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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, 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

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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.