Reception: May 14th - 5-8pm

Download Exhibition Brochure

Document is pleased to present Happy Sunny Jade, Elizabeth Atterbury’s second solo exhibition with the gallery. The show includes recent photographs and sculptures that demonstrate her fluid negotiation of two and three dimensions. Meandering between image and object, Atterbury makes reference to cultural and geographical points of origin.

Many of Atterbury’s black-and-white photographs are “abstract”—a paradox for straight photography, which is always tethered to the world. Closer inspection reveals them to be compositions of humble, familiar materials such as cut cardboard and sand. Alternating between areas of light and dark, the cardboard photos produce convincing interplays between flatness and depth. Arrayed horizontally so that their corrugated innards align on the vertical axis, the cardboard strips produce dense grids. “I wanted to create a space that felt infinitely deep,” the artist recalls, “like an endless corridor of mirrors, but at the same time impenetrable, like when a window is removed from a building and filled in with brick.” The Logogram series accentuates these effects by tilting some cardboard bands onto diagonal axes, imagining them as stills from of a stop-motion collage where different cut bands move and arrange and rearrange and settle, constructing a word or phrase.

The wooden and steel sculptures in this exhibition take something like the reverse approach, arranging networks of ambiguous forms that derive from highly specific, lived references. Sunny Side, FL, a group of steel sculptures, painted black, creates in miniature an imaginary sculpture park from the artist’s hometown. Actual structures and forms, places, people, and ideas are reduced and abstracted into simple, modernist shapes and hieroglyphs: a bull shark, palm trees, the sun rising in the west, the artist’s grandmother or mother – hair down, a tomb, the manicured landscape, the shaped hedges, modern houses, Noguchi’s Intetra, Mist Fountain….physicalized shadows of a place that is perpetually in the sun. Long Life, on the other hand, adapts the design from generic noodle bowls into a continuous loping form that recalls a pre-Colombian architectural design.

Atterbury’s sand photographs yield highly tactile surfaces that serve as backdrops for mark making. In fact, the artist’s three-dimensional objects have produced these marks, yoking her sculpture and photography together. The artist conceives of a mythic scenario for these marks: an “idle ancient” has produced them. This ancient, or ancestor, passes the time, making unconscious marks in the sand – like picking blades of grass. In contrast to this, she adds Still Life with Popcorn and Pits, a kitchen still-life with avocado pits sitting in a glass of water, a reminder for the real world that acts or represents an actual ‘location’ for the other work to exist.

Elizabeth Atterbury (born 1982, West Palm Beach, FL) lives and works in Portland, Maine. Recent solo and group shows include 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.

Geraldo de Barros

Geraldo de Barros was born in São Paulo in 1923 and lived there until his death in 1998. He started his career as a traditional painter, but began an intense period of experimentation with the photographic medium in 1946, which culminated in his Fotoformas exhibition at the Museu de Arte de São Paulo (MASP) in 1951. The exhibition was a watershed for Brazilian photography and led to de Barros receiving a scholarship to study engraving in Paris. While in Europe he travelled extensively, meeting influential artists and encountering key movements in art and design. He returned to Brazil and established a successful career as an artist and industrial designer. A key figure in Brazillian Concrete, Abstract and Pop art he was a founding member of many influential groups including Grupo 15, Galeria Rex, Grupo Ruptura. He established the design co-operative Unilabor and furniture company Hobjeto Industry. After a series of strokes de Barros began in 1996 to work on a series of collage works using his ‘leftover’ family photographs. Entitled Sobras, de Barros continued to work on the series until his death in 1998.

 

 

 

 

 

 

 

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Fotoformas Series), 1950, Silver gelatin print, Edition of 15

Geraldo de Barros, Untitled (from Fotoformas Series), 1950, Silver gelatin print, Edition of 15

Geraldo de Barros, Untitled (from Fotoformas Series), 1948, Silver gelatin print, Edition of 15

Geraldo de Barros, Untitled (from Fotoformas Series), 1950, Silver gelatin print, Edition of 15

Geraldo de Barros, Hommage à Picasso (from Fotoformas Series), 1949, Silver gelatin print, Edition of 15

John Opera “Technical Images” at Document

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.