Reception: March 1, from 5-8pm

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DOCUMENT is pleased to present our second solo exhibition with Geraldo de Barros (Brazil, 1923-1998). We will exhibit a selection of earlier photographs the artist took between 1947 and 1954.

At the heart of Brazil’s ambivalent modernity sits São Paulo, a city whose modernist skyscrapers were built through the oligarchic economics of an agrarian countryside, a city of migrants that produced Brazil’s first “native” avant-garde. As Brazil’s immigrant city par excellence, São Paulo drew internal migrants from south- eastern cattle country and the drought-stricken northeast, as well as international newcomers from Italy, Portugal, the French Mandates of Syria and Lebanon, Japan, and beyond. São Paulo’s population doubled between 1920 and 1940, and between 1940 and 1950s nearly doubled yet again. By the postwar period, São Paulo was Brazil’s largest city, its most industrialized, its most urban, its most urbane. The Fotoformas of Geraldo de Barros (1923-1998) were created from the late-1940s through early 1950s, largely in São Paulo. As fitting this period of intense urban growth and industrialization, de Barros’ series of photographs captures a city in flux. But this was not a heroic, productivist vision of a mechanized city. Instead, theFotoformas present a strangely heterogenous array of subjects: a torn and stitched canvas loosely hung across the picture plane, a graffito of an angel, spiraling geometries of iron and glass, a woman’s bare derrière, balloons caught in wires against a clouded sky.

The Fotoformas — literally, Photo-forms — share a search for geom- etries in everyday scenes. The overlapping spheres of the Tatuapé balloons (1948) echo the rounded globes of a woman’s rear (1947). Both images feature nearly perfect spheres found, not created. But then there are the brick zig-zags of the Mouvement giratoire (1949) and overlapping grids of glass and iron skylights in São Paulo (1949) and Paris (1951), showing that de Barros was not averse to constructing images from bits of found geometry. Though a few of the Fotoformas are straight photography, de Barros’ process almost invariably involved tactile experiments with the camera, the negative, or both.

Discussions of the Fotoformas have long emphasized de Barros’ engagement with geometric abstraction. In 1951, de Barros was the subject of the first solo photography exhibition at the São Paulo Museum of Art. Reviewers of the exhibition favorably compared de Barros’ Fotoformas to European geometric abstraction, referring by name to Piet Mondrian or Max Bill, while paying comparatively less attention to de Barros’ references to Picasso and Dubuffet. Particularly after 1952, when de Barros joined the Ruptura group of artists working in geometric abstraction, it was all too easy for critics to understand his Fotoformas as an origin point for Concretism in Brazil, privileging the constructed, abstract photographs over de Barros’ diverse experiments with process and sensitivity to a city’s moods.

EMBODIED EXPERIMENTS — Unlike New Vision photog- raphers such as Bauhaus master László Moholy-Nagy, de Barros treated the camera not as an extension of human vision, but as a manifestation of human embodiment. De Barros’ body was central to his photographic process. De Barros’ Fotoformas were rarely the result of instantaneous, mechanical snaps, but were composed from sequences of images produced as he physically rotated his heavy camera and exposed the same object(s) multiple times on a single negative. Turning his camera in his hands, de Barros took repeated images of model airplane parts, chair caning, or doors or shutters left ajar on the same negative, to create a number of Fotoformas in 1949. Likewise, in a 1950 photograph of São Paulo’s Luz train station [Estação da Luz], de Barros combined procedures, rotating the camera, along with cutting and rotating the negative, to create a dizzying pattern of light and shadow.

In the resulting photographs, repeated images spiral into quasi- illusionistic depth — an effect de Barros carefully constructed through canny compositions of dark and light. And, many of these images are made all the more disorienting since in many cases the “depths” are formed from views located overhead. These photographs thwart easy apprehension of the images’ subject. TheLuz train station, for example, is not immediately recognizable forwhat it is. De Barros’ photographs thus suggest urban modernity not simply through the portrayal of construction techniques and materials (metal and glass) typical of a city, but also through arresting, nearly abstract geometric forms. Constructed by the artist, these are images that no urban dweller could ever actually see, yet which have the appearance of something known, something repeat- edly glimpsed out of the corner of one’s eye. It is a city glimpsed while in transit, in motion.

Yet de Barros balanced this optical play with an attention to the materiality of photographs, employing tactile processes in the darkroom. The Fotoforma entitled Mouvement giratoire (1949), as the name suggests, involves a series of rotations that work to abstract and reshape the found geometries of a clay tile wall.

Beginning with a rhythmic sequence of lit and shaded wall sections, de Barros cropped the image to give a sense of perspectival disorientation. He cut a circle in the center of the negative and gave the cut piece a 120 degree counterclockwise spin. Slicing an extra sliver from both top and bottom, de Barros lightly squashed the circle between sickles of black and white, respectively. The upper part of the circle, with its shaded tiles and black edging, seems to recede into the picture plane, while the brighter clay stripes and pop of bright white seem to tilt up and out of the plane towards the viewer. At the heart of the circle, a cut square section is rotated an additional 90 degrees, but the edges are left snug, with visible cuts extending into the rotated circle.

With the central passage of Mouvement giratoire obscured, the lighter stripes of wall at the extreme right and middle left — now background to the circle and square — vacillate between recession and protrusion, resisting resolution into a single perspectival composition. De Barros flattened the staggered geometries of the wall, even while his cutting and turning reintroduced three- dimensionality through optical play.

SÃO PAULO ENFRAMED — In other photographs, de Barros captured details of the São Paulo’s detritus and small ruin, then scratched into and painted on the photographic emulsion of the negative in the darkroom. Following de Barros’ early study with painters Clóvis Graciano, Colette Pujol, and Yoshiya Takaoka, he retained a painterly touch even as he shifted from oils to darkroom solutions — inflected by printing techniques learned when he studied with famed Surrealist printmaker Stanley Hayter in early-1950s Paris.

One example of de Barros’ playful process comes in L’ange (Tatuapé, São Paulo) (1948), an angel seemingly sketched onto a wall in the peripheral Tatuapé neighborhood. Though the man’s face is inscribed upon the wall’s surface, the arm and wing are a darkroom addition. Inspired, it seems, by a smear of paint or plaster that seemed to suggest a wing jutting up behind the visage, de Barros drew the arm and wing directly on the negative atop the emulsion. De Barros’ São Paulo is a place of incomplete industrialization, a city where a bearded angel might manifest in a crusty, pockmarked surface, and a rough-hewn clay tile wall might serve as the material for experimental geometries. Even the Estação da Luz was, by 1950,a relic of fin-de-siècle modernization, then being superseded by the highway system. São Paulo’s equivocal modernization is also visiblein the 1954 images of chairs produced through de Barros’ Unilabor project. The Unilabor cooperative was a mid-1950s collaboration with a left wing Catholic priest, in which de Barros designed modernist furniture intended for middle class consumers, and the furniture was manufactured in a cooperative workshop. A short- lived utopian scheme, Unilabor soon faced financial challenges, though one can see echoes of the Bauhaus in both Unilabor’s functionalist design aesthetics and its visionary model of non- oppressed labor.

As de Barros’ first mature artistic works, these 1950s Fotoformasare an origin point for a long and diverse artistic practice — this despite the fact that he left photography behind for almost four decades. The Fotoformas experimentation with optical play culminate in de Barros’ abstract Concretist paintings of the 1950s and 1960s. The Fotoformas’ naive images of graffiti are echoed in de Barros’ 1960s re-paintings of billboard images in a loose, graphic, painterly style. Though the Unilabor furniture cooperative was unsuccessful, de Barros drew upon this experience for hisdesign firm Hobjeto, established in 1964. Finally, de Barros’ concernwith embodiment and urban space would return in experimental happenings at the late-1960s experimental art space de Barros formed alongside artists Wesley Duke Lee and Nelson Leirner, Rex Gallery & Sons. Towards the end of his life, de Barros returned to photography with the mid-1990s series of cut and reconstructed negatives entitled Sobras, meaning Scraps or Remainders, applying the tactile procedures of his earliest practice to photographs taken over a lifetime.

—Adrian Anagnost


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

Chapter NY is pleased to announce שכינה (Shekinah), Erin Jane Nelson’s first solo exhibition at the gallery. The exhibition will present her most recent series of fabric-wrapped panel works and ceramic vessels.

Nelson’s practice is grounded in photography sourced from her personal archive of found and original images. She works serially, with each project delving into new conceptual frameworks as far ranging as the cultural anxiety around climate change, the sentience of octopuses, and the science fiction of our present moment. Her photographic elements merge onto unexpected support structures, their multiple references engaging the nuanced anxiety, conflict, and humor of the present and immediate future.

For this exhibition, Nelson embraces her Southern Jewish heritage as subject matter. The title of the exhibition, Shekinah, a word from rabbinical literature that means the feminine attributes of God, a sense of place in the world, a dwelling, has been Nelson’s framework for spiritual seeking. Based on research and photographs made while studying Judaism over the last year, she incorporates Jewish symbolism and archival photographs into this new work alongside her ongoing photographic practice documenting the environmental collapse of her home region.

Along with ceramics, found textiles and collaged photographs typical of earlier bodies of work, Nelson uses natural dying techniques that impregnate her works with the colors and ghosts of plants and insects. Her seeping and decaying forms, mixed with personally relevant subject matter, are inspired by poet Joyelle McSweeney’s concept of the necropastoral, a political-aesthetic space in which human depredations converge with nature’s decay. Coupled with an idealism of religion’s ability to heal and give guidance for mourning, Nelson leaves room for moments of respite and purpose within a fraught world.

Raised in the American South, Erin Jane Nelson lives and works in Atlanta, GA. In 2011 she received her BFA from The Cooper Union. Recent solo exhibitions include: Her Deepness, Atlanta Contemporary Art Center, Atlanta, GA; Psychopompopolis, Document Gallery, Chicago; and Dylan, Hester, New York. Her work has been featured in group exhibitions at La Galerie, centre d’art contemporain, Noisy-le-Sec, France; Deli Gallery, Brooklyn; Van Doren Waxter, New York; Capital Gallery, San Francisco; Pinakothek der Moderne, Munich; and the Whitney Museum of American Art, New York. Her work is currently included in Making Knowing: Craft in Art, 1950-2019 at the Whitney, which has recently acquired the artist’s work. Nelson will also be featured in an upcoming exhibition at the Fries Museum in Leeuwarden, the Netherlands.

EJN S Well 1 (2) website

Well 1, 2019
Found figurines, photographs, and resin on glazed stoneware
15 × 13 × 13 inches (38.10 × 33.02 × 33.02 cm)

Aron Gent
Sibylle Friche
Gallery and Print Studio Associate
Cody Schlabaugh

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 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.