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

Art Omi: The Fields Sculpture Park opens a new exhibition including works by Sara Greenberger Rafferty. The exhibition will be on view from June 14, 2018 until June 1, 2019.

After Harry, 2008, plexiglass, stainless steel, rope, chains, locks, vinyl, found objects. 84 x 36 x 36 inches.

Created for the Public Art Fund in 2008, this work was sited at Metrotech Center in Brooklyn, a public plaza ensconced in the judicial center of Brooklyn. While title After Harry explicitly references Harry Houdini—a figure that figured prominently in Greenberger Rafferty’s practice at that time—this work also alludes to the grave impacts of the judicial system. The courts are a place where justice is handed out, and where there terms of bondage are determined: will the invisible actor in this piece escape or be held in chains?

Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at The Kitchen, New York; MoMA PS1, New York; Eli Marsh Gallery at Amherst College, Massachusetts; The Suburban, Illinois; and a commissioned sculpture for the Public Art Fund. In 2014, she participated in the Whitney Biennial; the Hammer Biennial; and had solo exhibitions in Portland, Oregon, Riga, Latvia, and New York. In 2015, her work was included in exhibitions at the Museum of Contemporary Art, San Diego, the Atlanta Contemporary Art Center in Georgia, and Galerie Andreas Huber in Vienna. In 2016, she mounted her 4th solo exhibition at Rachel Uffner Gallery; and had a solo project at Document in Chicago. In 2017, she opened a traveling museum show with accompanying fully illustrated catalogue, published by SUNY Press.

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 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.