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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.

Sterling Lawrence

Sterling Lawrence (1980, OR,) currently lives and works in Chicago where he received a MFA from the School of the Art Institute of Chicago. Sterling has had solo exhibitions with Devening Projects (2013), Chicago; Tony Wight Gallery (2011), Chicago; and has been included in group exhibitions at Tiger Strikes Asteroid, New York (2019); DePaul Art Museum (2017), Illinois State Museum (2017), Et al., San Francisco (2016); Scotty Enterprises, Berlin; Soloway, NY (2014); Columbia College, Chicago; Devening Projects, Chicago; and New Capital via Forever and Always, Chicago. Selected Projects include OVERIDE / a billboard project with Expo Chicago (2016); Edition works for The Society for Contemporary Art Gala (2014)

Sterling Lawrence, Stretched Witness, 2019, Aluminum and acrylic paint, 24h x 18 1/2w x 1d in

Sterling Lawrence, Palms Down, 2019, Aluminum and acrylic paint, 24 1/2h x 18w x 2d in

Sterling Lawrence, Shadow Briefs and Hook, 2019, Aluminum and acrylic paint, 24 1/2h x 22 1/2w x 1 1/2d in

Sterling Lawrence, Spatial Negative, 2019, Aluminum and acrylic paint, 24h x 17 1/2w x 1 1/2d in

Sterling Lawrence, Gardens Gate, 2019, Aluminum and acrylic paint, 24 1/2h x 18 1/4w x 1d in

Sterling Lawrence, Folded Attention, 2019, Aluminum and acrylic paint, 24h x 18 1/2w x 2 3/4d in

Sterling Lawrence, Chair, 2018, Epoxy and wood, 37h x 36w x 38d in

Sterling Lawrence, Mirror & Groove left & Groove and Mirror Right, 2018, Aluminum, acrylic two way mirror, natural gum rubber, 36h x 48w x 2d in

Sterling Lawrence, Field Pairing, 2018, Urethane rubber, formica, dibond, 48h x 36w x 6d in

Sterling Lawrence, Sight Lines, 2018, Aluminum and acrylic paint, 48h x 37w x 2d in

Sterling Lawrence, Tracing Idioms Contour, 2018, Natural hair, urethane rubber, cups, mirror, Two 41x72 inches casted urethane blankets and one 5’10” 165 pound urethane body

Sterling Lawrence, Tracing Idioms Contour, 2018, Natural hair, urethane rubber, cups, mirror, Two 41x72 inches casted urethane blankets and one 5’10” 165 pound urethane body (detail)

Sterling Lawrence, Pastoral Banquet, 2018, Urethane rubber, Formica, mirror, Dibond, acrylic and aluminum, 80h x 48w x 1/2d in

Slouching towards description, Wood, paint, inkjet print on back lit film 25 x 19 x 31 in, 2017

Checkered history, Aluminum, frosted acrylic, archival inkjet print, polymer 24 x 17 x 27 in, 2017

Side table, 2016 Aluminum and plexiglas 34 x 36 x 12 in

Cone, 2016 wood and formica 9 1/4 x 18 1/4 x 8 1/4 in

Cabinet, 2016 Aluminum and plexiglas 36 1/4 x 45 1/2 x 2 in

Sterling Lawrence, .25 .50, 2018

Screen, 2016 Aluminum, plexiglas and hooks 58 x 33 x 10 in

Temporary Wall Structure 1, 2, 3, 4, 2016 Archival pigment print on backlit film mounted to acrylic 96 x 35 in (each panel)

Tone / Half Tone 1 and Tone / Half Tone 2, 2016 Aluminum, acrylic paint and fabric 36 x 30 x 2 1/2 in (each)

Fielding Elbow, 2016 Polyurethane and aluminum 35 x 46 x 3 1/2 in

Fielding Elbow, 2016 (detail) Polyurethane and aluminum 35 x 46 x 3 1/2 in

Casting Elbows 1.3, 2015 Polyurethane and aluminum, 12 x 12 x 4 in

Rack 03, 2015, Rubber, Aluminum and Hardware, 70 x 17 x 25 1/2 in

Sterling Lawrence, "Rack 03" (detail shot), 2015, Rubber, aluminum and hardware, 70 x 17 x 25 1/2 in

Strap illustration version one, 2015 Rubber, hardware and aluminum pipe, 58 x 60 in

Strap illustration version one, 2015 Rubber, hardware and aluminum pipe, 58 x 60 in

Strap illustration version one, 2015 (detail)

Strap illustration version two, 2015 Rubber, hardware and aluminum pipe, 60 x 100 in

fACED lunch tray version 2, 2016 Formed plastic and rubber stoppers, 19 x 11 in

Impression caption fig.1, 2016 Inkjet print on formed plastic 22 1/2 x 14 in

Impression caption fig. 1, Inkjet print on formed plastic, 19 x 11 in. 2016

Sterling Lawrence, Cover for a Preface 1, 2016

Sterling Lawrence, Cover for a Preface 2, 2016

Sterling Lawrence, Proposed Service Window as a Mirror of its Former Self 1.2, 2016

Sterling Lawrence, Proposed Service Window as a Mirror of its Former Self 1, 2016

Sterling Lawrence, Residual Gaze of a Once Ritual Glow, Gradient 145, 2016

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.