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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.

Erin Jane Nelson

Erin Jane Nelson (b. 1989, Neenah, WI; lives in Atlanta, GA) received her BFA from the Cooper Union School of Art in 2011. In May 2019, she opened her first institutional solo exhibition at Atlanta Contemporary. Her work has recently been exhibited in “Between the Waters” at the Whitney Museum of American Art in New York and “Photography Today: Public Private Relations” at Pinakothek der Moderne in Munich. She has had solo shows at DOCUMENT, Chicago (2015, 2017) and Hester, New York (2015) and was included in The Atlanta Biennial at the Atlanta Contemporary Art Center (2016), and group exhibitions at Downs & Ross, New York (2017), Honor Fraser, Los Angeles (2016), Galerie Division, Montreal (2016), and Ellis King, Dublin (2015). She has contributed to publications including BURNAWAY, The Creative Independent, T: The New York Times Style Magazine, and Art Papers, and has curated exhibitions at the High Museum of Art and Atlanta Contemporary.

Erin Jane Nelson Slurp, 2018, Resin, pigment, shells, and pigment prints on glazed stoneware, 21h x 21 1/2w x 1 5/8d in

Erin Jane Nelson, Silt sieve, 2018, Resin, pigment, shells, and pigment prints on glazed stoneware, 19h x 21 1/2w x 1 5/8d in

Erin Jane Nelson, Badderlocks, 2018, Resin, pigment, shells, and pigment prints on glazed stoneware, 18 1/2h x 13w x 1 5/8d in

Erin Jane Nelson, Chauvin Garden, 2018, Resin, pigment, shells, and pigment prints on glazed earthenware, 18 1/2h x 15 3/4w x 2d in

Erin Jane Nelson, Ebos Landing, 2018, Resin, shells, and pigment prints on glazed earthenware, 11 1/2h x 13 1/2w x 1 3/4d in

Erin Jane Nelson, Fort Frederica, 2017, Resin, shells, enamel pin, pigment, and pigment print on glazed earthenware, 18h x 13 1/2w x 2 3/4d in

Erin Jane Nelson, Frenier, 2017, Resin, pine cone, glass, and pigment print on glazed earthenware, 10 3/4h x 11 3/4w x 3d in

Erin Jane Nelson, Isle de Jean Charles, 2018, Resin, pigment, and pigment prints on glazed earthenware, 17h x 12w x 3 1/2d in

Erin Jane Nelson, Jekyll, 2017, Resin, pigment, and pigment print on glazed earthenware, 21h x 15w x 3 1/4d in

Erin Jane Nelson, Kill Devil Hills, 2018, Resin, sea star, and pigment prints on glazed earthenware, 15 1/2h x 11w x 2 3/4d in

Erin Jane Nelson, Manchac, 2018, Resin, pigment, and pigment prints on glazed earthenware, 13 3/4h x 15 3/4w x 2d in

Erin Jane Nelson, Ocracoke, 2017, Resin, pigment, sand, and pigment print on glazed earthenware, 17h x 14 1/2w x 2 1/2d in

Erin Jane Nelson, Whispering River, 2017, Resin, feather, and pigment prints on glazed, earthenware, 18h x 12 1/2w x 1 1/2d in

Barnumbiir thru the Wavelight, 2017, Pigment print on Jacquard Cotton, ink, and various fabrics, 46h x 44w in

Her Deepness Freyja, 2017 Pigment print on Jacquard Organza and Cotton, various fabrics, moss, cellophane, aluminum, and styrofoam amaranth, 50h x 58w in

Epona Jane, 2017, Pigment print on Jacquard Organza and Cotton, ink, and various fabrics, 64h x 38w in

SeaPersephone, 2017 Pigment print on Jacquard Organza and Cotton, various fabrics, aluminum, plastic wheat, and styrofoam amaranth, 65h x 55w in

Monsieur Xolotl, 2017, Pigment print on Jacquard Cotton, silk flowers, and various fabrics, 35h x 35w in

Jizo Feeler, 2017, Pigment print on Jacquard Organza and Cotton, various fabrics, aluminum, debris, and styrofoam amaranth, 88h x 75w in

Psychopompopolis (w/Jason Benson), 2017, Woven LED chandelier, digital audio, polyester rug, pigment on cotton, recycled foam and polyester batting

Raccoona Charon, 2017, Pigment print on Jacquard Organza and Cotton, 115h x 240w in

Stop Pollution, Eat Garbage, Inkjet on cotton, plastic, embroidered patch, grommets, Sudafed, cotton batting, and silk ribbon, 50 x 29 in, 2015

Monk Behind Bars, Inkjet on cotton, cotton, embroidered patches, wool batting, silk ribbon, garden lining fabric, grommets, 70 x 60 in, 2015

Poto ElleBelle, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Poto Lovevol, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Poto Glosh, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Afterimage, Vol. 46, Number 2

Exhibition Review: Andrew Norman Wilson: Kodak

Andrew Norman Wilson: Kodak. Document. Chicago, Illinois: January 11–February 23, 2019| By Liz Park

Image 1. Still from Kodak (2018) by Andrew Norman Wilson; © 2018 Andrew Norman Wilson; courtesy the artist and DOCUMENT.

 

Andrew Norman Wilson’s thirty-two-minute video Kodak (2018) was the beating heart of his eponymous exhibition at DOCUMENT in Chicago. A series of prints that take inspiration from various Kodak products hung in an adjacent gallery while a stack of giveaway posters—of the company’s first digital camera from 1973 printed on recto and a text by Nick Irvin on verso—prepared those who entered a dark, curtained gallery. Irvin’s text introduced the video’s protagonist Rich as a mentally unstable former Kodak employee who became blind as a result of a workplace accident. These details emerge slowly, however, and in short bursts, like flickers of images that stitch together the stories of the character Rich and Kodak’s legendary founder George Eastman [Image 1].

“Your time is up,” alerts the high-pitched and tinny voice of a woman, beginning a narrative that is driven primarily by sound rather than images. A long minute passes with only darkness to accompany her increasingly aggravated chastising, dramatically peaking with “You have to stop now!” The first discernable image finally surfaces—a portrait of a bespectacled Eastman. A shaky voice that stands in for Eastman implores, “What is a photograph?” He answers himself: “. . . a dream, a reminder of how little you can actually capture.” Responsible for popularizing photography through consumer-grade technology, Eastman, as recorded in history and presented in this well-researched video, successfully tapped into the consumer’s desire to hold onto the fleeting moments of their mortal lives. Spiked with nostalgia, Eastman’s steady ruminations on life, photographic processes, and his business empire provide […]

Read the complete article here.

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
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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 40 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.