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Document is pleased to present Meditation Furniture for Ten Minute Breaks, the first Chicago solo exhibition by Derek Franklin. The show includes Franklin’s recent paintings and sculptures in a site-specific installation. The exhibition opens on May 1st with a reception from 6pm to 8pm and will continue through June 13th.

While recently sleeping next to a historic cemetery I noticed that the birds sang an alarm song all night. They may have said Awake! Awake! The Ghosts are approaching. We already knew that. The Ghosts had been here for quite sometime requesting our assimilation into their being. We were tuckered out, as they say, so we thoughtlessly accepted the invitation. We loaded our minds with ideas about how one could become what we are not, in order to speak the languages of some standard. So we abscond with a harmonious squeal, from the notes of our nature until one day we hanker for revisiting our former selves. However, forever impaired our homecomings are impossibly tumultuous with our pining to touch the domestic communions we once knew has appropriately become impossible and vanished by way of vapor clouds. Vanished into vapors like the Ghosts that made the birds sing that night, leaving an illustration, an effigy of the labor embedded in our hands attempting to elicit them to transpose them into articles that are animated.

Derek Franklin, b. 1981 in St. Helens, OR lives and works in Newark, NJ. He has exhibited at Thierry Goldberg, Simone Subal, Soloway, and Rawson Projects, in New York. Franklin has also exhibited with Andel 31 Rocks Box Fine Art, PDX Contemporary, and Pulliam Gallery. He holds an MFA from Mason Gross School of the Arts at Rutgers University, 2012, and a BFA from Pacific Northwest College of Art, 2009. Franklin is also a partner and director at the artist run space Soloway in Brooklyn, NY.

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.

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

Aperture

Orlando: Guest Curated by Tilda Swinton

May 24 – July 11, 2019

Collier Schorr, Untitled (Casil), 2015–18. Artist’s edit for Aperture © the artist and courtesy 303 Gallery, New York

Orlando
Exhibition on View:
May 24 – July 11, 2019

Virginia Woolf’s prescient 1928 novel Orlando tells the story of a young nobleman who, during the era of Queen Elizabeth I, lives for three centuries without aging and mysteriously shifts gender along the way. In 1992, filmmaker Sally Potter released a now-classic adaptation of the book with Tilda Swinton in the starring role as Orlando. Since then, Woolf ’s tale has continued to hold sway over Swinton, who describes the book’s ability “to change like a magic mirror. Where I once assumed it was a book about eternal youth, I now see it as a book about growing up, about learning to live.”

For the summer 2019 issue of Aperture and a coinciding exhibition, Swinton, as guest editor and curator, draws upon the central themes of the novel—gender fluidity, consciousness without limits, and the deep perspective of a long life—to offer a collection of images and writings that celebrate openness, curiosity, and human possibility. “Woolf wrote Orlando,” Swinton notes, “in an attitude of celebration of the oscillating nature of existence. She believed the creative mind to be androgynous. I have come to see Orlando far less as being about gender than about the flexibility of the fully awake and sensate spirit. This issue of Aperture will be a salute to indetermination and limitlessness, and a heartfelt celebration of the fully inclusive and expansive vision of life exemplified by the extraordinary artists collected here.”

Photographs by Zackary Drucker, Lynn Hershman Leeson, Paul Mpagi Sepuya, Jamal Nxedlana, Elle Pérez, Walter Pfeiffer, Sally Potter, Viviane Sassen, Collier Schorr, Mickalene Thomas, and Carmen Winant.

Artist commissions for the “Orlando” issue of Aperture magazine and the related exhibition at Aperture Gallery are made possible with the support of Slobodan Randjelović and Jon Stryker. Aperture also thanks ROOT STUDIOS for supporting the production of Mickalene Thomas’s work in this issue.

Significant support for Aperture magazine is provided by The Kanakia Foundation. Further generous support is provided in part by The Andy Warhol Foundation for the Visual Arts and the New York City Department of Cultural Affairs in partnership with the City Council.

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.