X

Reception: Friday, January 10, 5-8pm

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.  

Howardena Pindell

Born in Philadelphia in 1943, Howardena Pindell studied painting at Boston University and Yale University. After graduating, she accepted a job in the Department of Prints and Illustrated Books at the Museum of Modern Art, where she remained for 12 years (1967–1979). In 1979, she began teaching at the State University of New York, Stony Brook where she is now a full professor. Throughout her career, Pindell has exhibited extensively. Notable solo-exhibitions include: Spelman College (1971, Atlanta), A.I.R. Gallery (1973, 1983, New York), Just Above Midtown (1977, New York), Lerner-Heller Gallery (1980, 1981, New York), The Studio Museum in Harlem (1986, New York), the Wadsworth Atheneum (1989, Hartford), Cyrus Gallery (1989, New York), G.R. N’Namdi Gallery (1992, 1995, 1996, 2000, 2002, 2006, Chicago, Detroit, and New York), Garth Greenan Gallery, New York (2014), and Spelman College Museum of Fine Art, Atlanta (2015).

Pindell often employs lengthy, metaphorical processes of destruction/reconstruction. She cuts canvases in strips and sews them back together, building up surfaces in elaborate stages. She paints or draws on sheets of paper, punches out dots from the paper using a paper hole punch, drops the dots onto her canvas, and finally squeegees paint through the “stencil” left in the paper from which she had punched the dots. Almost invariably, her paintings are installed unstretched, held to the wall merely by the strength of a few finishing nails. The artist’s fascination with gridded, serialized imagery, along with surface texture appears throughout her oeuvre. Even in her later, more politically charged work, Pindell reverts to these thematic focuses in order to address social issues of homelessness, AIDs, war, genocide, sexism, xenophobia, and apartheid.

Howardena Pindell’s work has been featured in many landmark museum exhibitions, such as: Contemporary Black Artists in America (1971, Whitney Museum of American Art), Rooms (1976, P.S. 1 Contemporary Art Center), Another Generation (1979, The Studio Museum in Harlem), Afro-American Abstraction (1980, P.S.1 Contemporary Art Center), The Decade Show: Frameworks of Identity in the 1980s (1990, New Museum of Contemporary Art), and Bearing Witness: Contemporary Works by African-American Women Artists (1996, Spelman College Museum of Fine Art, Atlanta).

Most recently, Pindell’s work appeared in: We Wanted a Revolution: Black Radical Women, 1965–1985 (2017, the Brooklyn Museum, New York), Energy/Experimentation: Black Artists and Abstraction, 1964–1980 (2006, The Studio Museum in Harlem), High Times, Hard Times: New York Painting, 1967–1975 (2006, Weatherspoon Art Museum, University of North Carolina, Greensboro), WACK! Art and the Feminist Revolution (2007, Museum of Contemporary Art, Los Angeles), Target Practice: Painting Under Attack, 1949–1978 (2009, Seattle Art Museum), Black in the Abstract: Part I, Epistrophy (2013, Contemporary Arts Museum, Houston), and Painting 2.0: Expression in the Information Age, (2015–2016, Museum Brandhorst; 2016, Museum Moderner Kunst).

Pindell’s work is in the permanent collections of major museums internationally, including: the Brooklyn Museum; the Corcoran Gallery of Art; the Fogg Museum, Harvard University, Cambridge; the High Museum of Art, Atlanta; the Louisiana Museum of Modern Art, Copenhagen; the Metropolitan Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Modern Art; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; the National Gallery of Art, Washington, D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia; the Philadelphia Museum of Art; The Studio Museum in Harlem; the Smithsonian Museum of American Art, Washington, D.C.; the Wadsworth Atheneum, Hartford; the Walker Art Center, Minneapolis; the Whitney Museum of American Art; and the Yale University Art Gallery, New Haven.

 

Howardena Pindell, Video Drawings: Tennis, 1975

Howardena Pindell, War: Torture (El Salvador), 1988

Howardena Pindell, War: The L Word (George Bush), 1988

Howardena Pindell, War: Starvation (Sudan #1), 1988

Howardena Pindell, War: Cambodia (Over 5 Million Killed), 1988

Howardena Pindell, War: A Thousand Points of Light (White Phosphorus), 1988

Howardena Pindell, Video Drawings: Baseball, 2007

Howardena Pindell, Video Drawings: Boxing, 2007

Howardena Pindell, Video Drawings: Football, 2007

Howardena Pindell, Video Drawings: Rodeo, 2007

Howardena Pindell, Video Drawings: Tennis, 1975

Howardena Pindell, Video Drawings: Track, 2007

Howardena Pindell, Video Drawings: Baseball, 1976

Howardena Pindell, Video Drawings: Baseball, 1976

Howardena Pindell, Video Drawings: Abstract (Eel and Coral), 1976

Howardena Pindell, Video Drawings: Abstract (Eel and Coral), 1976

Howardena Pindell, Video Drawings: Baseball, 1975

Chapter NY is pleased to announce שכינה (Shekinah), Erin Jane Nelson’s first solo exhibition at the gallery. The exhibition will present her most recent series of fabric-wrapped panel works and ceramic vessels.

Nelson’s practice is grounded in photography sourced from her personal archive of found and original images. She works serially, with each project delving into new conceptual frameworks as far ranging as the cultural anxiety around climate change, the sentience of octopuses, and the science fiction of our present moment. Her photographic elements merge onto unexpected support structures, their multiple references engaging the nuanced anxiety, conflict, and humor of the present and immediate future.

For this exhibition, Nelson embraces her Southern Jewish heritage as subject matter. The title of the exhibition, Shekinah, a word from rabbinical literature that means the feminine attributes of God, a sense of place in the world, a dwelling, has been Nelson’s framework for spiritual seeking. Based on research and photographs made while studying Judaism over the last year, she incorporates Jewish symbolism and archival photographs into this new work alongside her ongoing photographic practice documenting the environmental collapse of her home region.

Along with ceramics, found textiles and collaged photographs typical of earlier bodies of work, Nelson uses natural dying techniques that impregnate her works with the colors and ghosts of plants and insects. Her seeping and decaying forms, mixed with personally relevant subject matter, are inspired by poet Joyelle McSweeney’s concept of the necropastoral, a political-aesthetic space in which human depredations converge with nature’s decay. Coupled with an idealism of religion’s ability to heal and give guidance for mourning, Nelson leaves room for moments of respite and purpose within a fraught world.

Raised in the American South, Erin Jane Nelson lives and works in Atlanta, GA. In 2011 she received her BFA from The Cooper Union. Recent solo exhibitions include: Her Deepness, Atlanta Contemporary Art Center, Atlanta, GA; Psychopompopolis, Document Gallery, Chicago; and Dylan, Hester, New York. Her work has been featured in group exhibitions at La Galerie, centre d’art contemporain, Noisy-le-Sec, France; Deli Gallery, Brooklyn; Van Doren Waxter, New York; Capital Gallery, San Francisco; Pinakothek der Moderne, Munich; and the Whitney Museum of American Art, New York. Her work is currently included in Making Knowing: Craft in Art, 1950-2019 at the Whitney, which has recently acquired the artist’s work. Nelson will also be featured in an upcoming exhibition at the Fries Museum in Leeuwarden, the Netherlands.

EJN S Well 1 (2) website

Well 1, 2019
Found figurines, photographs, and resin on glazed stoneware
15 × 13 × 13 inches (38.10 × 33.02 × 33.02 cm)

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
Gallery and Print Studio Associate
Cody Schlabaugh
info@documentspace.com

Gallery hours:
Tuesday-Saturday: 11am-6pm

Private Works Login
DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 50 solo exhibitions since its opening in 2012 and actively promotes the work of emerging national and international artists.Since 2016, DOCUMENT started exhibiting historical artists and has continued to anchor its program in a conversation between emerging voices and established figures. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. The production studio allows some of the gallery artists to collaborate with DOCUMENT in both their exhibitions and their daily artistic practice by being in constant conversation about the realization and processes in their work.
At this time we do not accept unsolicited submissions.