Erythrocyte Ghosts Filled with Quantum Dots Improve Cryogenics with Microarea Custom Freeze Thaw
 
Document is pleased to present Christopher Meerdo’s second solo exhibition at the gallery. This new body of work explores ideas surrounding transhumanism and cryonics through 3D modeled and hydroprinted sculptures, photographs from a subterranean bunker home in Las Vegas, and animations on deconstructed display monitors.

The heir to the Avon family, Girard Henderson, built an underground nuclear fallout shelter in the style of a suburban home in Las Vegas in the 1970’s. He lived there, underground, with his wife Mary until his death in the 1980’s. After his passing, Mary built a home above the bunker to live out the rest of her days. The house is currently owned by a cryonics group called The Society for the Preservation of Near-Extinct Species. A room in the home was converted to house a permanent collection of cryonics ephemera as well as it functioning as a meeting room for society members.

The connectome mapping project is akin to the human genome project. It is an attempt at making a spatially delineated structural map of all neural cell connections within brain tissue. Each individual neuron can form thousands of links with other neurons giving a typical human brain well over 100 trillion synapses (up to 1,000 trillion, by some estimates). Currently, an extremely small portion of a mouse brain has been dimensionally mapped. With current technological limitations it is impossible to achieve a complete map in a viable timeframe, but, based on Kurzweilian exponential technological advancement predictions, we could be closer than we realize.

Don Laughlin started a casino in Nevada in the 1950’s. He is today one of the richest men in the industry. Laughlin founded a town where his casino sits today, which is aptly named Laughlin, Nevada. As a very wealthy and public cryonics figure, he is looked to as a leader in advancements in the industry that require substantial funding. He was the keynote speaker at the “End Death Conference” I attended in Laughlin, Nevada last year. There is a bronze statue of Don which greets you as you enter into the town from the direction of Las Vegas.

“Neural” refers to a type of cryonics that is head only. This is favorable with younger theorists who consider neural mapping the path towards immortality (favoring non-biological over biological immortality). This type of data-set cryonics considers the aggregation, emulation (AGI), and archeology and part of consciousness and the human experience. Older generation cryonicists look to advancements in nano-technological individualized cellular repair advancements as a possibility for biological immortality. Timetable predictions regarding the feasibility of this vary wildly.

When sitting inside the underground house, inhabitants can enjoy a dynamic exterior atmosphere complete with time-specific lighting controls, fiberglass landscape features, and an intricately painted 360° scenic mural. These trompe-l’oeil landscape vistas were painted by a Texan artist named Jewel Smith. Jewel lived in the underground guest house during the duration of her project. She was 70 at the time of the completion of the work. She is no longer with us today.

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
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.