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Document is pleased to present Geiger/Welsh a selection of works by Marcus Geiger (Vienna) and Margaret Welsh (Chicago). The exhibition is the first in a planned series of exhibitions (organized by Michael Hall and Aron Gent) inviting both local and international artists to work on an exhibition and collaborate with the production side and services that Document offers.

The main Geiger work on view is a sculpture that functions somewhere between a model and physical architecture. Six identical 4’ x 8’ panels that can be assembled and re-assembled into various objects or buildings, originally the object was designed in the 90’s to present smaller works, something between a shelf and a wall.

Geiger’s approach to the gallery space is more understandable when you learn that he studied stage design (1978-82) at the Academy of Fine Arts in Vienna where his classmates were Peter Kogler and Heimo Zobernig and he has often collaborated with Kogler and Franz West. What all these artists have in common is a particular ‘Viennese’ approach to art and design, seeing all things as equal and making no particular valuations between a painting and a chair, a carpet or a sculpture. The room itself should be used and activated, not just peered into like a canvas. Known as an “artist’s artist,” especially in today’s hyper art market, Geiger’s approach appears aloof and he is known to rarely accept general invitations to present his works at galleries or museums, questioning the value of his own artistic production and its reception.

Margaret Welsh was considered an up-and-coming Chicago artist in the late 90s receiving press for her installations and photo/video work in Artforum, Flash Art, The New York Times, New Art Examiner and many others, until she suddenly stopped producing and exhibiting. More than a decade later Welsh has started on a new series of works connecting back to the work she made before her Pop Art influenced installations. The Welsh works on view explore the physical unfolding and refolding of paper shopping bags, creating readymade forms that often repeat or are variations of one another. Once settling on a pair of shapes she applies layers of house paint picked up at her local home improvement center. Welsh uses Mistints and rejects from the discount paint bin, painting her found shapes with found colors to create unique object/images out of everyday discarded materials.

Welsh’s works ultimately bounce between the dualities of painting and sculpture, the expressive and the formal, the symbolic and the literal, and nonsense and meaning. The works deconstruct a structure used to safely transport our belongings (paper bags) and Welsh physically manipulates the bags to create geometric compositions out of these discarded readymades. The works offer up humility by using what the artist refers to as “oops” colors that lay unclaimed at the reject colors shelf in the paint department. However, Welsh chooses to cover the entire surface of the bags without the hint of gesture, and in doing so they retain a certain boldness as the works float on the gallery walls.

Marcus Geiger (b. 1957, Switzerland), lives and works in Vienna.

Selected Exhibitions: 2014 “Soliel Politque” Museion, Bolzano, Italy (curated by Pierre Bal-Blanc); 2013 (Solo) Wiener Art Foundation, Vienna; 2010 6th Berlin Biennale, Berlin; 2005 “Occupying Space” Haus der Kunst, Munich; 2007, Galerie Engholm (with Axel Huber), Vienna; 2003 Bawag Foundation (with Peter Kogler) Vienna; 2000 Kunstmuseum St. Gallen, CH; 2001 (Solo) Secession, Vienna; (Solo) Österreichische Galerie im Belvedere, Vienna; 2000 Manifesta 3 Biennale, Ljubljana, SL; 1998 “100 JAHRE SECESSION”, Secession; 1997 “postproduction” Generali Foundation, Vienna: (solo) Kunsthalle Bern, CH

Margaret Welsh (b. 1965 USA), lives and works in Chicago.

Selected Exhibitions: (1994-2000) LISTE 99, Basel; (Solo) 1998 Chicago Project Room; (Solo) 1998 PPOW, (Solo) New York; 1997 Chicago Project Room; Ten-in-One Gallery, Chicago; Gallery 400, Chicago; N.A.M.E. Gallery, Chicago.

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.