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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

Paul Mpagi Sepuya

Paul Mpagi Sepuya (1982, San Bernardino, CA) currently lives and works in Los Angeles, where he graduated with an MFA in photography at UCLA. He resided in New York from 2000 – 2014, where he participated in Artist-in-Residence programs at the Lower Manhattan Cultural Council (2009 – 2010), the Center for Photography at Woodstock (2010), and The Studio Museum in Harlem (2010 – 2011). He has exhibited at DOCUMENT, Chicago, LAXART, Los Angeles, MOCA, Los Angeles, The Studio Museum in Harlem, The Center for Photography at Woodstock, Franklin Art Works, Minneapolis, Artspeak, Vancouver, Yancey Richardson Gallery, New York and Stevenson Gallery, Cape Town, South Africa.

Sepuya’s work is in the collection of the Carnegie Museum of Art, the Guggenheim Museum, the Studio Museum in Harlem, Center for Photography at Woodstock, and his print zine series SHOOT (2005 – 2008) is in the permanent collections of the Brooklyn Museum Library, The Museum of Modern Art Library, and the Fotomuseum Winterthur.

Paul Mpagi Sepuya, Figure / ground study, 2016 Archival Pigment Print, 20 x 24 in, Edition of 5

Paul Mpagi Sepuya, A sitting for Matthew, 2016 Archival Pigment Print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Draping, 2016 Archival Pigment Print, 24 x 20 in, Edition of 5

Paul Mpagi Sepuya, Mirror study, 2016 Archival Pigment Print, 34 x 51 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study, 2016 Archival Pigment Print, 24 x 20 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study, 2016 Archival Pigment Print, 33 x 22 in, Edition of 5

Paul Mpagi Sepuya, Untitled (black figure), 2016 Archival Pigment Print, 33 x 22 in, Edition of 5

Study for D. with Four Figures (March 8), 2015 Archival Pigment Print, 30 x 24 in. Edition 2/3

Mirror Study, December 10, 2014 Archival Pigment Print, 30 x 24 in. Edition of 3

Marques, April, 2013 Archival Pigment Print, 30 x 24 in. Edition of 3

Micah, Chicago, March 27, 2014 Archival Pigment Print, 30 x 24 in. Edition of 3

Studio, March 12, 2014 Archival Pigment Print, 30 x 24 in. Edition of 3

Study for D.A. with Three Figures (0905), 2015 Archival pigment print, 48 x 38 in. Edition 1/3

Study for Roses at night, for K., 2006 - 15, 2015 Archival Pigment Print, 48 x 36 in. Edition 2/5

Study for T.H. with Five Figures, 2013 - 05 (0702), 2015 Archival Pigment Print, 80 x 60 in. Edition of 5

D., 2014 Archival Pigment Print, 48 x 36 in. Edition 1/5

Erik, April 1. 2014 Archival Pigment Print, 48 x 36 in. Edition 1/3

Lamont, March 13. 2014 Archival Pigment Print, 24 x 18 in. Edition 1/5

Studio, March 2 (part 1), 2014 Archival Pigment Print, 24 x 18 in. Edition 1/5

Desktop, March 6, 2014 Archival Pigment Print, 24 x 18 in. Edition 1/5

Ivan, March 29, 2014 Archival Pigment Print, 24 x 18 in. Edition 1/5

Desktop, April 2, 2014 Archival Pigment Print, 24 x 18 in. Edition 1/5

Studio, March 2 (part 2), 2014 Archival Pigment Print, 24 x 18 in. Edition 1/5

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
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Aron Gent
aron@documentspace.com
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Sibylle Friche
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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.