a dozen years. He currently is Assistant Professor of Photography at the University of Buffalo.
Opera’s exhibitions include: Hobart and William Smith Colleges (Geneva, NY), Higher Pictures (New York), Longhouse Projects (New York), DOCUMENT (Chicago), Shane Campbell Gallery (Chicago), Andrew Rafacz Gallery (Chicago), The Suburban (Milwaukee), The Museum of Contemporary Photography (Chicago), Transformer Station (Cleveland), Melanie Flood Projects, Portland (OR), Michael Jon Gallery (Miami), Macalester College Art Gallery (St. Paul), Nina Freudenheim Gallery (Buffalo) and The Burchfield-Penney Art Center (Buffalo). His work has been the subject of a two-person exhibition at the Contemporary Art Museum St. Louis and is featured in the second volume of MP3, co-published by Aperture and the Museum of Contemporary Photography (Chicago). His work is part of the permanent collections of the DePaul Museum of Art (Chicago), the Burchfield-Penney Art Center (Buffalo), and the Museum of Contemporary Photography (Chicago), among other institutions.
Opera’s work has been reviewed by Artforum, Artforum.com, The New Yorker, Flash Art, The Chicago Tribune, The Miami Rail, The Buffalo News, and Chicago Artist Writers, among other publications.
DOCUMENT is pleased to present Supports/Surfaces: Objects of Knowledge, which features historical and recent work by Louis Cane, Noël Dolla and Claude Viallat.
These three artists were members of Supports/Surfaces, a shifting group of some twelve painters, many of whom hailed from the South of France, who began collaborating and showing together in 1966. Central to Supports/Surfaces was the systematic interrogation (and, in many cases, separation) of the medium’s constituent components: paint, canvas, and stretcher. The group showed both within art institutions and in outdoor, sometimes remote locations, distributing their paintings in the landscape with guerrilla idealism. The group was influenced by radical thinking from various, even oppositional quarters, matching the utopian dreaming of May ‘68 with the uncompromising critical theory of Louis Althusser and the Tel Quel group.
Supports/Surfaces artists devised signature approaches even as they actively sought common strategies. Viallat stenciled kidney bean-like forms into grids on unframed and unstretched canvases that could be hung on a gallery wall, the middle of a room, or outside in public space. Dolla’s Tarlatanes, strips of painted canvas hung from the ceiling, played on Barnett Newman’s modernist “zips,” liberating them from all constraints–yet he also made a point of painting on everyday materials such as handkerchiefs and dishtowels. Cane’s Toiles Découpées (Cut Canvases) spilled onto the floor from their positions on the wall, aiming for simultaneous absorption and materiality. Supports/Surfaces: Objects of Knowledge will revisit these artists’ past work while also making note of the subtle evolution of their practices up through the present day.
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Open for Art After Hours, a citywide open gallery night inviting EXPO CHICAGO visitors and the Chicago community to experience the city's vibrant art scene during extended hours.
For details and participating galleries and art spaces, click here.
6:00–9:00pm | Citywide Locations
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Made of cast concrete, poplar, and carved brick, this group of floor-based sculptures was commissioned by and presented at the Portland Institute for Contemporary Art in the summer of 2019 in Gordon Hall’s exhibition THROUGH AND THROUGH AND THROUGH, curated by Kristan Kennedy and Roya Amirsoleymani, who also contributed to this text. Hall’s first book of collected essays, performance scripts, and interviews--OVER-BELIEFS: Gordon Hall Collected Writing 2011-2018--was published by PICA in conjunction with the exhibition and is now available at DOCUMENT.
Image: Gordon Hall, Kneeling Object III (Poplar), 2019, waxed carved poplar, 16 x 5.5 x 16.5 in.
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DOCUMENT is pleased to present Bundle Umbra, Christopher Meerdo’s third exhibition at the gallery. Drawing from hacker and whistleblower file caches sourced on the dark web, the exhibition considers what is seen and remains invisible within international information systems.
Routed through 3D displacement mapping, segments of the archives take the form of thermoformed and perforated plastic collage works. Each function as a light emission panel through the artist’s use of custom electronics and electroluminescent paint.
The work draws from secondary and idiosyncratic symbols, handwritten notes, tables, and graphics located within the archives. The source material emerges from various activities from the past 30 years. This includes documents from Chinese secret prisons, Fraternal Order of Police confidential contracts, papers seized from the US embassy takeover in Tehran in the late 1970’s, and recently revealed banking disclosures from the Cayman Islands, among others.
Christopher Meerdo is an artist who grew up in the Upper Peninsula of Michigan and spent his teenage years in Šiauliai, Lithuania. He resided in Chicago for the last 15 years before relocating in 2019 to the Dallas/Fort Worth area.
Meerdo received his MFA in Photography from the University of Illinois at Chicago, taught at The School of the Art Institute of Chicago from 2012-2019, and was recently appointed tenure track Assistant Professor of Photography and New Media at the University of North Texas.
Recent exhibitions include Exgirlfriend (Berlin); The Museum of Contemporary Photography (Chicago); Wilfried Lentz (Rotterdam), The National Gallery of Kosovo (Pristina), and The Mattress Factory Museum of Contemporary Art (Pittsburg). He was an artist in residence at the SIM Program in Reykjavik and Skowhegan School of Painting and Sculpture. Meerdo was most recently a fellow the Jan Van Eyck Academie in the Netherlands for the 2018-2019 program.
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Click Here for a virtual tour of this exhibition
DOCUMENT is pleased to present Victoria Fu’s second exhibition at the gallery.
Comprised of a large scale, double-sided printed curtain hanging in the gallery space, an animated neon work and a video projection, the works in the exhibition create colorfully textured installations that explore the expanded nature of mediated vision in a world where human experience is increasingly digitized.
VICTORIA FU (born 1978, Santa Monica, CA), lives and works in San Diego, CA. Fu a visual artist who received her MFA from CalArts, MA in Art History/Museum Studies from University of Southern California, and BA from Stanford University. Her practice revolves around stock footage and digital image banks, pulling quotidian pictures to appropriate them for projections on multi-layered surfaces. Her collages of digital media are abstract fantasies that emphasize form over representation. Fu’s works negate the manipulative power of these mundane images, injecting them with alluring imagination that challenges their function.
Recent solo exhibitions include the Museum of Contemporary Art, Tucson, AZ; California Polytechnic University, San Luis Obispo, CA; DeutscheBank VIP Commission at Frieze Los Angeles; Katonah Museum of Art, Katonah, NY; Center for Ongoing Research & Projects (COR&P), Columbus, OH; The Contemporary, Baltimore, MD; University Art Gallery at UC Irvine, CA. Group venues include the 2014 Whitney Biennial at the Whitney Museum of American Art, New York, NY; Pérez Art Museum, Miami, FL; Museum of Contemporary Art San Diego, La Jolla, CA.
Public collections: Whitney Museum of American Art, New York, NY; Pérez Art Museum, Miami, FL; Los Angeles County Museum of Art, Los Angeles, CA; MIT List Visual Arts Center, Cambridge, MA; Museum of Contemporary Art, San Diego, CA.
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DOCUMENT is pleased to present Tromarama’s first solo exhibition at the gallery and in the United States.
Indonesian collective Tromarama (founded in 2006) are known for their engagement with shifting perceptions between the physical and virtual worlds in the digital age. They often work with combinations of video, installations, computer programming and public participation.
The exhibition at the gallery will feature Beta, a site-specific installation that questions the standardized elementary education programs that have been implemented since Indonesia’s independence from Japanese occupation in 1945. This immersive installation is comprised of melodicas (an instrument that children are mandated to play according to national curriculum), pixelated color compositions, and are activated by computer softwares that respond to tweets posted online with the hasthtag #nationality.
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![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419502/zzd5qeymqx5z4u16hw2q.jpg\")
Throughout the Summer 2020, DOCUMENT is organizing the gallery space into a rotating series of smaller domestic tableaux presenting works by gallery artists in conjunction with some of our friends and collaborators from the building at 1709-1711 West Chicago avenue.
From DOCUMENT: Elizabeth Atterbury, Geraldo de Barros, Mary Helena Clark, Julien Creuzet, Victoria Fu, Gordon Hall, Aron Gent, Sterling Lawrence, Laura Letinsky, Christopher Meerdo, Erin Jane Nelson, John Opera, Sara Greenberger Rafferty, Paul Mpagi Sepuya, Greg Stimac, Andrew Norman Wilson.
From Western Exhibitions: Jessica Campbell
From Volume Gallery: Jennefer Hoffman, Norman Kelley, Jonathan Muecke, Christy Matson
From Rhona Hoffman Gallery: Gordon Parks
And David Salkin Creative for rugs and surface design.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419503/zte20fkgx654exoylyqr.jpg\")
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419504/ok8fmqvoibosogyyhtrk.jpg\")
By appointment on Tock.
Mottled and sinister, the ceramics in Erin Jane Nelson’s Resting Spore summon memories of the puffballs mushrooms I encountered as a child in Appalachia, where they were best known as “devil’s snuffboxes.” To my young imagination, these fungi appeared as huddled bands of gnomes scurrying across my backyard, the opposite of the stately fairy ring mushrooms that also grew there. While other kids made wishes by blowing the seeds of dandelions, the queerer among us danced upon spore-filled trinkets left behind by the devil.
The works in Resting Spore share the cross-pollinated material heritage of Nelson’s other recent ceramics, providing a sculptural substrate for photographs, found images and objects, and other accessories. But while earlier works were born of her documentation of barrier islands and other fraught historical and environmental sites along the Southeastern coastline, these new ceramics were bred in captivity, conceived in a suburban Georgia garage during the humid summer months of pandemic and quarantine—stranger creatures for stranger days.
Like many of her photo-quilts and ceramics, these works integrate the real-life crises of our calamitous present with Nelson’s own characteristically twisted, fantastical vision—now distinctively more self-reflective. Though her flower-power aesthetic evokes eco-femme associations, the malevolence and futility of white femininity in particular suffuse Resting Spore like a sweet, rotten aroma. The affects traditionally assumed of white femininity—cuteness, sentimentality, fragility, tenderness—appear as warped and broken with some of the ceramic vessels bearing obvious scars of repair.
As has long been the case, Nelson’s investment in imagery of the natural world demonstrates more than millennial climate anxiety; it proposes an alternative to the limited perspectives of human subjectivity on a planet that our species has, according to most scientists, fucked over immeasurably. By adopting non-human, non-rational viewpoints, Nelson embraces poet Joyelle Sweeney’s characterization of the Necropastoral, described as “a political-aesthetic zone in which the fact of mankind’s depredations cannot be separated from an experience of ‘nature’ which is poisoned, mutated, aberrant, spectacular, full of ill effects and affects... It does not subscribe to humanism but is interested in non-human modalities, like those of bugs, viruses, weeds and mold.”
Despite their associations with death and decay, bugs, viruses, and mold are, of course, living things in and of themselves. Spores, after all, are reproductive units, the asexual foot soldiers of their species’ survival. Offering an alternative model, the text on Puddling narrates butterflies’ reproductive cycle: Puddling, Courting, Basking, Egg Laying. Shaping these moldy-looking, bug-ridden assemblages, Nelson cared for and nurtured her own weird brood, containers for dark dreams of survival, and products of another sort of lush fecundity: an imagination where impossible polarities—life and death, image and material, human and non-human, wonder and grief—are not conflicting or incompatible but strangely and beautifully inextricable from one another.
—Logan Lockner
![\"\"](\"https://mcusercontent.com/86575b609554c4ccf7fa6c892/images/b926173f-06c1-4c82-8b11-fdfd28490363.jpg\")
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EXPO CHICAGO Presents
EXHIBITION WEEKEND
September 25-27, 2020
DOCUMENT is pleased to participate to EXHIBITION WEEKEND with a solo presentation of Elizabeth Atterbury's recent monotypes.
All the works are visible at the gallery. Email, call or book your visit on Tock to schedule an appointment.
We will be open until 8pm Friday and Saturday (September 25 and 26).
Enter the online viewing room here
NADA and Artlogic
Present
Chicago Gallery Open
September 30 - October 4, 2020
DOCUMENT is pleased to participate to Chicago Gallery Open x NADA with a presentation of rarely seen works by gallery artist Laura Letinsky.
Enter the online viewing room here.
The presentation is visible at the gallery in person.
Email, call or book your visit on Tock to schedule an appointment.
Request a preview here.
Image: Laura Letinsky, Coming to the Commons (2), 2013, Archival pigment print, 48 h x 58 w in. (paper size) Edition of 7 + 2APs.
","type":"Event","state":"published","slug":"chicago-gallery-open-laura-letinksy","created_at":"2020-09-29 22:43:48.494344","updated_at":"2020-09-30 17:37:00.523732","excerpt":"","is_timeless":true,"organization_id":892,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2':79B '2013':80B '2020':17B '2aps':95B '30':14B '4':16B '48':84B '58':87B '7':94B 'appoint':67B 'archiv':81B 'artist':38B 'artlog':8B 'book':59B 'call':57B 'chicago':1A,10B,24B 'come':75B 'common':78B 'document':18B 'edit':92B 'email':56B 'enter':41B 'galleri':2A,11B,25B,37B,53B 'h':85B 'imag':72B 'laura':4A,39B,73B 'letinksi':5A 'letinski':40B,74B 'nada':6B,28B 'octob':15B 'onlin':43B 'open':3A,12B,26B 'paper':90B 'particip':22B 'person':55B 'pigment':82B 'pleas':20B 'present':9B,31B,48B 'preview':70B 'print':83B 'rare':33B 'request':68B 'room':45B 'schedul':65B 'seen':34B 'septemb':13B 'size':91B 'tock':63B 'view':44B 'visibl':50B 'visit':61B 'w':88B 'work':35B 'x':27B,86B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668477/jvdtilc8rajws3hv6mi3.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669536/event_ics_1721669536590.ics","carousel":null,"category_name":"Exhibitions"},{"id":7171,"title":"Paul Mpagi Sepuya","starts_at":"2020-11-11 12:00:00","ends_at":"2020-11-30 12:00:00","body":"The presentation is visible at the gallery in person. Email, call or book your visit on Tock to schedule an appointment. Request a pricelist here and see our walkthrough below.
Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) is an artist working in photography whose projects weave together histories and possibilities of portraiture, queer and homoerotic networks of production and collaboration, and the material and conceptual potential of blackness at the heart of the medium. His interests also include queer literary modernism, questions of artistic responsibility and care regarding representation and refusal.
Sepuya received an MFA in photography at UCLA in 2016. From 2000 - 2014 Sepuya lived and worked in New York City, receiving a BFA from New York University’s Tisch School of the Arts in 2004. Sepuya became known for his 2005 - 2007 zine series “SHOOT” and body of work, “Beloved Object & Amorous Subject, Revisited” (2005-8), along with participation and collaborations in the re-emergence of queer zines culture of the 2000s. He went on to participate in Artist-in-Residence programs at the Lower Manhattan Cultural Council, the Center for Photography at Woodstock, The Studio Museum in Harlem and Fire Island Artist Residency.
Sepuya’s work is in the permanent collections of the Los Angeles Country Museum of Art, MOCA Los Angeles, the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, the Getty Museum, the Studio Museum in Harlem, the ICA Boston, the Baltimore Museum of Art, the International Center for Photography, the Cleveland Museum of Art, the Milwaukee Art Museum and the Carnegie Museum, among others. Solo museum exhibitions include “Double Enclosure” at Fotomuseum Amsterdam (2018), “Drop Scene” at Bemis Center for Contempoary Arts (2020), and “Paul Mpagi Sepuya,” a survey of work from 2006 - 2018 presented at Contemporary Art Museum St. Louis and University of Houston Blaffer Art Museum, and accompanied by a monograph published by CAM St. Louis and Aperture Foundation. Recent museum exhibitions also include a project for the 2019 Whitney Biennial, “Being: New Photography 2018” at the Museum of Modern Art, “Trigger” at the New Museum New York City, and group exhibitions at the Walker Art Center, Contemporary Art Museum Houston, the Guggenheim Museum, and the Getty Museum.
Sepuya’s work has been covered and published in ARTFORUM, Aperture, The New Yorker, The New York Times, Art Review, Frieze, Art in America, Monocle, Osmos, The Nation, and The Guardian among others. He was a recipient of the 2019 Rauschenberg Residency. He is Acting Associate Professor in Media Arts at the University of California San Diego and has taught at CalArts and Bard MFA.
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Born in 1986, Julien Creuzet is a French-Caribbean artist who lives and works in Paris. A visual artist and poet, he actively intertwines these two practices via amalgams of sculpture, installation and textual intervention that frequently address his own diasporic experience. Inspired by the poetic and philosophical reflections of Aimé Césaire and Édouard Glissant on creolization and migration, Creuzet’s work focuses on the troubled intersection of the history of Martinique and the events of European modernity.
Creuzet has recently had solo exhibitions at Palais De Tokyo, Paris (2019), Fondation d’Entreprise Ricard (2018), Bétonsalon, Paris (2018), Sketch Gallery in Bogotá (2017), Fonds Régional d’Art Contemporain Basse Normandie in Caen (2015), the Juvisy-sur-Orge Contemporary Art Centre, Galerie Doyang Lee in Paris (2013), and the Sandretto Re Rebaudengo Foundation in Turin (2012).
Recently, he participated in the 12th Gwangju Biennale (2018), the 6th Rennes Biennale (2018), the 11th Biennale Africaine de la Photographie (2017), the 14th Lyon Biennale of Contemporary Art (2017), the Festival Hors Piste at the Centre Pompidou (2017), the Frac Pays de la Loire (2016), the 12th Biennale de l’Art Contemporain Africain de Dakar, Sénégal (2016) and the 2nd Kampala Art Biennale (2016), Uganda.
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Elizabeth Atterbury (born 1982, West Palm Beach, FL) lives and works in Portland, Maine. Recent solo and group shows include Mrs., Queens; Kate Werble Gallery, New York; The Portland Museum of Art, Portland; The Colby College Museum of Art, Waterville; kijidome, Boston; DOCUMENT, Chicago; Western Exhibitions, Chicago; The Luminary, St Louis; Et al. Etc., San Francisco; Pulaski Park Field House, Chicago; Able Baker Contemporary, Portland; Ida Schmid, Brooklyn; TSA, Brooklyn; Bodega, Philadelphia/New York; KANSAS, New York; and The ICA at Maine College of Art, Portland, among others. In the Middle, An Oasis, a monograph of her work, was published by Bodega Press in 2013. She received her BA from Hampshire College and her MFA from MassArt.
Atterbury’s studio practice is fluid, fluctuating between picture making and object making. Fascinated with the autonomy of the artifact – objects disassociated from their original function and context – Atterbury’s practice considers the distinction or lack thereof between artifact, prop, model and sculpture. Drawn to materials such as paper and sand, Atterbury constructs ephemeral tableaux specifically for the purpose of transfiguring and recording them. Both her photographs and sculpture build upon a continued interest in display and its visual structures, along with a more recent interest in language, ritual, and abstraction.
Download the interview between Elizabeth Atterbury and Gordon Hall here.
Top Image: Elizabeth Atterbury, 44 Flags 4, 2020 Chine collé and embossment, 30h x 22 1/2w in
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![\"\"](\"https://mcusercontent.com/86575b609554c4ccf7fa6c892/video_thumbnails_new/8c7d56c9f009a8ead6cf31bf17013381.png\")
DOCUMENT is pleased to present Katy Cowan’s first exhibition at the gallery. The exhibition will open on February 26 and will be on view until April 10. Appointments are required to visit the gallery.
Cowan dissects pattern and fractal repetition in order to play with viewer’s expectations. Her looping aesthetic is the antithesis of clinical. Her skillful use of figure/ground relationships revel in mutability like a hall of mirrors serves up confusion as entertainment. In Cowan’s work, tumult and composure are polar ends of the same rope. In one piece, the rope stretches horizontally in a straight line before puddling in a tangle of strands at either end. The respective puddles appear more dissimilar than alike. Still they reinforce the mirror analogy, staring at one another like siblings, buzzing with color-coded oscillations between object and idea. To be clear, the rope, strands, and puddles are all cast aluminum.
For all the work’s fluidity and intended ambiguity, there is poise and weight. References to celestial mechanics, innuendo of life unraveling on a studio or mechanic shop’s floor, color palettes that echo artworld luminaries like Hicks and Klee as well as contemporary ad campaigns all emanate from a gravitational center that may be, in the end, the artist as an idea. Cowan’s work is an artist in action, a creative response to the world, a generative disposition that returns, fresh-eyed, day after day. No end in sight.
- Paul Druecke is an artist and writer finding unexpected value in unlikely combinations. Milwaukee 2021
Katy Cowan (b. 1982, Lake Geneva, WI) received her BFA from University of Puget Sound (Puget Sound, WA) in 2004 and her MFA from Otis College of Art and Design (Los Angeles, CA) in 2014. Recent solo and group shows include “winds glow unceasing” at DOCUMENT Gallery (Chicago, IL); “Suns Pass Flat” and ”The Day in the Night,” at Philip Martin Gallery (Los Angeles, CA); “Centennial: 100 Years of Otis College Alumni\" at Otis College of Art and Design (Los Angeles, CA); \"Left, Right, Left, Left\" at The Green Gallery (Milwaukee, WI)’ and \"The Blue Sun Moans\" at Kate Werble Gallery (New York, NY). Cowan has been featured in solo and group exhibitions at Philip Martin Gallery (Los Angeles, CA); Fourteen30 Contemporary (Portland, OR); University of Puget Sound (Tacoma, WA); Lynden Sculpture Garden (Milwaukee, WI); Madison Museum of Contemporary Art (Madison, WI); Synchrotron Radiation Center: Home of Aladdin (Stoughton, WI); Poor Farm (Manawa, WI); The Green Gallery (Milwaukee, WI); and Kate Werble Gallery (New York, NY). Cowan's work is in public and private collections such as the Minneapolis Museum of Art (Minneapolis, MN); Lynden Sculpture Garden (Milwaukee, WI); Art in Embassies (Maputo, Mozambique); and Northwestern Mutual Insurance (Milwaukee, WI). Her work has been reviewed in “Artforum,” “Los Angeles Times,” “Architectural Digest,” “Wallpaper*,” “Contemporary Art Review LA,” “Artnet” and other publications. Cowan lives and works in Berkeley, CA. She is represented by Phillip Martin Gallery (Los Angeles, CA) and The Green Gallery (Milwaukee, WI).
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VIP Preview: March 2-3, 2021
Public days: March 4-7, 2021
Katy Cowan
Julien Creuzet
Erin Jane Nelson
Sara Greenberger Rafferty
Paul Mpagi Sepuya
Request Online Viewing Room preview here
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DOCUMENT is pleased to present Paul Mpagi Sepuya's third solo exhibition at the gallery. The exhibition will open on April 16 and will be on view until May 29. Appointments are required to visit the gallery.
What does it take to make a photograph? In Paul Mpagi Sepuya’s world, it takes a village. A very small one at that, but a village nonetheless. After decades of Sontagian tenor in criticism positioning photography as a “profoundly un- or a-relational medium,” is it possible to imagine the photographic/document not as a hierarchy-reinforcing by-product of relationships, but as the matrix of friendships, love, and solidarity itself?*
To do so requires touching without gloves on, contact in the age of contactless deliveries, and accounting for the passage of time when the privileged few have complained for too long about time having come to a standstill. In Sepuya’s new exhibition Stage, the artist responds to the question as he has always done: without starry-eyed metaphors or empty promises of unadulterated access to subjecthood. Sepuya’s photographs at DOCUMENT are often eager to dispel the mythology of the “decisive moment” and reveal their support structures in the broader sense of the term—tripods, pedestals, a friend’s hand pressing the shutter as the artist adjusts the lens.
However, at the same time, Sepuya’s most recent work with self-supporting mirror-platforms on wheels takes on a different valence after a year of unmitigated racial injustice and trying lockdowns. The architectural container of his social and artistic matrix seems to endlessly shrink and expand; fingerprints on mirrors more acutely index both time and absences. Two hands appear to almost touch as they curl around either side of the movable mirror, but it may just be yet another reflection—if not already, a remembrance of other times.
— Gökcan Demirkazik
Image: Paul Mpagi Sepuya, Pedestal (0X5A2103), 2021, Archival pigment print 80h x 60w in, Edition of 5
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Indonesian collective Tromarama (founded in 2006) are known for their engagement with shifting perceptions between the physical and virtual worlds in the digital age. They often work with combinations of video, installations, computer programming and public participation.
The exhibition at the gallery will feature Beta, a site-specific installation that questions the standardized elementary education programs that have been implemented since Indonesia’s independence from Japanese occupation in 1945. This immersive installation is comprised of melodicas (an instrument that children are mandated to play according to national curriculum), pixelated color compositions, and are activated by computer softwares that respond to tweets posted online with the hasthtag #nationality.
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DOCUMENT is pleased to present a solo exhibition of paintings by Claude Viallat spanning the last three decades. The exhibition will open on September 10 and will be on view through October 30.
One of the founding artists of the French movement Supports/Surfaces, Viallat engages with a post-structuralist philosophy by treating stretchers, fabrics, and pigments as their own objects of investigation. This movement was founded during the 1970s a period of general disenchantment with painting. Viallat creates these paradoxically austere yet exuberant objects and installations that reframe the traditional materials of painting, completely free from aesthetic commitment. For example, utilizing fragments from tents as supports and sheets as surfaces. Viallat has continually reproduced an ambiguous, amoeba-like shape throughout his career. Moving beyond the systemization of his Supports/Surfaces years, in this exhibition the artist returns to innovative textures and materials using kaleidoscopic colors, playing with the blank canvas space to create unique optical vibrations and wave-like effects.
–
Claude Viallat (born 1936 in France) studied at the Ecole des Beaux-Arts de Montpellier from 1955 to 1959, then at the École des Beaux-Arts in Paris in 1962-63, in Raymond Legueult’s workshop. In 1966, he adopts a process based on fingerprints, which shall enter into a critical radical of the lyrical abstraction and geometric (in technique called All-over).
In addition to the growing success of its exhibitions in France (at the Pompidou Center in 1982) and abroad (Venice Biennale in 1988), he devoted himself to his work as a teacher in the art schools following: Nice, Limoges, Marseille, Nimes (where he was director for many years), then Paris at the École Nationale Supérieure des Beaux-Arts de Paris.
Installation view of Claude Viallat at DOCUMENT, 2021
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DOCUMENT is pleased to present Sara Greenberger Rafferty’s third solo exhibition at the gallery.
In the bootleg stock photos of Lens Light, 2021, women are no longer laughing alone with salad. Instead, a woman rotates a camera lens in one hand like a fidget gadget. The sequential images are fused into slim lengths of colored, translucent glass that encircle the gallery space, enacting a basic animation. Sometimes the object is clearly legible as a lens, with a clear view through the aperture to the other side. Sometimes it’s just a piece of black plastic. Rather than the manicured nails of white women in stock photos, we get something closer to the media used as training data for computer vision, an unmanicured middle-aged hand.
Proportionally, the glass invokes color negative film and the late 20th century’s post-color pre-digital period, channeling 1980s Yashica camera advertisements. Their tints cycle through the hues of the rainbow to cast colored shadows on the wall below. In the solar panel-like grid of Reflection Piece (2021), we might see the dry plates of silver bromides too, but their polished surfaces suggest the black mirror of a fingerprint-smudged phone screen. Stylized shadows on each panel meanwhile suggest the skeuomorphic icons of flat design. They are the neon yellow of tennis balls and hi-vis vests, an indexical color that points as if to say look through my lens. Can you see what I see?
This is a spare monologue, not an ensemble production. It is a show about managed expectations and the human scale of a single artist working alone during a pandemic, or a woman reading alone in a room. It’s not trying to overwhelm you. It distills down to a line; a continuous stripe of highlighter against the white gallery walls, like a blank page.
—Rahel Aima
About Sara Greenberger Rafferty
Sara Greenberger Rafferty (b. 1978) lives and works in Brooklyn, NY. In October 2021, she opened a solo exhibition at the Carnegie Museum of Art in Pittsburgh, PA.
In 2017, Gloves Off, a solo museum exhibition accompanied with a fully illustrated catalogue opened at the Samuel Dorsky Museum of Art at SUNY New Paltz, NY and traveled to the University Art Museum in Albany, NY.
Other solo and two person exhibitions include DOCUMENT, Chicago; JOAN, Los Angeles; the John Young Museum of Art at the University of Hawai’i, Manoa; Rachel Uffner Gallery, New York; kim?, Riga, Latvia; The Kitchen, New York; MoMA PS1, New York; Eli Marsh Gallery at Amherst College, Massachusetts; The Suburban, Illinois; Fine Arts Center Gallery at University of Arkansas; and a commissioned sculpture for the Public Art Fund.
Rafferty has participated in group exhibitions including Sculpture Milwaukee 2021; the 2020 Biennale für aktuelle Fotografie in Mannheim, DE; the 2014 Whitney Biennial; the Hammer Biennial; the Portland Institute for Contemporary Art, Oregon; the Museum of Contemporary Art, San Diego; the Atlanta Contemporary Art Center in Georgia; Galerie Andreas Huber, Vienna; the Aspen Art Museum, Colorado; Neuberger Museum of Art, Purchase, New York; Gagosian Gallery, New York; and The Jewish Museum, New York, among many others.
She is included in the collections of the Carnegie Museum of Art, Pittsburgh, PA; the Solomon R. Guggenheim Museum, New York, NY; the Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; the Yale University Art Museum, New Haven, CT; the New Britain Museum of American Art, New Britain, CT; and the University of Chicago Booth School of Business. She is Associate Professor and Director of Graduate Studies in Photography at Pratt Institute in Brooklyn.
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Pages","starts_at":"2022-01-08 12:00:00","ends_at":"2022-02-27 12:00:00","body":"
DOCUMENT is pleased to present Anneke Eussen's first solo exhibition at the gallery.
About Anneke Eussen:
Anneke Eussen lives and works in the Netherlands. She studied at the Academy of Maastricht followed by a post-graduate residency at the Higher Institute of Fine Arts, Belgium. In 2020, she was a part of exhibitions at Park Platform for Visual Arts, Tilburg (NL), Fondation Villa Datris, L’Isle-sur-la-Sorgue (FR). Solo exhibitions include Glass works, Tatjana Pieters, Ghent, BE, Circle lines, Cruise&Callas, Berlin, DE, As it is, Tatjana Pieters, Ghent, BE, NEUBAU Stuck, LSD Gallery, Berlin, DE, and Close to what’s real, Highlight Gallery, San Francisco USA. She took part in multiple group exhibitions, including Listen to the Stones, Think like a Mountain, curator Evelien Bracke, Tatjana Pieters; BORG2014, a biennale for contemporary art in Antwerp, BE, LSD Gallery during Gallery Weekend Berlin, DE, Jan van Eyck Academie, Maastricht, NL, CC De Bond, Bruges, BE, The Wand, Berlin, DE, and Ainsi Building, Maastricht, NL. Eussen's work is part of multiple private collections throughout Europe, the United States, and Peru.
IMAGE CAPTION:
Anneke Eussen, Second sequence, 2020
Courtesy of the artist and DOCUMENT, Chicago, IL
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DOCUMENT is pleased to present their second solo exhibition with the Stan VanDerBeek Archive. “Panels for the Walls of the World” is the title of a series of murals realized by Stan VanDerBeek from February-April of 1970. Conceived in 1967 as “telephone murals” VanDerBeek used newly available Xerox Telecopier machines to transmit and output hundreds of mixed media collages combining topical news imagery of the time with the artist’s hand drawn and painted interventions to a variety of public locations simultaneously. When assembled following a particular order designated by VanDerBeek, the black and white, graphic fax transmissions formed a network of multiple larger images that were constantly in process.
The core of this exhibition is Phase I of “Panels for the Walls of the World” which will be transmitted by the Stan VanDerBeek Archive in Brooklyn, NY using the original transmission copies and installed in stages throughout the length of exhibition at the gallery as well as at two other sites in the area — Hyde Park Art Center (March 19–May 22) and EXPO Chicago (April 7–10). A select portion from the 1970 Phase 1 mural in the form of its original collages and corresponding transmission copies will also be presented in addition to a twelve-panel collage mural made by VanDerBeek in 1969 for the Museum of Contemporary Art Chicago exhibition “Art by Telephone.” DOCUMENT’s exhibition marks the first time original components from VanDerBeek’s fax murals will be publicly displayed as well as the first re-transmission of Phase 1 to multiple sites simultaneously. Phase 2 of the mural will be the focus of an exhibition at the Box in Los Angeles in September 2022.
The hundreds of collages made by VanDerBeek over fifty years ago on 8.5 x 14 inch pieces of paper to make “Panels for the Walls of the World” used daily newspaper headlines regarding persistent, interrelated worldwide issues of racism, war, poverty, and divisive politicians alongside advertisements featuring images of perfected bodies, commodities and abundant food. As described in an essay commissioned by scholar Kirsten Gill for this exhibition: \"More than a mere index of the news saturating the media in the late-1960s, the overall scope [of “Panels for the Walls of the World”] gestures at a quite intersectional understanding of interrelated phenomena: racial oppression and anti-Blackness, neoconservative politics, U.S. military aggression, anti-communism, poverty.”
Similar to VanDerBeek’s use of computers in 1965 to create his series of films called “Poemfields” in which individual pixel-like frames were programmed to generate moving images of language and forms — VanDerBeek’s murals were at times described by the artist as mosaics and designed to be output via the use of a newly accessible technology into a larger ever-changing image to be seen by as many people in numerous sites at the same time. As Gill states, \"Its pieces plucked from an endless media stream and only provisionally tethered to a grid, the mural is a testament to the “visual velocity” with which VanDerBeek described the intensifying flood of images and a record of the media preoccupations of the era.”
“Panels for the Walls of the World” is a stunning example of VanDerBeek’s intense desire to integrate technology and art for the purpose of accessible international communication amongst the larger public who would otherwise be passively subjected to the violence and alienation enacted by those controlling commercial media at the time.
As with many of VanDerBeek's multimedia installations, “Panels for the Walls of the World” was conceived as a project that would evolve over and with time. In a 1969 proposal for ATT to help sponsor his project he wrote, \"I think it's extremely important to point out that the \"Telephone Mural\" concept is a genre or a new art form which can take on almost endless variations, so that its extrinsic value lies not in this one opportunity but in its continuing use in the future.\"
For the first re-staging of this time-based media work, the Stan VanDerBeek Archive will be experimenting with the various ways to understand and implement one of the most essential components of the project as simultaneous, electronic transmission of the mural. Various issues surrounding conservation, preservation, labor, technology, obsolescence, and performance will inform the ultimate methods of transmission used to represent VanDerBeek's intentions and the work's ongoing preservation.
-Chelsea Spengemann
Director, Stan VanDerBeek Archive
DOCUMENT is pleased to announce Kiah Celeste’s first solo exhibition at the gallery and the artist’s first presentation in Chicago.
“Life today is very bewildering,” the textile artist Anni Albers wrote in 1938. “It is no accident that nervous breakdowns occur more often in our civilization than in those where creative power had a natural outlet in daily activities. And this fact leads to a suggestion: we must come down to earth from the clouds where we live in vagueness, and experience the most real thing there is: material.”
Life today, in 2022, remains as bewildering as ever, yet All the Best, Kiah Celeste makes a compelling argument for coming down from the digital clouds and experiencing what Albers would call “the adventure of being close to the stuff the world is made of.”
In the half-dozen sculptures Celeste created for the exhibition, material is the adventure, evidence of a tactile thinking that can excavate aesthetic pleasure from the rubbish heaps of contemporary industrial culture.
Some artists begin with an idea and procure the materials to create it, resulting in works that often look pretty much like the visions in their heads. Celeste’s process is much more precarious — with results that don’t so much reward her riskiness as reflect her skillfulness in teasing out relationships among forms and materials, imbuing the overlooked and invisible with purpose and significance.
Read the full press release here.
About Kiah Celeste
Kiah Celeste (b. 1994, Brooklyn, NY) lives and works in Louisville, KY. In 2016 she received her BFA from SUNY College at Purchase. Recent solo exhibitions include: Swivel Gallery, Brooklyn, NY, KMAC Museum, Louisville, KY, Quappi Projects, Louisville, KY, and Centre d’Art La Rectoria, Sant Pere De Vilamajor, Barcelona, Spain. Her work has been included in exhibitions at the University of Kentucky Art Museum, Lexington, KY, Georgetown College, Georgetown, KY, Josephine Sculpture Park, Frankfort, KY, and Dadapost, Berlin, Germany. She has completed artist residencies in Barcelona, Vienna, Frankfort, KY and has exhibited internationally in Abu Dhabi, Berlin, and Spain. In 2021, she was the recipient of the Louisville Artadia Award.
Image Credit: Kiah Celeste, Bum 81, 2022, Fluorescent light tubes, forklift wheel, 20h x 90w x 20d in
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DOCUMENT is pleased to present The indignation of counting spiders, an exhibition of photographs and ceramic works by Chicago-based artist Laura Letinsky. This is the artist’s third solo show with the gallery. The exhibition includes unreleased photographs from Letinsky’s on-going series, Coming to the Commons, Italy, and To Say It Isn’t So, along with debuting ceramic works from her new series Preparing for Flowers.
Letinsky’s photographic compositions are rooted in the historical exploration of seventeenth century still life painting. These domestic interiors feature subject matter akin to that of a classical Dutch still life wherein the fruit was honestly devoured and the wine readily consumed, leaving the viewer with only a peach pit on a stained tablecloth or a wine glass emptied to interpret. Through photographing objects and spaces that have been touched, devoured, or discarded, Letinsky explores the intimate tensions and banality of contemporary domestic life.
Preparing for Flowers, the title for the series of new ceramic works on view are influenced by Kintsugi, the Japanese art of repairing broken pottery. In the artist’s humble interpretation of this tradition, she pushes the materials, porcelain and ceramic glaze to almost its breaking point, then resuscitates them, mending the works with colorful epoxy. Letinsky intentionally unmasks the repairs as evidence of care and continued desire. The repairs in their celebratory colors echo the tradition of Kintsugi, pushing away from the obsolescence of quick consumer culture.
Similarly to the subject matter of Letinsky’s photography, these ceramic works retain a story. Each sculpture has been handled, worn thin, and then diligently arranged. Using these works as an invitation to experiment, the artist explores color similarly to the way she plays with the light in her photographs, stating; “It’s sort of like picture making with analog materials in that I don’t know what they will look like until after they are fired. Alchemical. Magic.” However, unlike the photographs on view, Letinsky relinquishes herself from any theoretical or conceptual framing, allowing the ceramics to act as more of a compulsion, a pleasure, a set of questions playing out through the materials and the process.
Laura Letinsky holds a BFA from the University of Manitoba (1986) and an MFA from Yale University’s School of Art (1991). She is a professor in the Department of Visual Art at the University of Chicago. No– table exhibitions include the Mumbai Photography Festival, Mumbai, India; MIT, Cambridge, MA; Museum of Contemporary Art, Chicago; The Photographers Gallery, London; The Denver Art Museum, CO; Getty Museum, Los Angeles; Museum of Modern Art, New York; and The Renaissance Society, Chicago. She is represented by Yancey Richardson Gallery, New York. Awards include the Canada Council International Residency, Kunstlerhaus Bethanien, Berlin, The Anonymous Was a Woman Award, and the John Simon Guggenheim Fellowship. Publications include Time’s Assignation, Radius Books, 2017, Feast for the Eyes, Aperture Foundation, 2017, Sticky Sweet, New Hampshire University, 2016, Ill Form and Void Full, Radius Books, 2014, Feast, Smart Museum of Art, UC Press, 2013, After All, Damiani, 2010, Hardly More Than Ever, Renaissance Society, 2004, Blink, Phaidon Press, 2002, and Venus Inferred, University of Chicago Press, 2000.
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DOCUMENT is pleased to present TURN BACK, Gordon Hall’s second solo exhibition with the gallery.
TURN BACK includes new sculptural, photographic, and light-based works which range from recreations and “un-makings” of recognizable items to wholly abstract forms. These sculptures interrogate the potential for objects to affect us emotionally, socially, and physically, asking us to consider the poetics of everyday objects by shifting their recognizability and functionality. As a sculptor and performance-maker, Hall’s background as a dancer informs their approach to sculpture, inquiring into the capacity of static objects to function like performing bodies.
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Image: Gordon Hall, TURN BACK, 2022, Cast pigmented concrete, 25 x 10 1/2 x 17 in
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The Architect’s Poet
In the work of artist Barbara Kasten (b. 1936, Chicago), the camera figured into her early practice insofar as it could document ephemeral phenomena of light and shadow cast upon the walls of her studio. They are photographs that capture images in space through the means of recording. Once the light cut, the work too ceased to exist, yet the translation of the experience remained in circulation. Then as now, the structures conceived within Kasten’s studio did not function as mere stages or props, but rather as sites for living—fragments of architecture whose photographs exist as a record of that life. In the imagined structures that compose this most recent body of Kasten’s work, we see glimpses of skyscrapers, towers, and pavilions; allusions to sites of commerce and trade, places that hold exhibitions within their design. While the impression of buildings are retained by the close crop of her lens, the product of the image is the result of careful staging. Across the sepia toned prints on linen, the artist’s studio constructions of industrial metal grids typically used as concrete facing—a reinforcement material that allows other things to stand—are transformed by the camera. Each of Kasten’s observations of the severe objects are exacted in lyrical configurations that meld oppositions between substance and shadow, light and absence. The anatomy of architecture is communicated through abstraction.
What is often hidden, the grid embedded beneath the façade of concrete structures, is dissected before it is rearranged as both surface and subject. Through this gesture of deconstruction, Kasten presents a vision of space that is turned inside out. The skeleton is the body, nothing more is needed to complete the building of the image. Each composition holds the movement, gravity, and weight of tangible form through an exchange of atmosphere and material. In the recent Plan series, on view in her solo exhibition Architectural Fiction, Kasten establishes the apparent illusions intrinsic to how space is determined and altered through light in measured acts of construction, manipulation, and control. In the studio as much as in any environment, her work revolves around questions of perception, of how we see through a manifestation of the conditions that create an image or experience. The ethos of this experiment is echoed in the installation: a grid that extends from what is pictured within the image, mediated by the camera, to what is in the space, mounted upon the wall and extending onto the floor to enclose the edges of the work. Wrapping the architecture of the gallery and the canvas supports in equal measure, Kasten dissolves the boundary between what belongs to the image versus the environment—reflections of parameters, material presence, and negative space.
Across Kasten’s conceptual output—which has spanned the traditional genres of photography, painting, sculpture, installation, textile, theater, and performance—her recent investigations into architecture provide a fertile return to the basis of her artistic approach. As an amalgam of installation, photography, painting, and sculpture, the Plan works continue Kasten’s investigations of dismantling three-dimensional perspectives into planes of shadow, tone, and light. In this process, the apparatus of the image passes into space first through sculpture before being viewed through the camera and returned back into the setting of the work. Recalling her Architectural Site (1986–89) series, which documented various museums and intuitions for contemporary art under temporary theatrical conditions lit and staged by the artist, the work in Architectural Fiction no longer responds to the existing elements of space but forges it.
As title of the works within exhibition suggests, ‘plans’ in various stages of being made or disassembled, Kasten’s assertion of ambivalence within the work is a formal as much as a conceptual conceit. In place of the rigidity required of architecture, her compositions open into the porous and malleable space of abstraction. As architecture critic and curator Mimi Zeiger writes of Kasten’s 2018 installation within Mies van der Rohe’s Crown Hall, “Kasten’s constructs merge with Mies’ structure to form new geometries; they double as cast shadows, then triple as reflections in the waxy surface of the building’s black terrazzo floor. The architect’s tectonic perfection, so lauded for precision, is softened and rendered hazy.”
Kasten, the architect’s poet, unfastens the assumptions of material from utility. In the artist’s vision of space, nothing performs as it should but how it can. The metal grid used in skyscrapers (above) and tunnels (below), to build prisons and bridges (spaces of enclosure or connection), is translated from a function that dictates how we must move through space to instead positioning the viewer as an active participant within an environment that shapes and is shaped by us.
—Stephanie Cristello
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About Barbara Kasten
Barbara Kasten (b. 1936, Chicago, Illinois) lives and works in Chicago. She received her BFA from the University of Arizona in 1959 and MFA from the California College of Arts and Crafts in 1970. Her work has been exhibited across the United States and Europe. Most recently, Kasten was the subject of a solo exhibition at the Aspen Art Museum, Colorado, and the Kunstmuseum Wolfsburg, Germany, which will travel to Sammlung Goetz, Germany in 2022. Other recent exhibitions include Women in Abstraction, Museo Guggenheim Bilbao, Spain, and Centre Pompidou, Paris, France; The 2020 Busan Biennale: Words at an Exhibition—an exhibition in ten chapters and five poems, South Korea; Shape of Light: 100 Years of Photography and Abstract Art at the TATE Modern exhibition; Sharjah Biennial 14: Leaving the Echo Chamber, Sharjah Art Foundation, UAE; and a retrospective at the ICA Philadelphia that traveled to the Graham Foundation in Chicago and LAMoCA. Her work is featured in the collections of MoMA, The Whitney, Guggenheim, Tate Modern, the High Museum in Atlanta, The Museum of Fine Arts in Houston, The Centre Pompidou in Paris, and the Smithsonian American Art Museum in Washington, D.C. among many others.
Image Credit: Barbara Kasten, PLAN II-A, 2022, Archival pigment on raw linen, 56 x 42 in
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January 6–February 25, 2023
Opening reception: Friday, January 6, 5–8pm
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The Observers
It’s all right there in front of our eyes: the observable, the visible, the discernable. And this latest body of photographic work by John Opera presents itself in the summative mode as “The Observers”—even while the title calls us to attention about our fraught status as those who look, perceive, and otherwise constitute reality by means of a visual sensibility. We came, we saw, and yet . . . we missed things?
For as overt and obvious as photographs can often be (in the everyday sense, “we see what’s in the picture”), there's so much that can be missed—if looked over, then also overlooked. You’ll notice, then, the several categories at hand, roughly speaking: some suns (or are they moons? perhaps something else altogether?); a gathering of palm fronds and cacti; portraits of (disaffected? distracted?) young people; and lastly, a bunch of dynamically colored abstractions (along with black-and-white ones for good measure), which Opera names “diffraction photographs.” Still, the quick taxonomy undersells both the nature and achievements of the individuals groups—and perhaps even more saliently, entirely bypasses the way these clusters alter our understanding of one another; we have noticed, thus far, nothing about their interactivity. Why is this constellation of subjects presented simultaneously, in a shared space—in a word, how do these photographs hang together? If observers are meant to look, there is on this occasion, more to meet than first introduced to the eye.
Technically, there is a book’s worth of information to convey. Opera’s studio practice is a medieval den of invention—animated, as he is—by a devotion to the principles of physics, Newtonian and quantum (light, after all, is a guiding function for this strain of science) and photography (an art made in the service of physics and its companion, chemistry). That said, let’s stay topical, not technical—address the surface of things. We will slow down and describe what we see, leaving aside all that is unseen, which nevertheless underwrites these images: what they are, how they were created.
Even with this bracketing, we have much to consider: color, pattern, scale, lifeform, terrain, shared shapes, varied objects, and so on. Thematically too, we have the unresolved title to consider: who again are “The Observers”? If we look first to scale, we might as well begin at the galactic—taking on board the extent to which these pictures of discs at the center of the frame are suns or stars or some similar celestial body. Are these light sources? Or spaces in which light is shone? The extra-luminous circumference—along with the pleasingly ambiguous object it contains—gestures to that other powerful orb in your head, the human eye.
We turn to those faces of young people—each of them equipped with two dark, perceiving circles: look at these eyes. Some of the people wear glasses and so have eyes (with biological lenses in place) that gather further (silicate-based glass or polycarbonate plastic) lenses for looking while a still further (camera) lens translates light to form an impact on light-sensitive emulsion (or digital sensor). All of these people, all of their eyes, are trained into the distance just beyond the camera’s lens: they are not gazing into the transfiguring glass that admires them, but beyond it. None smile, but hold their faces as if in contemplation. None seem poised to explain their thoughts, but are perhaps caught in a moment before or between such expressions. Indeed, they appear unaffected—affectless—in relation to what they see. Are these observers, after all? We are observing them, but what are they looking at?
And look, all this talk of scale—and the obvious goes unmentioned: from solar body to solitary sapient subject, there’s a gap of ninety-three million miles and twenty-seven million degrees.
Or shift lifeform: palm frond and cactus head—both flora, one tropical, one desert (a fittingly odd couple). And yet their distinctive, appealing designs are exhibited here, in this company, why? To illustrate how color and pattern repeat and refract at different scales of being. Cacti appear to have “suns” at their center. The cluster of cacti—a dozen-or-so radial explosions, needles shooting out—converse with the patterning of the diffraction photographs on hand today; and the fronds harken back to Opera’s cyanotype “radials.”
When first approaching the diffraction photographs, sustaining our scan of the surface, scale is our first wager. Micro, macro, again, as above, something in between, alive at the level of the human? Quick study, then, and a mere touch of the technical: these are registrations of the subatomic behavior of particles, moving as they are inclined to do as particles and waves. However far from water we may be and yet the behavior of water feels proximate: either on undulating desert dunes, or when faced with the imprint of palm fronds on an ancient alluvial seabed (organic, carbon-based shapes instilling themselves upon soft silt awaiting petrifaction). And so, the interference patterns remind us of protean shorelines and sandy drifts, and millions of years later, fossils in hand. Then there is that luminous sphere again: not a sun, at this scale, but an analogical source of illumination. A pinpoint—or is it a pinhole?—affording light’s passage, signaling to us with a shorthand for the origins of photography itself. In his use of natural laws to illuminate nature, Opera conjures the visible from the invisible.
At last, and all at once, the unexpected coalescence of these disparate constellations in the form of solitary eye-orbs looking out to us as we look at them with penumbra radiating, frond lashes in place, cosmic depth and vacancy at their centers. These are eyes we have seen before, here boldly cropped and framed to transform their place and their scale—indeed, toabstract them from their home in human heads. Cyclops not staring blankly into the distance, but instead defiantly concentrated points of observation, surveilling us as we struggle to comprehend the confounding compression of symbols (sun, flora, diffraction, face). These abstractions have a point of view, a perspective; they seem to remind us how we too create what we see. The images of solo eyes become an icon for the entire sequence of Opera’s work on display here: drawing together pinhole and lens, orb and orbit, radical scale shifts, catchments of color, and afterimages of pattern. A whispered remembrance of those suns, desert flowers, leaves of tropical trees, and the subatomic realm, and we might as well be orbiting ourselves—gazing through gauzy filament—while these abysses beckon, new galaxies fit for us to enter.
—David LaRocca
John Opera (b. 1975) earned his BFA from SUNY New Paltz (1998) and MFA from the School of the Art Institute of Chicago (2005). He lived, worked, taught, and exhibited in Chicago for more than a dozen years. He currently is Assistant Professor of Photography at the University of Buffalo. Opera’s exhibitions include: Hobart and William Smith Colleges (Geneva, NY), Higher Pictures (New York), Longhouse Projects (New York), DOCUMENT (Chicago), Shane Campbell Gallery (Chicago), Andrew Rafacz Gallery (Chicago), The Suburban (Milwaukee), The Museum of Contemporary Photography (Chicago), Transformer Station (Cleveland), Melanie Flood Projects, Portland (OR), Michael Jon Gallery (Miami), Macalester College Art Gallery (St. Paul), Nina Freudenheim Gallery (Buffalo) and The Burchfield-Penney Art Center (Buffalo). His work has been the subject of a two-person exhibition at the Contemporary Art Museum St. Louis and is featured in the second volume of MP3, co-published by Aperture and the Museum of Contemporary Photography (Chicago). His work is part of the permanent collections of the DePaul Museum of Art (Chicago), the Burchfield-Penney Art Center (Buffalo), and the Museum of Contemporary Photography (Chicago), among other institutions.
Image: Installation view at DOCUMENT
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12:00:00","body":"DOCUMENT is pleased to present Moon Tempo, an exhibition of new paintings by Meg Lipke. This is the gallery’s first solo show with Lipke as well as her first gallery presentation in Chicago.
At first glance, Moon Tempo suggests a departure, and indeed an act of restraint, from the artist’s familiar shaped canvases. Filled with polyester to suggest pillow-like volumes and grid-like voids, these earlier paintings are as much about their sculptural facticity as the acrylic forms that adorn them yet remain beholden to the canvases’ idiosyncracies. In Lipke’s new works, the plane returns—even though the canvases, which utilize custom stretchers, are far from perfect rectangles. In each, one corner is elegantly curved, a gesture almost always echoed by some shape or other among the painted forms within.
In addition, some corners of these paintings are gently pinched, reflecting the work of a fallible hand rather than any ninety-degree angle. With the plane comes composition, pattern, and sign, the stuff of easel painting. Working in acrylic and gouache, Lipke alternates deftly between abstraction and vestiges of representational genres such as landscape, portraiture and still life. She is particularly fixated on line as both a contouring and patterning tool, setting up rigidly distinct areas of the painting on the one hand, and on the other threatening to overwhelm the composition with undulating threads of black paint. Colors tend toward muted pastels with occasional bursts of bright hues, such as the needle-like accent of yellow in Summer II, or the striking shade of luminescent blue in Metcalf’s Pond. Liffey, 2023, takes its title from a river in eastern Ireland located near several Paleolithic sites that the artist visited in her youth. It speaks to a consistent source of inspiration and veiled forms for Lipke: prehistoric cave painting. The intricate compositions can take months to complete.
Glimpses of the representational world thread through Lipke’s entrancing compositions, in which embryonic shapes become vessels for sentiment and personal resonance. Specific or singular references can be elusive, but sometimes assert themselves with intent. One example is Lily Klee in Venice, 2023, which includes an interpretation—much more so than a copy—of Paul Klee’s Small Room in Venice. The painting-within-a-painting sits atop of a recumbent figure that is presumably the artist’s wife, who financially supported her husband’s artistic career as a music teacher while putting aside her own creative endeavors. It is a chapter largely underestimated or even outright ignored in art-historical literature: Lily Klee as literal support for her husband’s art. Akin to the Klees’ mutual imbrication, Lipke’s paintings carve out a visual lexicon that embraces contradiction and coalescence in equal measure.
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DOCUMENT is delighted to present Meg Lipke’s first exhibition at the gallery, Moon Tempo.
Open 5-8pm during EXPO CHICAGO's Art After Hours
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Kielar melds aspects of sculpture and painting, creating a unified field of symbols and dimensionality that compresses formal distinctions. Each of the four shadowboxes in the exhibition contains a slightly larger-than-life female bust or figure composed of fragments set in a relief sculpture. The figures are wrapped in patterned textiles created using techniques such as stenciling, painting, dyeing, and spraying, allowing the illusory field of colors and marks to move along the skin of the shifting sculpture. This technique creates a surface that is seamless and soft on the eye.
Kielar's process of wrapping each work's sculptural components in fabric draws inspiration from upholstery and other decorative arts that have traditionally been associated with domesticity. Drawing inspiration from archetypes, such as the Muse or the Amazon, each artwork brings the viewer’s attention to the complex dynamics of strength, beauty, vulnerability, sex, and heroism that have always circulated around female identity. Each section of the subject's physique seemingly levitates within a container that is ensconced in the same fabric, which ultimately engenders an aesthetic of a figure that undulates between abstraction and representation.Through the integration of two-dimensional imagery with three-dimensional forms, Kielar creates surfaces that are both alluring and elusive to the viewer.
Request our preview here.
About Anya Kielar
Anya Kielar (b. 1978, New York, NY) earned a BFA from The Cooper Union School of Art, New York and an MFA from Columbia University, New York. Kielar has presented solo exhibitions at venues such as Locust Projects, Miami; Casey Kaplan, New York; and Daniel Reich Gallery, New York. She has also been included in group exhibitions at the Rubell Family Collection, Miami; the Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville; the FLAG Art Foundation, New York; White Columns, New York; and the Zabludowicz Collection, London, among others. In fall 2021, Kielar created work for the exhibition Miss Dior - 12 Women Artists, which opened at Ba-tsu Gallery, Tokyo, and traveled to Chateau de la Colle Noire, Montrauroux. In fall of 2022, Kielar presented a solo exhibition at Pioneer Works, Brooklyn, curated by Gabriel Florenz. Her work can be found in the permanent collections of the Dikeou Collection, Denver; the Christian Dior Art Collection, Paris; the Henry Art Gallery, Seattle; the New Century Art Foundation, Singapore; the Rubell Family Collection, Miami; the Tang Teaching Museum and Art Gallery, Saratoga Springs; and the Zabludowicz Collection, London. Kielar lives and works in Brooklyn, NY.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419573/cqsshakooecw1phk3lfh.jpg\")
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Mrs. and DOCUMENT are pleased to announce Meteor, a collaboration between the two galleries, showcasing works by Alexandra Barth, Nickola Pottinger, Carolyn Salas and Robert Zehnder.
Meteor Shower
I read somewhere that meteor showers
are almost always named after
the constellation from which
they originate. It’s funny, I think,
how even the universe is telling us
that we can never get too far
from the place that created us.
How there is always a streak of our past
trailing closely behind us
like a smattering of obstinate memories.
Even when we enter a new atmosphere,
become subsumed in flames, turn to dust,
lose ourselves in the wind, and scatter
the surface of all that rest beneath us,
we bring a part of where we are from
to every place we go.
Alexandra Barth (b. 1989 Malacky, Slovakia; lives and works in Bratislava, Slovakia) received her degree from the Academy of Fine Arts and Design in Bratislava in 2013. A selection of solo exhibitions includes Phoinix, and HotDock project space, Bratislava, Slovakia; Urban gallery, Pescara, Italy; and Chris Sharp, Los Angeles, CA. Recent group exhibitions include Photoport, Temporary Parapet, and White & Weiss, Bratislava, Slovakia.
Nickola Pottinger (b. 1986, Jamaica; lives and works in Brooklyn, NY) graduated with a BFA from The Cooper Union, NY, in 2008. Recent exhibitions include Chapter NY, Sergent’s Daughters, and the New Museum Triennial, New York, NY; Galerie Julien Cadet, Paris, France; and the Galveston Artist Residency, TX. Previous solo exhibitions include Parker Gallery, Los Angeles, CA; Deanna Evans Projects, New York, NY; and Brandeis University, Waltham, MA.
Carolyn Salas (b. 1975, Hollywood, CA; lives and works in New York, NY) earned a BFA in sculpture from the College of Santa Fe, NM, and an MFA from Hunter College, New York, NY. Selected exhibitions include the Berkshire Museum, Berkshire, MA; Torrance Art Museum, Torrance, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA; Ever Gold [Projects], San Francisco, CA; Casey Kaplan, Koenig & Clinton, Brookfield Arts, and Kate Werble Gallery, New York;NY, Mrs., Maspeth, NY; Terrault Contemporary and Towson University, Baltimore, MD; and Páramo, Guadalajara, Mexico.
Robert Zehnder (b. 1992, New Jersey; lives and works in Brooklyn, NY) graduated with a BFA from the School of the Art Institute of Chicago, IL, in 2015. Selected recent exhibitions include C L E A R I N G, Brooklyn, NY and Los Angeles, CA; Mrs., Maspeth, NY; Rachel Uffner Gallery, New York, NY; RUSCHMAN, and Jacket Contemporary, Chicago, IL; Spider Gallery, Wichita, KS; and Ox-Bow School of Art, Saugatuck, MI.
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Image: Nickola Pottinger Spirit tek, 2022, Pigments, Resin, Oil Pastel and Hand Made Paper Pulp, 36 x 17 x 4 inches
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DOCUMENT Chicago is delighted to present Suburban, the first solo exhibition in Chicago dedicated to the work of pioneering photographer Jimmy DeSana (1949-1990). The exhibition features twelve photographs completed between 1979 and 1985.
DeSana's series Suburban not only challenges the divide between artistic and commercial photography that was still prevalent in the 1970s, but also a range of other commonly held binaries such as male and female, gay and straight, domination and submission, suburban culture and private self-exploration, standardized domesticity and the subjectivity of sexual pleasure, among others. Yet, by staging puzzling domestic scenarios with nude figures under colorful tungsten lights, DeSana did not intend to step into the territory of erotic photography. Instead, he used the body to resignify daily objects and spaces, ultimately shedding light on the strangeness of suburban lives dominated by consumerism.
It is the vision to cross these divides that constitutes the disruptive character of DeSana's work, particularly at a time when artistic photography remained, for the most part, black and white and deliberately separated from any commercial associations. In addition, his ambiguous images and dream-like scenarios infused with popular culture imagery from magazines, film, and advertising sought to question the traditional constructs of gender and sexuality. Yet, despite DeSana's use of mass media elements and his affiliation and collaboration with other artists of the so-called \"Pictures Generation,\" \"his role and the role of other queer people in this loose group of artists in New York is still underrecognized, which speaks to some about the inadequacies of strict critical categories and received histories of contemporary art,” as Anne Pasternak, Director of the Brooklyn Museum, points out.
In a career that spanned over three decades but came to a premature end due to an AIDS-related illness, Jimmy DeSana also got involved in queer mail art networks, issued his own responses to the AIDS crisis, and was a fixture of New York's downtown night scene. In 2022, the Brooklyn Museum organized a retrospective titled Jimmy DeSana: Submission, accompanied by a major monographic catalog co-published by DelMonico Books and the Brooklyn Museum. DeSana's photographs can be found in numerous public collections, including the Museum of Contemporary Art in Chicago, IL; the Institute of Contemporary Art in Boston, MA; the Metropolitan Museum of Art in New York, NY; the Museum of Fine Arts in Houston, TX; the Museum of Modern Art in New York, NY; and the Whitney Museum of American Art in New York, NY.
Request a preview of works here.
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DOCUMENT is pleased to announce the opening of Thoughts on Being Thrown, Natani Notah’s first exhibition at the gallery.
Natani Notah is a Diné (Navajo) interdisciplinary artist whose practice explores contemporary Native American existence through the lens of Indigenous Feminism. In Thoughts on Being Thrown, Notah connects maps, bodies, and objects to reflect on the larger social issues that repeatedly intersect the lives of women and men alike. With references to political activism, including the Land Back and Pro-Choice movements, her drawings also address the encounter of different groups, forces, and visions of territory in today’s social landscape. These shapes—that may connect, float away, or move toward each other—illuminate the intersections of history, politics, land, and the fight for justice.
Notah’s “soft sculptures” open an additional dialogue on the connections between human, animal, and non-living beings. With evocative titles like Spreadeagle, the pieces also invite viewers to explore these relations: Spreadeagle refers to both the position in which a person has their arms outstretched and legs apart, figuratively resembling an eagle with its wings spread, and a motif that commonly appears in nature and geometry. Additionally, the pieces in the exhibition employ materials like seed beads, faux fur, and leather to reference the value and artistry of Native American techniques and processes.
In her practice, Natani Notah simultaneously calls attention to the many instances of colonial violence at play in our society, while pointing out the possible paths to achieve a more just future. Her drawings and sculptures seek to make space for alternative bodies and ways of existing.
Natani Notah (b. 1992, San Bernardino, CA) lives and works in Tulsa, OK. In 2014 she received a BFA in Fine Arts with a minor in Feminist, Gender, and Sexuality Studies from Cornell University. In 2018 she received an MFA in Art Practice from Stanford University. Recent solo and group exhibitions include Longmont Museum, Longmont, CO (2023); 108 Contemporary, Tulsa, OK (2022); Boulder Museum of Contemporary Art (BMoCA), Boulder, CO (2022); Marin MOCA, Novato, CA, (2022); Massillon Museum, Massillon, Ohio (2022); The Wattis Institute for Contemporary Arts, San Francisco, CA (2022); apexart, New York, NY (2021); and the Tucson Desert Art Museum, Tucson, AZ (2020). Notah’s work belongs in numerous private collections and was recently acquired for the Montage Health Art Center, Monterey, CA (2023).
Image: Natani Notah, Purple Mass, 2022, Leather, seed beads, thread, acrylic paint, faux fur, artificial sinew, and plastic corn pellets, 3 1/2 x 10 x 4 in., Image courtesy of the artist
Elizabeth Atterbury
Anneke Eussen
Gordon Hall
Erin Jane Nelson
Paul Mpagi Sepuya
Pedro Vaz
DOCUMENT is pleased to present Exhibit A, a group exhibition at the gallery’s Chicago location bringing together works from recently exhibited artists that are representative of their current experimentations, some of which have been celebrated in institutional exhibitions internationally. Rarely shown together, the work of Elizabeth Atterbury, Anneke Eussen, Gordon Hall, Erin Jane Nelson, Paul Mpagi Sepuya, and Pedro Vaz offers a snapshot of DOCUMENT’s commitment to a wide range of contemporary practices that are interconnected via the gallery’s focused curatorial vision.
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Image: Elizabeth Atterbury, Third Fan, 2022, 111 x 71 x 9 in.
DOCUMENT is pleased to announce the opening of An Audience, Sara Greenberger Rafferty’s fourth exhibition at the gallery.
The installation presents a series of large-scale reliefs, female silhouettes composed from panels of kiln-fired glass fused with photographic images, alongside unframed contact prints, a method of cameraless photography that stages various permutations of the wall-based sculptures through form and color. Spanning the gallery walls to compose a frontal line, the works on view invoke a crowd of inanimate bodies—reminiscent of discarded mannequins, life-sized diagrams transposed from anatomy textbooks, forensic crime scene outlines or autopsy reports—a collection of anonymous and enigmatic figures of display. While the figure remains consistent throughout each work, different objects occupy the body or its surrounding field: magnifying glasses, yardsticks, sardines, an eyeshadow palette reminiscent of color checkers used in studio photography, among other items. Across these disparate markers, each exists as a unit of measurement, of how closely things can be observed or arranged in proximity to our eyes or one another.
The exhibition features Rafferty’s ongoing investigations into understanding how contemporary life is assembled through images—not in linear fashion or sequentially, but all at once. Her subjects are conveyed through iconography, an approach to representation that denies a spatial environment in favor of the flatness embraced by glyphic signs and symbols. Across Rafferty’s installation, three-dimensional space is not being collapsed into two dimensions, but created from it.
Sara Greenberger Rafferty (b. 1978) lives and works in Brooklyn, NY. She has been engaged in work, research, and teaching largely around what she calls ‘comedy as artistic strategy.’ That is, taking aesthetic and thematic cues from comedians to create artworks that are informed by the aesthetics and practices of humor, but may not be funny. She uses tropes and stereotypes of comedy – repetition, hyperbole, thwarted expectations, undercutting, doubling, slapstick – to emphasize the individual in the group, and call upon an already both awkward and confident social body. In materiality and installation, she refers to monitors, technological products, embodiment, and the physicality of seemingly disembodied pictures as they traverse the digital landscape.
Taking inspiration from expanded photography practices, she creates wall work, sculpture, and installation. She simultaneously crafts strong handmade and machine-assisted objects while eschewing dominant notions of masterful craftsmanship.
In her career she has mounted over twenty solo exhibitions at museums and galleries around the world, including four at DOCUMENT, Chicago. Her most recent institutional solo exhibition, Forum 85, was presented at the Carnegie Museum of Art at the end of 2021. In 2014 she was included in the Whitney Biennial, and her first solo exhibition was presented at MOMA/PS1 in New York in early 2006.
Her work is included in the collections of the Solomon R. Guggenheim Museum, New York, NY; the Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; the Yale University Art Museum, New Haven, CT; the New Britain Museum of American Art, New Britain, CT; the Carnegie Museum of Art, Pittsburgh, PA; the University of Chicago Booth School of Business, Chicago, IL; and the Hood Museum of Art, Dartmouth, Hanover, NH and dozens of private collections.
She is currently Professor and Director of Graduate Studies in Photography at Pratt Institute in Brooklyn. Studio Visit, Rafferty’s recent experimental monograph, was published by Inventory Press in fall 2022.
Image: Sara Greenberger Rafferty, An Audience (Yellow Variation, Blue, Green Variation, Lime Green Variation), 2024, laminated inkjet prints, 80 × 36 each.
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Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) is an artist working in photography whose projects weave together histories and possibilities of portraiture, queer and homoerotic networks of production and collaboration, and the material and conceptual potential of blackness at the heart of the medium. His interests also include queer literary modernism, questions of artistic responsibility and care regarding representation and refusal.
Sepuya received an MFA in photography at UCLA in 2016. From 2000 – 2014 Sepuya lived and worked in New York City, receiving a BFA from New York University’s Tisch School of the Arts in 2004. Sepuya became known for his 2005 – 2007 zine series “SHOOT” and body of work, “Beloved Object & Amorous Subject, Revisited” (2005-8), along with participation and collaborations in the re-emergence of queer zines culture of the 2000s. He went on to participate in Artist-in-Residence programs at the Lower Manhattan Cultural Council, the Center for Photography at Woodstock, The Studio Museum in Harlem and Fire Island Artist Residency.
Sepuya’s work is in the permanent collections of the Los Angeles County Museum of Art, MOCA Los Angeles, the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, the Getty Museum, the Studio Museum in Harlem, the San Francisco Museum of Modern Art, the ICA Boston, the Baltimore Museum of Art, the International Center for Photography, Stedelijk Museum and the Carnegie Museum, among others. Solo museum exhibitions include “Double Enclosure” at Fotomuseum Amsterdam (2018), “Drop Scene” at Bemis Center for Contemporary Arts (2020), “Daylight Studio / Dark Room Studio” at the Deichtorhallen in Hamburg (2022), and “Exposure” at the Nottingham Contemporary opening Spring 2024.
“Paul Mpagi Sepuya,” a survey of work from 2006 – 2018, was presented at Contemporary Art Museum St. Louis and University of Houston Blaffer Art Museum, and accompanied by a monograph published by CAM St. Louis and Aperture Foundation. Past museum exhibitions also include a project for the 2019 Whitney Biennial, “Being: New Photography 2018” at the Museum of Modern Art, “Trigger” at the New Museum New York City, and group exhibitions at the Walker Art Center, Contemporary Art Museum Houston, the Guggenheim Museum, the Getty Museum, and the San Francisco Museum of Modern Art.
Sepuya’s work has been covered and published in ARTFORUM, Aperture, The New Yorker, The New York Times, Art Review, Frieze, Art in America, Monocle, Osmos, The Nation, and The Guardianamong others. He was a recipient of the 2019 Rauschenberg Residency. He is Associate Professor in Media Arts and MFA Program Director at the University of California San Diego and has taught at CalArts and Bard MFA.
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the region to photograph her surroundings and experiences. She intuitively merges these images onto unexpected support structures—including silk, hand-crafted quilts, panels, and ceramic inspired by vernacular craft objects and the history of collage—their multiple references engaging the nuanced anxiety, conflict, and humor of the present and immediate future.
Erin Jane Nelson lives and works in Atlanta, GA. In 2011 she received her BFA from The Cooper Union. Recent solo exhibitions include the Museum of Contemporary Art of Georgia, Atlanta, GA (2021); DOCUMENT, Chicago, IL (2020); Chapter NY, New York, NY (2023); and Atlanta Contemporary Art Center, Atlanta, GA (2019). Her work has been featured in group exhibitions at the Carnegie Museum of Art (upcoming 2024) The Whitney Museum of American Art, New York, NY (2021); Aspen Art Museum, Aspen, CO (2020); Fries Museum, Leeuwarden, The Netherlands (2020); La Galerie, Centre d’Art Contemporain, Noisy-le-Sec, France (2019); and Pinakothek der Moderne, Munich, Germany (2018). Nelson was the recipient of a 2023 Guggenheim Fellowship in the Creative Arts.
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Learn more about the exhibition here and request a preview of works here.
Established in 2006 in Bandung, Indonesia, Tromarama is formed by Febie Babyrose (b. 1985 Jakarta, Indonesia), Ruddy Hatumena (b. 1984, Manama, Bahrain), and Herbert Hans (b. 1984, Jakarta, Indonesia). Working across video, installation, animation, sound, and algorithmic-based programming, Tromarama makes use of language, text, humor, and public participation to reflect on the relationship between the virtual and the physical worlds. While their projects address the most pressing issues in contemporary Indonesia, their witty analysis of the influence of digital media in society has made their work globally relevant, and one of Indonesia’s most acclaimed emerging artist collectives.
Tromarama have shown their projects in major exhibitions worldwide. Selected solo exhibitions include Contraflow, Kiang Malingue, Hong Kong (2023); Personalia, ROH, Jakarta (2022); The Lost Jungle, Museum MACAN, Jakarta (2021); BETA, DOCUMENT, Chicago (2021); Amphibia, Centre A, Vancouver, (2017); Tromarama, Open Eye Gallery for the Liverpool Biennial, Liverpool, 2016; Tromarama, Stedelijk Museum, Amsterdam (2015); MAM PROJECT 012, Mori Art Museum, Tokyo (2010). Their work has been featured in group exhibitions across the world, such as 84 Steps, Kunstinstituut Melly, Rotterdam (2023); CLOUD WALKERS, Leeum Art Museum, Seoul (2022); Not In My Name, CCA, Tel Aviv, (2022); Contemporary Worlds: Indonesia, National Gallery of Australia, Canberra (2019); Jakarta Biennale 2015: Neither Back Nor Forward: Acting in the Present, Gudang Sarinah Ekosistem, Jakarta (2015); and the 11th Gwangju Biennale: The Eight Climate (What Does Art Do?), Gwangju, (2016).
Image: Tromarama, This currency is spasming me, 2024. Digital projection, 2.5 cent Netherlands East Indies coin, mosquito net; dimensions variable.
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Saturday, October 5 | 10am–6pm
Sunday, October 6 | Closed
5336 S State St, Chicago, IL 60609
DOCUMENT and GRAY are excited to co-host Art & Tennis, an afternoon of mixed singles and doubles tennis on Sunday, October 6, from 1–4pm. Please bring your own racket, appropriate shoes and athletic gear. Tennis balls and cold water will be supplied.
RSVP here.
Anneke Eussen utilizes the formal principles of Minimalism evoking geometric seriality, yet quietly deploys hidden narratives and secret histories in her work. Her practice revolves around cultivating and repurposing found materials into meticulously detailed and ghostly wall sculptures. Through layering, arrangement, and assembly interventions, Eussen is never manipulating the original shape of the objects and insists on using their original framework. Through overlapping industrial materials such as stone, glass, and metal, Eussen questions the linguistic and political construction of borders. The works emanate the tangibility of human contact, visualizing the sensuous connection between past, present, and future through our relationship with built space.
Anneke Eussen (born 1978, Netherlands) lives and works in Vaals, Netherlands. She studied at the Academy of Maastricht, Netherlands, followed by a post-graduate residency at the Higher Institute of Fine Arts, Brussels, Belgium. Solo exhibitions include Tatjana Pieters (forthcoming), Antwerp, Belgium; Kunstverein Schwerin, Germany; DOCUMENT, Chicago, IL; Marinaro, New York, NY; Tatjana Pieters, Ghent, Belgium; Cruise&Callas, Berlin, Germany; LSD Galerie, Berlin, Germany; and Highlight Gallery, San Francisco, CA. She has participated in group exhibitions including Horizonverticaal, Haarlem, Netherlands; HISK, Antwerpen, Belgium; DMW gallery, Antwerp, Belgium; and Lage Egal, Berlin, Germany; Park Platform for Visual Arts, Tilburg, Netherlands; and Fondation Villa Datris, L’Isle-sur-la-Sorgue, France.
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DOCUMENT is pleased to present Exhibit B, a group exhibition featuring works by Julien Creuzet, Natani Notah, John Opera, Tom Schneider, Paul Mpagi Sepuya, Kazuhito Tanaka, and Claude Viallat. Opening on Friday, January 10, the exhibition will remain on view through February 22, 2025.
The exhibition builds upon and expands the themes of investigation explored in the Exhibit A group exhibition in 2024. Bending the limits of traditional media, repeating patterns and shapes, and referencing the history of art, literature, and cultures are some of the aspects which bring together the artists on view as well as DOCUMENT’s program at large.
Julien Creuzet, Natani Notah, John Opera, Tom Schneider, Paul Mpagi Sepuya, Kazuhito Tanaka, and Claude Viallat
Image: Tom Schneider, Ohio Melon Heads, 2024 (detail). Acrylic on canvas; 54 x 72 in.
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Óscar Faria
Pedro Vaz’s exhibition Beginner’s Mind began long before he conceived it. One could say its origins trace back thirty-five years, to 1991, when Rui Calçada Bastos, then twenty years old, set out on a trek through the Indian Himalayas—an experience that later gave rise to the photographic series Paisagem para Desaparecidos II (“Landscape for the Disappeared II”, 2018). But its roots stretch even deeper, to the formation of the mountains themselves over 45 million years ago—peaks near Ladakh that have never ceased to shift and evolve.
It’s a long story, that unfolds at the crossroads of geology and art, religion and landscape, humanity and nature. Pedro Vaz is a wanderer. His practice aligns with the tradition of land art, particularly echoing the work of British artists Hamish Fulton and Richard Long, who, since the 1960s, have traversed vast landscapes across the globe, distilling their journeys into works of profound poetic resonance.
After encountering Rui Calçada Bastos’ 1991 photographs in 2018, Pedro Vaz set out to retrace the same path in 2022. His journey, however, covered a shorter distance, as much of the original route had since been overtaken by road infrastructure. This transformation introduced new challenges, with artificial gradients from recent road construction reshaping the terrain.
Faheem Majeed (b. 1976) is an artist, curator, educator, and non-profit administrator whose work focuses on institutional critique and centers collaboration as a tool to engage communities in meaningful dialogue. He received his BFA from Howard University and an MFA from the University of Illinois Chicago, where he is currently an Assistant Professor of Art. He is the recipient of the Field and MacArthur Foundation’s Leaders for a New Chicago Award, the Joyce Foundation Award, and the Joan Mitchell Painters and Sculptors Grant, and has been recognized as a Harpo Foundation Awardee. Majeed served as the Executive Director of the South Side Community Art Center from 2005 to 2011 and currently serves as the Co-Director and Founder of the Floating Museum, an arts collective and non-profit that creates new models to explore relationships between art, community, architecture, and public institutions. His work has been exhibited at the Museum of Contemporary Art Chicago, Centre Pompidou, Highline, and the Hyde Park Art Center. Majeed’s sculpture highlights marginalized objects, histories, people, and places into powerful narratives that challenge and recontextualize their value, fostering dialogue and broader social change.
Image: Faheem Majeed, Constellation - John Henry's 11th Hour, 2024-2025 (detail). Cedar, steel, and nails; 47 1/8 x 33 7/8 x 5 in.
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DOCUMENT will present extended hours for Chicago-based artist, curator, educator, and non-profit administrator Faheem Majeed’s first solo exhibition with the gallery–featuring a new body of work consisting of wall sculptures and carved objects.
Victoria Fu’s third solo exhibition with DOCUMENT features a new series of glass artworks that are at once sculptures, paintings, photographs, and prints. Reflecting her ongoing interest in the mediation of perception through technology, these works quote the visual qualities of LCD screens through material and figural representations of iridescence. By layering digitally-derived, lens- and scanner-based imagery onto painted glass and aluminum surfaces, light and color are constructed and refracted in physical ways to evoke—and to riff off of—the idiosyncratic and seductive apparatus of our engagement with the virtual world. The exhibition also includes a video on a monitor, filtered through a glass sculpture, blurring further the boundaries between screen and object. This body of work continues her exploration of how material processes and technological aesthetics intersect to challenge the viewer’s engagement with surface, depth, and temporality.
Request information about available works here.
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Kiah Celeste’s practice is made up of materials and objects gleaned from urban and industrial contexts, repurposed and combined in sculptures and installations with a post-minimalist bend. Her latest body of work takes on a pared down, yet striking, form: monochromatic pieces of spandex, stretched in poplar frames and installed on the gallery’s walls, playfully incorporate a set of found materials. Extending well beyond the frame to rest on the floor, a large piece of Corian towers within Distent. In Skydrool, a used paint bucket emerges from the center of another frame. Little Apple of Paradise’s frayed bungee cord maintains tension between a cream field of fabric and glass that rests against the floor. Installed bridging a corner, Four Shores’ frames hold plastic cords in tension.
Gordon Hall’s sculptures often take the form of pieces of furniture or domestic objects, meticulously reproduced in materials such as cast concrete, wood, or brass. These ambiguously functional works are often employed by performing bodies in Hall’s performances. The works on view in Artifact Unidentifiedrepresent a body of work made for the recent exhibition at ICA Boston, Believers: Artists and the Shakers. Taking cues from artifacts in the Shaker Museum’s collection of over 18,000 objects, sometimes joining discrete elements or extending their dimensions, Hall also introduces diligent interventions such as the steel nails fixed to the underside of Rocker or coloring Knob Weight with red pencil.
Kiah Celeste (b. 1994, Brooklyn, NY) lives and works in Louisville, KY. In 2016 she received a BFA in photography from the State University of New York at Purchase. Solo exhibitions include Swivel Gallery, New York, NY (2025), DOCUMENT, Lisbon, Portugal (2023), DOCUMENT, Chicago, IL (2022); Swivel Gallery, Brooklyn, NY (2022); KMAC Contemporary Art Museum, Louisville, KY (2021); Quappi Projects, Louisville, KY (2021). Group exhibitions include The Carnegie, Covington, KY (2025), Salon 94, New York, NY (2025); Mary M. Torrgler Fine Arts Center, Newport News, VA (2024); Speed Art Museum, Louisville, KY (2023); University of Kentucky Art Museum, Lexington, KY (2021); Centre d’Art La Rectoria, Sant Pere De Vilamajor, Barcelona, Spain (2020); and Dadapost, Berlin, Germany (2018).
Gordon Hall (b. 1983, Boston, MA) is a sculptor, performance-maker, and writer based in New York. Notable solo exhibitions include The Kitchen, New York, NY (2025); the Portland Institute for Contemporary Art, Portland, OR (2019); the Renaissance Society, Chicago, IL (2018); and the MIT List Visual Arts Center, Cambridge, MA (2018). Hall’s sculptures and performances have been exhibited in group exhibitions at the ICA Boston, Boston, MA (2025); Center for Maine Contemporary Art, Rockland, ME (2022); AIR Gallery, Brooklyn, NY (2021); the Verge Center for the Arts, Sacramento, CA (2019); The Drawing Center, New York, NY (2018); David Zwirner, New York, NY (2018); and the Whitney Museum of American Art, New York, NY (2015). Gordon Hall is Assistant Professor of Sculpture at Vassar College. They hold an MFA and an MA in Visual and Critical Studies from the School of the Art Institute of Chicagoand a BA from Hampshire College.
Gordon Hall, Corner Shim (Artifact Unidentified), 2025. Cast brass; 2 x 8 x 13 in.
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Jacinto’s artistic practice engages with the protocols of the image, narrative fragmentation, and the tension between excess evidence and obscuration. Working with materials such as rubber membrane, thread, fabric, metal, spray, watercolor, loose pigments, she creates works that establish an increasingly fluid boundary between painting, sculpture and installation.
For her inaugural exhibition at DOCUMENT Chicago, Luísa Jacinto modifies the viewer’s perception of light and space through an installation of works from two recent series, Strangers and Work in Space. Together, these bodies of work imbue the gallery with layers of colors, bleeding into one another and influencing their surroundings.
Suspended from the ceiling, taking over the middle of the space and set against the surrounding walls, several works from the Strangers series—made up of synthetic rubber membranes, folded and draped over suspended LED tubes that act as both support and light source—sway as visitors approach and walk between them. Work in Space is a series that bridges the gaps between drawing, sculpture and installation: colored threads, arranged in a grid-like composition, run across the gallery wall, as if tracing lines with colored pencils.
In Things change quickly, Jacinto’s works form a polychromatic cloud where transparency, layering, and spatial relationships are interdependent of the viewer’s trajectory and attention, constantly shifting.
Luísa Jacinto (b. 1984, Lisbon, Portugal) lives and works in Lisbon. Her artistic practice engages with the protocols of the image, narratives, fragmentation, and simulation, as well as the tension between excess evidence and obscuration. Jacinto uses different materials – rubber membrane, thread, fabric, metal, spray, watercolor, loose pigments – and supports, which establish an increasingly fluid boundary between painting, sculpture, and installation.
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Image: Paul Mpagi Sepuya, Darkroom Mirror (0X5A0752), 2019. Archival pigment print; 51 x 34 in.
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Dabin Ahn (b. 1988, Seoul, Korea) lives and works in Chicago, IL. He creates paintings populated by flora, fauna, vessels, candles, and ceramic fragments, motifs that function as representations of the self. Ahn’s paintings also incorporate sculptural elements such as hand-built frames that part to reveal images along the canvas edge. Light plays a central role in the artist’s lexicon, suggesting an illuminating presence even when its source is hidden. These elements collectively blur the boundaries between the material and the imagined, evoking an emotional depth reflective of the human experience. Ahn received a BFA and MFA from the School of the Art Institute of Chicago. Selected solo exhibitions include François Ghebaly, Los Angeles; OCHI, Los Angeles; Harper’s, New York; 1969, New York. Recent group exhibitions include Make Room, Los Angeles; Harper’s, East Hampton; and The Hole, Los Angeles. His work can be found in the permanent collections of the High Museum of Art, Atlanta, GE; X Museum, Beijing, China.
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The exhibition runs from June 12 to August 15, 2026, with an opening event on Friday, June 12, from 5-8pm.
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Published on the occasion of an exhibition of the same name at the Abroms-Engel Institute for the Visual Arts at the University of Alabama at Birmingham, Living and Working traces ten years of artist Erin Jane Nelson’s evolving practice in and around Atlanta, Georgia. Moving from fabric collages to wall-hanging ceramics to analogue photography using cameras of her own making, Nelson has investigated the relationship between the watery landscapes of the American Southeast and the psychological and political structures of our contemporary world.
Nelson’s practice gently applies pressure to the traditional boundaries of fine art, offering an imaginative, open-ended response to ecological anxiety. She draws upon a lineage of feminist practices, infusing her collaged quilts and amoeba-like ceramics with visual languages indebted to various aesthetics traditionally excluded from fine art—vernacular craft forms of the South, science fiction, and the overtly feminine and personal. Living and Workingmirrors this blurring of boundaries by including candid photographs, diaristic writing, and Nelson’s own fiction alongside critical essays and full-color documentation of her work.
Erin Jane Nelson (b. 1989, Neenah, WI) lives and works in Santa Fe, NM. In 2011 she received her BFA from The Cooper Union. Recent solo exhibitions include the Abroms-Engel Institute for the Visual Arts, Birmingham, AL (2026); DOCUMENT, Chicago, IL (2024); Chapter NY, New York, NY (2023); Museum of Contemporary Art of Georgia, Atlanta, GA (2021); and Atlanta Contemporary Art Center, Atlanta, GA (2019). Nelson was included in the 2026 Whitney Biennial and 2021 New Museum Triennial; her work has been featured in group exhibitions at the Phoenix Art Museum, Phoenix, AZ (2025); Carnegie Museum of Art, Pittsburgh, PA (2024); Center for the Arts at Virginia Tech, Blacksburg, VA (2023); The Whitney Museum of American Art, New York, NY (2021); Aspen Art Museum, Aspen, CO (2020); Fries Museum, Leeuwarden, The Netherlands (2020); La Galerie, Centre d’Art Contemporain, Noisy-le-Sec, France (2019); and Pinakothek der Moderne, Munich, Germany (2018). Nelson was the recipient of a 2023 Guggenheim Fellowship in the Creative Arts.
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