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DOCUMENT is pleased to present Ode to Seekers 2012, Andrew Norman Wilson’s second solo exhibition at the gallery. The exhibition will open on September 17, 2016 and continue through November 5, 2016.

Andrew Norman Wilson is an artist and curator based in Los Angeles whose videos and installations address a heady rush of images, technology, and bodies caught in the streams of circulation and representation that our era demands. He has recently had work featured in the seventh Bucharest Biennale, the ninth Berlin Biennale, and will have a new video installation as part of the eleventh edition of the Gwangju Biennale, curated by Maria Lind, which opens on September 2, 2016.

ODE TO SEEKERS 2012 is a looped video that celebrates mosquitoes, syringes, and oil derricks. Not only are they symbols of some of the most significant threats to human life—mosquito borne illnesses, drug addiction, and the petroleum industry—but they are also the causes of three of my most significant personal traumas.

In 2012 I received psychological testing at Rockland Psychiatric Center in Orangeburg, New York, which had been a pioneer of the “therapeutic suburb” model for mental institutions when it was built in 1927. I realized that a large portion of the campus had become abandoned, and not only hadn’t been cleaned out, but carried a history of sporadic reactivation by junkies, homeless people, teens, and artists. I began bringing friends there to explore and shoot video, and on my last trip I shot footage in which I misused a Steadicam to create what seems to me like a mosquito’s point of view.

Like Steadicam footage, which is meant to transport the viewer to the perspective of someone—or something—else, CGI is a technique based in seeking. It illustrates objects hidden from view or movements too small for the naked eye, with the potential for a cartoon physics beyond the laws of our physical universe. I worked with the Romanian animator Vlad Maftei on this video because of his range of experience—from hyperreal renderings of vital organs for the health care industry and architectural renderings of buildings-to-be to Spongebob Squarepants advertisements. Much of my thinking about the composition of Ode to Seekers 2012 is based on John Keats’s “Ode on a Grecian Urn,” wherein the titular art object is treated as eternal, intensifying the speaker’s sense of mortality. In keeping with the structure of an ode, my work consists of three movements. In the first—to the sound of an exploratory house track by Marcellis—the broken camera roves through the abandoned children’s ward corridors of Rockland. Second, highly saturated computer-generated 3-D models of the mosquito, syringe, and oil derrick appear under magic-hour lighting, slipping in and out of an ecstatic trance of liquid extraction—or injection—from a surface that looks at once like desert salt flats, skin under a microscope, and potato casserole. In sequences that are edited like a music video, these objects joyously thrust, pierce, and pump to my remix of Icona Pop’s 2012 banger “I Love It.” Third, each model and its pumping functions are co-opted by an assembly line apparatus, at once medical and industrial, that sucks the color out of everything that comes down a pipe.

Making this piece has been a process of grasping for a fantasy that I see when I’m jogging in a new city or under some kinds of influences. I can’t describe what the fantasy is, and I will probably never reach it. The similarities between my behavior and that of these three forces suggest a sense of camaraderie, but they also provoke a fear that, like those objects, I may just be a puppet of algorithms or economic networks or genetic coding. Still, I work my way through a neural reward system in pursuit of something fleeting, or perhaps even unattainable.

— As told to Paige K. Bradley in Artforum, 500 words 8.30.2016

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, New York; The Portland Museum of Art, Portland; Mrs., Queens; The Colby College Museum of Art, Waterville; kijidome, Boston; Document, Chicago; Western Exhibitions, Chicago; The Luminary, St Louis; Et al. Etc., San Francisco; Pulaski Park Field House, Chicago; Able Baker Contemporary, Portland; Ida Schmid, Brooklyn; 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.

Atterbury’s studio practice is fluid, fluctuating between picture making and object making. Fascinated with the autonomy of the artifact – objects disassociated from their original function and context – Atterbury’s practice considers the distinction or lack thereof between artifact, prop, model and sculpture.  Drawn to materials such as paper and sand, Atterbury constructs ephemeral tableaux specifically for the purpose of transfiguring and recording them. Both her photographs and sculpture build upon a continued interest in display and its visual structures, along with a more recent interest in language, ritual, and abstraction.

Installation view, Night Comes In, 2018, Mrs., New York, Clockwise from the floor: Arrangement 1 (Discoveries), 2018, Mixed media, Dimensions variable; Beads III, 2018, Peach pits, 61.5 x 1 x 1 inches; River Poem, 2018, Mortar, plywood, glue, 23 x 19 x 1 inches

Em Oh Em, 2017, Beach Sand, basswood 8.5 x 3.5 x 2.25 inches (each)

Dog, 2018, Pine, 16 x 3.125 x 3.75 inches

Urn, 2018, Basswood, ash, 7 x 7 x 3.625 inches

Installation view, Night Comes In, 2018, Mrs., New York, Left: Bronze Chop (Large), 2018, Bronze, 21.75 x 3.375 x 3.25 inches Right: Urn, 2018, Basswood, ash, 7 x 7 x 3.625 inches

Elizabeth Atterbury, 26 Waves, 2018, Mortar, plywood and glue, 22 3/4 x 19 x 1 in

Elizabeth Atterbury, Alone at night, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Still life with bowl and mirror, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Anonymous Old Poem, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Another Poem, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Calligraphy Frame, 2018, Maple, acrylic paint, glue, 60 x 40 x 1 in

Elizabeth Atterbury, The Well, Again (Pool), 2017, Beach sand, glue, MDF, 10 1/2 x 8 x 6 1/4 in

Elizabeth Atterbury, The Well, The Wall, 2016, Silver gelatin print, 20 x 24 in, Edition of 3

Elizabeth Atterbury, Beach Woks (Marks of a Tool II), 2016, Silver gelatin print, 20 x 24 in, Edition of 3

Elizabeth Atterbury, Still Life with Popcorn and Pits, 2016, Silver gelatin print, 11 x 14 in, Edition of 3

Elizabeth Atterbury, Logogram III, 2016, Silver gelatin print, 20 x 24 in

Elizabeth Atterbury, Logogram II, 2016, Silver gelatin print, 20 x 24 in

Elizabeth Atterbury, Logogram I, 2016, Silver gelatin print, 20 x 24 in

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

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

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

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

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

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

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

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

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

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

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

Elizabeth Atterbury, Moonlight on the river, 2014, Chromogenic print, 14 x 11 in

Elizabeth Atterbury, Slow Song, 2014, Chromogenic print, 14 x 11 in

Elizabeth Atterbury, Marks of a tool, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Rake, 2014, Silver gelatin print, 24 x 20 in

Elizabeth Atterbury, Ghost Tracks, 2014, Silver gelatin print, 24 x 20 in

Elizabeth Atterbury, Black Beach, 2014, Silver gelatin print, 13 1/2 x 11 1/2 in, Edition of 3

Elizabeth Atterbury, Bones, 2014, Silver gelatin print, 11 x 14 in, Edition of 3

Elizabeth Atterburym Glyphs II, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Glyphs, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Site, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Sculpture Park, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Bricks, 2013 Chromogenic print, 13 1/2 x 11 1/2 in

Elizabeth Atterbury, Harry, Henri, Sal, 2013, Chromogenic print, 14 x 11 in

Elizabeth Atterbury, Blue Runner Night, 2014, Chromogenic print, 13 1/2 x 11 1/2 in, Editon of 3

Paul Mpagi Sepuya
Drop Scene Study (0X5A1114), 2018
Archival Pigment Print
50h x 75w in

DOCUMENT at Art Basel Miami Beach 2019

December 5 – December 8, 2019

 

We are pleased to announce our participation in Art Basel Miami 2019 with a solo booth by Paul Mpagi Sepuya. Find as in Booth P12. The fair will run from Wednesday, December 5th to Sunday, December 8th, 2019.

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
Gallery and Print Studio Associate
Cody Schlabaugh
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 50 solo exhibitions since its opening in 2012 and actively promotes the work of emerging national and international artists.Since 2016, DOCUMENT started exhibiting historical artists and has continued to anchor its program in a conversation between emerging voices and established figures. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. The production studio allows some of the gallery artists to collaborate with DOCUMENT in both their exhibitions and their daily artistic practice by being in constant conversation about the realization and processes in their work.
At this time we do not accept unsolicited submissions.