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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.

Fotoformas 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 & 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.

Through 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.

Isobel Whitelegg

Andy Cahill

Andy Cahill (born 1985) lives and works in Brooklyn. He received a BFA in 2008 from the Rhode Island School of Design in film, animation and video and an MFA from the School of the Art Institute of Chicago in Film, Video, New Media and Animation in 2010. Selected exhibitions include Poor Richard Scumbag at Paris London Hong Kong; Chicago, The Barn Show at Johannes Vogt Gallery; East Hampton, New York, MOVES THINKS REPEATS PAUSES at Tony Wight Gallery; Chicago, and High Density, Oblique Function, at Proxy; Providence. Cahill was a resident of The Lighthouse Works Residency on Fishers Island, NY (2015) and a recipient of the School of the Art Institute Merit Scholarship (2009).

Mr. Touch-and-go Bullet-head, 2015. Acrylic, graphite and crayon on bleached linen, 24 x 24 in.

Scissoring, 2015. Acrylic, graphite and crayon on bleached linen, 24 x 24 in.

You Won't Like It, 2015. Acrylic, graphite and crayon on bleached linen, 24 x 24 in.

Cold Open, 2015. Acrylic, graphite and crayon on bleached linen, 24 x 24 in.

Poor Richard’s Dictionary: Nuzzle, 2014. Acrylic on bleached linen, 24 x 24 in.

Poor Richard’s Dictionary: Nestle, 2014. Acrylic and crayon on bleached linen, 24 x 24 in.

Treat or Trash Your Lungs, 2015. Acrylic on bleached linen, 24 x 24 in.

Stuck in the Middle, 2015. Acrylic on bleached linen, 24 x 24 in.

Sinning and Sullen, 2015. Acrylic on bleached linen, 24 x 24 in.

Fresh Felt, 2015. Acrylic on bleached linen, 24 x 24 in.

Math and Luck, 2015. Acrylic on bleached linen, 24 x 24 in.

SURFACE TENSION

Phillip Maisel & Maggie Preston at Black Crown Gallery, Oakland
Opening Reception: Friday March 24, 6-9pm
Exhibition Dates: March 24 – April 29, 2017

  For Your “Open” (2677) and For Your “Open” (2682), 2017. Cut archival pigment prints, acrylic, melamine panel, 29 x 21.5″
SLCH2-About
Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
General Inquiries
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DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 30 solo exhibitions since its opening in 2011 and actively promotes the work of emerging national and international artists. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. At this time we do not accept unsolicited submissions.