When I entered graduate school to study photography in 1969, the medium was in transition. Photography had long been used to make visible the previously unknown and unverified mysteries of the world. Photography had been the means to peer into areas previously unavailable to our own senses. Its truthfulness rested upon the viewer’s faith in its unmanipulated technology. The fragile authenticity of photographic truth rested upon what was not done to the negative. But in the 1920s and then again in the 1960s, artists were, in all creative mediums, adding interpretation to perception to redefine the meaning of reality.

At the time of its invention in 1839, photography’s extended exposure times of twenty minutes or more duration made it, like painting, an unimpulsive form of memorialization, poetic yet truthful. The instructive work of this period was made by pointing the camera at static objects. From the 1880s forward, technological advances in photography allowed truth to be visible in exposure times approaching, in the twentieth century, a millionth of a second. The arc of every technological innovation within the medium carried film and camera toward capturing a thinner slice of time.

As a graduate student, I felt obligated to follow the traditions of photography while not wanting to be bound by them. I wanted to use photography to see more than the human eye can see. I began to use extended time. Each frame of the film was exposed for one-second, approximately 100 times longer than normal. The camera was hand-held. The film was processed up to eight hours, while normal black & white film processing time is about eight minutes. The resulting images remain, for me, both painterly and realistic.

Alan Cohen grew up in Pennsylvania and North Carolina. After earning a degree in nuclear engineering at North Carolina State University and beginning a doctoral program in thermodynamics at Northwestern University, he began photographing and eventually left the sciences to study photography. As a graduate student at the Illinois Institute of Technology’s Institute of Design, he studied with Aaron Siskind, Arthur Siegel, Garry Winogrand, Charles Swedlund, Ken Josephson, and Joe Jachna. He was awarded a M.Sc. Photography degree in 1972.

Elizabeth Atterbury

Elizabeth Atterbury (born 1982, West Palm Beach, FL) lives and works in Portland, Maine. Recent solo and group shows include Kate Werble Gallery, The Portland Museum of Art, Mrs, The Colby College Museum of Art, Waterville, kijidome, Boston, Document, Chicago, TSA, Brooklyn, Bodega, Philadelphia/New York, KANSAS, New York, and The ICA at Maine College of Art, Portland, among others. In the Middle, An Oasis, a monograph of her work, was published by Bodega Press in 2013.

She received her BA from Hampshire College and her MFA from MassArt.

The Well, The Wall, 2016 Silver gelatin print 20 x 24 in

The Well, The Wall II, 2016 Silver gelatin print 20 x 24 in

Beach Woks (Marks of a Tool II), 2016 Silver gelatin print 20 x 24 in

Still Life with Popcorn and Pits, 2016 Silver gelatin print 11 x 14 in

Logogram III, 2016 Silver gelatin print 20 x 24 in

Logogram II, 2016 Silver gelatin print 20 x 24 in

Logogram I, 2016 Silver gelatin print 20 x 24 in

Sunny Side, FL (Tomb), 2016 Enamel paint, steel 12 x 7 1/2 x 5 1/2 in

Sunny Side, FL (The Cut), 2016 Enamel paint, steel 13 1/2 x 28 1/2 x 1 1/4 in

Sunny Side, FL (Sunset Hedge), 2016 Enamel paint, steel 1 1/2 x 16 x 2 1/2 in

Sunny Side, FL (Small House), 2016 Enamel paint, steel 1 x 16 3/4 x 14 1/2 in

Sunny Side, FL (Bull Shark), 2016 Enamel paint, steel 2 1/2 x 18 x 1 1/2 in

Sunny Side, FL (Paper Cut / Hedge), 2016 Enamel paint, steel 10 x 9 x 1 3/4 in

Sunny Side, FL (Noguchi's Intetra, Mist Fountain), 2016 Enamel paint, steel 11 x 9 1/2 x 9 1/2 in

Sunny Side, FL (Lawn), 2016 Enamel paint, steel 9 x 9 in

Sunny Side, FL (Big House), 2016 Enamel paint, steel 16 x 18 x 6 in

Sunny Side, FL (Palms), 2015 Enamel paint, steel 17 1/2 x 11 x 16 in

Relief (China White), 2015 Plywood and paint 33 x 48 x 1 3/4 in

Moonlight on the river, 2014, chromogenic print 14 x 11 in

Slow Song, 2014, chromogenic print 14 x 11 in

Marks of a tool, 2014, silver gelatin print 11 x 14 in

Rake, 2014, Silver gelatin print 24h x 20w in

Ghost Tracks, 2014, Silver gelatin print 24h x 20w in

Black Beach, 2014, silver gelatin print 14 x 11 in.

Bones, 2014 Silver gelatin print 11 x 14 in

Glyphs II, 2014 Silver gelatin print 11 x 14 in

Glyphs, 2014 Silver gelatin print 11 x 14 in

Site, 2014 Silver gelatin print 11 x 14 in

Sculpture Park, 2014 Silver gelatin print 11 x 14 in

Bricks, 2013, chromogenic print 14 x 11 in

Harry, Henri, Sal, 2013, chromogenic print 14 x 11 in

Blue runner, 2013, chromogenic print 14 x 11 in


Julien Creuzet


On view: November 23rd, 2017 – February 15th, 2018

French Caribbean artist Julien Creuzet presents Mañana Vapor, his first solo show in Colombia at SKETCH.  He composes an intuitive and fertile encounter, composed by poems, installations and visual and sound assemblages. Fragments of poems and photographs are superimposed and printed on to polished surfaces, feverishly wanting to escape from the video that contains them and whisper magic stories into your ears. From his collages he creates powerful visual narratives, erasing the borders between documentary, fantasy and reality; a reverse that lets us go beyond the thinkable, between the occult and the visible. Through his hybrid works Julien Creuzet recovers objects and myths that history has, to date, left aside to make its own agenda prevail. Then and only then Julien Creuzet stories reveal themselves as possible: they shine in silence waiting for our hands to embrace them.

Julien Creuzet lives and works in Paris. He has participated in numerous solo shows including DOCUMENT, Chicago (2017),Galerie Doyang Lee, Paris (2016), National Superior School of Art and Design, Nancy, France (2016), Contemporary Art Regional Funds, Normandy, France (2015), Juvisy-sur-Orge Contemporary Art Centre, France (2013) and Sandretto Re Rebaudengo Foundation in Turin, Italy  (2012). His upcoming shows for 2018 are Ricard Foundation and Bétonsalon Art Centre, Paris.

He participated recently at The Lyon Biennial and Hors Piste Festival at  the  Pompidou Center, Paris (2017), No. XII  Contemporary Art Biennial, Dakar, Senegal (2016), II Kampala Art Biennial, Uganda (2016 and the 30th International Artists Studio Program Exhibition at the Regional Fonds of Contemporary Art of Pays de la Loire, France (2016) amongst others.


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Aron Gent
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.