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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.

Mary Helena Clark

Mary Helena Clark (born 1983, USA) lives and works in central New York. Her work has been exhibited and screened nationally and internationally, including presentations at the Swedish Film Institute (Stockholm), The Gene Siskel Film Center (Chicago), the Museum of Contemporary Photography (Chicago), the Wexner Center for the Arts (Columbus, OH), Anthology Film Archives (New York), the Yerba Buena Center (San Francisco), the National Gallery of Art (Washington) and at the New York, London and Toronto International Film Festivals. She has curated film programs for Altman Siegel Gallery, NYC, and The Nightingale, Chicago, among other venues.

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

List Projects, MIT List Visual Arts Center, Cambridge MA, Curated by Yuri Stone, January 8 - February 10, 2019

Ligature, installation view Jan 6-Feb 17, 2018

Ligature, installation view Jan 6-Feb 17, 2018

Ligature, installation view Jan 6-Feb 17, 2018

Ligature, installation view Jan 6-Feb 17, 2018

Ligature, installation view Jan 6-Feb 17, 2018

Ligature, installation view Jan 6-Feb 17, 2018

Mary Helena Clark, Larynx #2, 2018, Glass tubes, piezo discs, audio cable, medical tape, audio file (Rufous-collar sparrow recording), 22h x 6w in

Ligature, installation view Jan 6-Feb 17, 2018

The Palm at the End of the Mind, installation view Dec 11-Jan 23, 2016

Untitled (Meisner technique), film still, 2015

The Palm at the End of the Mind, installation view Dec 11-Jan 23, 2016

The Palm at the End of the Mind, installation view Dec 11-Jan 23, 2016

Untitled (Meisner technique), film still, 2015

The Palm at the End of the Mind, installation view Dec 11-Jan 23, 2016

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.