orchidsgladiolascowsdaffodilscandywrappersyelloworangebloodredroses&shit

Ecstatic in the growing sweat and wilt of the mid-morning sun. Gray snakeskin cement spewed with pink star flowers. Still optimistic, the morning-after field of crimson-made-orange in the gold cold of the midday sun blinding white garlands and cigarette butts.

Delirious already in the morning heat, we return to a garden that never was with knowledge we cannot forget. And we fall into color; its material an unraveling of the time and space compressed by the camera. Reveling in shit the flowers grow, their sweetness is trampled beneath as we tromp about in our own exquisite filth. Last night’s flowers, digitally apprehended/documented, are cast out of an Eden remembered, and brought home to the loom. The shutter’s click is joined by a wooden whir as the shuttle plies back and forth. Line by line, the digital screen is consumed by burning scarlets, acid yellows, and putrescent greens. Those wool threads, loose and tangled, are mired amongst the flowers (redolent with their perfumes and high noon sweat).

Petals are flattened, and perfume is swallowed into clumps of pink-becomes-yellow wool.

The image, what was a moment there is transcribed. Here and away, outside, to inside, that garden scourged to grow anew. Passed from hand to hand, wilting and brought to bloom again. Like the children’s game of words passed from one to the other; there becomes image becomes here, insistent now as material, albeit differently so.

Laura Letinsky and John Paul Morabito have been collaborating since 2013’s Stain Napkins project. Together, the artists explore the relationships between photography and weaving, using digital interfaces to bring these two material outputs into direct communication.

Laura Letinsky is Professor at the Department of Visual Arts at the University of Chicago. Her work has been widely exhibited and is part of numerous public collections, including the Art Institute of Chicago, The Getty Museum in Los Angeles, SF MoMA, and the Museum of Fine Arts Houston.

John Paul Morabito is Faculty in the Department of Fiber and Material Studies at the School of the Art Institute of Chicago. His work has been exhibited at numerous interna- tional venues, including Dorksy Gallery Curatorial Programs, Long Island City, NY; Bakalar and Paine Galleries, Boston, John Michael Kohler Arts Center, Sheboygan, Glass Curtain Gallery, Chicago, RabbitHoleStudio Gallery, Brooklyn, NY, Textile Arts Center, Brooklyn, NY, and Local Lore Museum, Kherson, Ukraine.

Elizabeth Atterbury

Elizabeth Atterbury (b. 1982, West Palm Beach, FL) received a BFA from Hampshire College and an MFA from MassArt. She lives and works in Portland, Maine. Recent solo exhibitions include Mrs. (Queens), Document (Chicago), The Colby College Museum of Art (Waterville, ME) and kijidome (Boston). She has been in two person and group exhibitions at the Portland Museum of Art (Portland, ME), Kate Werble (New York), Et al. Etc (San Francisco), and Bodega (New York) among others.

Atterbury’s studio practice is fluid, fluctuating between picture making and object making, relying on a series of glyphs that the artist has created to form a coded language. 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.  In her monotype prints that combine chine collé and embossing techniques, 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, 44 Flags 1, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 1, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 2, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 3, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 5, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 6, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 8, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 11, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 13, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 20, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 21, 2020, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 1, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 3, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 6, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 9, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 10, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 28, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 36, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 39, 2019, Chine collé and embossment

Elizabeth Atterbury, Three Walking, 2019, Mortar, plywood, and glue

Elizabeth Atterbury, Center Before Outside (Red, Yellow, Blue, Black), 2019, Mortar, plywood, glue

Elizabeth Atterbury, Labor, 2019, Mortar, plywood, and glue

Elizabeth Atterbury, Tango Tango, 2020, Mortar, plywood, and glue

Elizabeth Atterbury, Tango Tango (detail), 2020, Mortar, plywood, and glue

Elizabeth Atterbury, The Well is a Wall, 2020, Mortar, plywood, and glue

Elizabeth Atterbury, The Well is a Wall (detail), 2020, Mortar, plywood, and glue

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

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)

Urn, 2018, Basswood, ash, 7 x 7 x 3.625 inches

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, Ghost Tracks, 2014, Silver gelatin print, 24 x 20 in

Elizabeth Atterbury, Still Life with Popcorn and Pits, 2016, Silver gelatin print, 11 x 14 in, Edition of 3

Installation view at DOCUMENT

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, 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

We are proud to support gallery artist Paul Mpagi Sepuya in a fundraising effort for organizations that fight systemic and individual racism, police brutality and pretrial detention, unfair and corrupt elections, and advocate for equality, justice and inclusion.

Please see below for more information about purchasing a solidarity print. 

Paul Mpagi Sepuya Studio (0X5A4983), 2020, Archival Pigment Print, Print size 6″ x 9″, Paper size 8.5″ x 11″ Unlimited Edition

This unlimited edition print by gallery artist Paul Mpagi Sepuya is offered for a minimum $250 donation to any of the organizations listed below. We strongly encourage you to make a donation that reflects your capacity to give. Suggested donation amounts are $250, $500, $1,000, and upwards. Limit one print per person.

To purchase a print, please make your donation to any of the organizations listed below. Then e-mail your donation receipt to solidarity@paulsepuya.com with your full name and mailing address.

Donations made after 5/30/20 will be honored.

DOCUMENT is donating the cost of printing and will ship prints directly to purchasers. USPS shipping within the United States of America is complementary. International shipping will be organized by DOCUMENT at the purchaser’s expense. The print will be shipped to you unframed and unmounted directly from the printer. Please note that your print may take about 30 days to be printed and shipped.

Organizations:

Alliance of Californians for Community Empowerment

Black Lives Matter Los Angeles

Black Trans Advocacy Coalition

CURB Prison Spending / Californians United for a Responsible Budget

Fair Fight

LA Art Workers Relief Fund

The Laundromat Project

LGBTQFUND.ORG

National Bail Out

No More Deaths

The Robert Giard Foundation Grant to an emerging LGBTQ photographer

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
Gallery and Print Studio Associate
Cody Schlabaugh
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 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.