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Document is pleased to present Middle Gray, a selection of eight black and white silver gelatin photograms and five wooden sculptures by California-based artist Greg Stimac. Together, the works in Middle Gray examine the firearm craftsmanship of the early American West and the traditions of capturing the frontier in photographs.

To craft the photographic works, Stimac uses Google Street View to re-construct locations in the darkroom by way of cut cardboard layers and “burning and dodging” techniques. In utilizing this process, Stimac is able to represent almost any landscape, vantage point, and time of day, while presenting deceptive trompe l’oeil representations through the traces of rough edges and all too-perfect gradients. In Great Divide (East) and Great Divide (West) Stimac simply reverses his cardboard “negative,” looking west into a sunset in one and east at pre-dawn in the other– perhaps suggesting a glance back after a slow night’s journey.

Stimac brings into focus the intensity of being sublimated by the sublime landscape. The photograms which contain bright or dark horizon lines remind us that we don’t have the entire picture or context for this image. We become engulfed in the direction we look, spurring an anxiety that we have been dropped off in a landscape where the foreground is unclear— a quiet, unconquered territory. Presented a virgin space devoid of contemporary landmarks we become hopeful that we are heading west towards the unmanifested coast and out of the valley, which confines our visual window.

Perhaps neutered weapons prepared for our imaginary journey, the sculptures in this exhibition originate from black walnut gun stocks, stacked, reduced, and shifted from their intended use. They cannibalize one another, muting themselves into stoic representations that destabilize their steadying function for a marksman. Stimac scavenged the hardwood butts from a Northern California gunstock manufacturer and used them to heat a cabin during the time he produced this work. In that isolated setting, Stimac found himself attracted to the hardwood materials he discovered and the ways they aesthetically rhyme with land and flesh. Standing in as darkened landmarks, they caution the limitations and dangers of traversing the wilderness. These forms appear as abstracted bodies and inverted vertical horizons, echoed in the silhouettes of the photogram ridge lines. These shapes, conceived of across the sea, are again used to form the territory of the American West.

GREG STIMAC (American, b. 1976) lives and works in California. He received his B.F.A. from Columbia College Chicago in 2005 and his M.F.A. from Stanford University in 2013. Past exhibitions include Worlds Away: New Suburban Landscapes, which began at The Walker Museum of Art, Minneapolis and traveled to the Carnegie Museum of Art, Pittsburgh and USA Today, at the Museum of Contemporary Art, Chicago, an exhibition of works from their permanent collection. His most recent group exhibitions include Phantoms in the Dirt at the Museum for Contemporary Photography, Chicago (2014) and The 7 Borders at the Kentucky Museum of Art and Craft (2013). Stimac has had solo exhibitions at The Museum of Contemporary Art, Chicago and White Flag Projects in St. Louis, Missouri, 2010. His work is in the permanent collections of the Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; UBS, Chicago; the Wieland Collection, Atlanta; and the Ruttenberg Collection, Chicago, among others

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 3/4h x 19w x 1d in

Elizabeth Atterbury, Alone at night, 2018, Mortar, plywood and glue, 23h x 19w x 1d in

Elizabeth Atterbury, Still life with bowl and mirror, 2018, Mortar, plywood and glue, 23h x 19w x 1d in

Elizabeth Atterbury, Anonymous Old Poem, 2018, Mortar, plywood and glue, 23h x 19w x 1d in

Elizabeth Atterbury, Calligraphy Frame, 2018, Maple, acrylic paint, glue, 60h x 40w x 1d in

Elizabeth Atterbury, The Well, Again (Pool), 2017, Beach sand, glue, MDF, 10 1/2h x 8w x 6 1/4d in

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

"Document." Wallpaper* City Guide Chicago. March 2018. Page 058. Print.

DOCUMENT Wallpaper Chicago City Guide

Document
This small and edgy gallery — a simple, lofi venue with white walls, lightwood floors and industrial elements — specialises in photography, film and media-based art. Founded in 2011 by Aron Gent, it focuses on bringing new and emerging names to wider attention. A 2017 joint exhibition by local talents John Paul Morabito and Laura Letinsky saw them combine photography and weaving in painterly cotton and wool works, while John Opera showed a range of compelling geometric cyanotypes in ‘Technical Images’ (above). There is a coterie of fresh enterprises in the building, which is the hub of the Ukrainian Village scene — Volume Gallery (see p062), Paris London Hong Kong (see p069) and Western Exhibitions (T 312 480 8390) are all here.

1709 W Chicago Avenue, T 262 719 3500,
www.documentspace.com

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

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 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.