X

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.

Paul Mpagi Sepuya

Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) lives and works in Los Angeles, where he received an MFA in photography at UCLA in 2016. From 2000 – 2014 Sepuya resided in New York City, receiving a BFA from New York University’s Tisch School of the Arts in 2004. Sepuya became known for his 2005 – 2007 zine series “SHOOT” and first monograph, “Beloved Object & Amorous Subject, Revisited” (2008), along with contributions and features in BUTT Magazine, and participation and collaborations in the re-emergence of queer zines culture of the 2000s. He went on to participate in Artist-in-Residence programs at the Lower Manhattan Cultural Council, the Center for Photography at Woodstock, The Studio Museum in Harlem and Fire Island Artist Residency.

Sepuya’s work is in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, the Studio Museum in Harlem, the International Center for Photography, the Cleveland Museum of Art, the Milwaukee Art Museum and the Carnegie Museum, among others. Solo exhibitions include  “Double Enclosure” at Fotomuseum Amsterdam (2018), “Dark Room” at Document, Chicago (2018) and “Dark Room” at team (bungalow), Los Angeles and “Figures, Grounds and Studies” at Yancey Richardson Gallery, New York City (both 2017). Sepuya was recently featured in “Being : New Photography 2018” at the Museum of Modern Art and “Trigger” at the New Museum New York City (2018). His first museum survey of work from 2006 – 2018 will open May 2019 at CAM St Louis.

Sepuya’s work has been covered and published in ARTFORUM, Aperture, The New Yorker, The New York Times, Art Review, Frieze, Art in America, Monocle, Osmos, The Nation, and he is a recipient of the 2017 Rema Hort Mann Foundation’s grant for Los Angeles artists.

Paul Mpagi Sepuya, Darkroom Mirror Study, or Aperture, 2018, Archival pigment print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study (2140278), 2018, Archival pigment print, 32 x 24 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study (0X5A1237), 2017, Archival pigment print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study for Joe (_2010964), 2017, Archival pigment print, 32 x 24 in, Edition of 5

Paul Mpagi Sepuya, A Ground (0X5A1495), 2018, Archival pigment print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Black Mirror Study (_2110109), 2018, Archival pigment print, 24 x 32 in, Edition of 5

Paul Mpagi Sepuya, Darkroom (_1980967), 2017, Archival pigment print, 13 x 10 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study (0X5A6568), 2017, Archival pigment print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Mirror Study (0X5A0486), 2017, Archival pigment print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Darkroom Model Study (0x5a2919), 2017, Archival pigment print, 51 x 34 in, Edition of 5

Paul Mpagi Sepuya, Dark Cloth (_2040880), 2017, Archival pigment print, 32 x 24 in, Edition of 5

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
General Inquiries
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 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.