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Reception: April 19th, 5-8pm

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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.

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

Aperture

Orlando: Guest Curated by Tilda Swinton

May 24 – July 11, 2019

Collier Schorr, Untitled (Casil), 2015–18. Artist’s edit for Aperture © the artist and courtesy 303 Gallery, New York

Orlando
Exhibition on View:
May 24 – July 11, 2019

Virginia Woolf’s prescient 1928 novel Orlando tells the story of a young nobleman who, during the era of Queen Elizabeth I, lives for three centuries without aging and mysteriously shifts gender along the way. In 1992, filmmaker Sally Potter released a now-classic adaptation of the book with Tilda Swinton in the starring role as Orlando. Since then, Woolf ’s tale has continued to hold sway over Swinton, who describes the book’s ability “to change like a magic mirror. Where I once assumed it was a book about eternal youth, I now see it as a book about growing up, about learning to live.”

For the summer 2019 issue of Aperture and a coinciding exhibition, Swinton, as guest editor and curator, draws upon the central themes of the novel—gender fluidity, consciousness without limits, and the deep perspective of a long life—to offer a collection of images and writings that celebrate openness, curiosity, and human possibility. “Woolf wrote Orlando,” Swinton notes, “in an attitude of celebration of the oscillating nature of existence. She believed the creative mind to be androgynous. I have come to see Orlando far less as being about gender than about the flexibility of the fully awake and sensate spirit. This issue of Aperture will be a salute to indetermination and limitlessness, and a heartfelt celebration of the fully inclusive and expansive vision of life exemplified by the extraordinary artists collected here.”

Photographs by Zackary Drucker, Lynn Hershman Leeson, Paul Mpagi Sepuya, Jamal Nxedlana, Elle Pérez, Walter Pfeiffer, Sally Potter, Viviane Sassen, Collier Schorr, Mickalene Thomas, and Carmen Winant.

Artist commissions for the “Orlando” issue of Aperture magazine and the related exhibition at Aperture Gallery are made possible with the support of Slobodan Randjelović and Jon Stryker. Aperture also thanks ROOT STUDIOS for supporting the production of Mickalene Thomas’s work in this issue.

Significant support for Aperture magazine is provided by The Kanakia Foundation. Further generous support is provided in part by The Andy Warhol Foundation for the Visual Arts and the New York City Department of Cultural Affairs in partnership with the City Council.

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
Gallery and Print Studio Assistant
Renata Cruz Lara Guerra
info@documentspace.com

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

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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.