Download Exhibition Brochure

Document is pleased to present The palm at the end of the mind, a new body of work by Mary Helena Clark. The exhibition opens on December 11th, 2015 with a reception from 5-8pm, and will continue through January 23rd, 2016.

Poet-filmmaker-theorist Dziga Vertov jumps off of the roof of his summer home. Vertov has his cameraman film the leap in an attempt to capture his “real thoughts” while falling. Coming from a history of motion studies, the camera shifts its focus from the recording of an action– the falling figure– to a record of the invisible. Of the film experiment, poet Susan Howe writes, Is it sense perception or depiction I see ‘thinking’?

The palm at the end of the mind proposes another kind of exercise: one that speculates a new body through new ways of seeing rather than attempting to translate the inner-workings of one.

On monitors, students of the Sanford Meisner school of acting play extremes of human feeling. The tenet of Meisner’s teachings is to live truthfully under imaginary circumstances. In close-up, the figures are captured in momentary engrossment as they fall in and out of character. At the center of the exhibition is Palms, a film constructed in four parts, each moving further away from a human subjectivity. Alluding to a state of disembodiment, the film’s images arrive like thoughts. In this way, Palms skirts an expected relationship with its subjects, encountering them as both agents of and extractions from the real world. Here our vision is monocular, collapsing figure and ground.

Mary Helena Clark (born 1983, USA) lives and works in central New York. Her work has been exhibited and screened nationally and internationally, including presentations at the Swedish Film Institute (Stockholm), The Gene Siskel Film Center (Chicago), the Museum of Contemporary Photography (Chicago), the Wexner Center for the Arts (Columbus, OH), Anthology Film Archives (New York), the Yerba Buena Center (San Francisco), the National Gallery of Art (Washington) and at the New York, London and Toronto International Film Festivals. She has curated film programs for Altman Siegel Gallery, NYC, and The Nightingale, Chicago, among other venues.

Watch Palms here

Watch an exerpt of Untitled (Meisner technique) here

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

WANDERLUST: ACTIONS, TRACES, JOURNEYS 1967-2017

Janine Antoni. Touch, 2002. © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York.

SEPTEMBER 7-DECEMBER 31, 2017

UB ART GALLERY THRU DEC. 16 AND UB ANDERSON GALLERY THRU DEC. 31, 2017

OPENING RECEPTION: UB ART GALLERY, CFA SEPTEMBER 7, 5-8PM
UB Art Gallery: September 7-December 16, 2017
UB Anderson Gallery: September 7-December 31, 2017

 

Wanderlust: Actions, Traces, Journeys 1967-2017 is a 50 year survey exhibition that considers the themes of action and exploration outside of the studio and how artists engage this theme in various ways, including walking, cartography, land use, endurance, and the consideration of public space. This exhibition highlights a variety of art practices, dating from the late 1960s and continuing through present day. Artists include Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, OHO, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Michael X. Ryan, Todd Shalom, Greg Stimac, Mary Ellen Strom, and Guido van der Werve. The exhibition will be on view at the UB Art Galleries from September 7-December 31, 2017 and travel to the Des Moines Art Center in February 2018. The catalogue, published by MIT Press, includes essays by Jane McFadden, Lori Waxman and Rachel Adams

For the first time, this exhibition brings together regional, national and international artists that focus on actions in and with the landscape through various practices. No longer separately relegated to “walking” art or “land” art, but including action-based processes, Wanderlust allows viewers to experience 50 years of artistic practices that are intertwined while highlighting diverse approaches to contemporary art. By experiencing the gallery exhibitions and participating in public programs, viewers will gain an understanding of working outside the box. Artwork in the exhibition ranges in medium from drawing, photography, sculpture, installations, film, and video to performance and social practice taking place in both urban and rural landscapes. Taking its name from Rebecca Solnit’s book Wanderlust: A History of Walking, the exhibition will include works that are narrative, political, performative, and conceptual examples of contemporary art. Represented works vary in process—some artists work as solitary figures implanting themselves physically on the landscape while others form actions and create movements in a collaborative manner or in public. The exhibition will not be installed chronologically; historic artworks will be juxtaposed with recent and commissioned artworks that relate to each other through influence from previous decades and artistic intention.

Beginning with significant historical works from artists such as Richard Long, who was one of the first artists to make walking his art form, to Ana Mendieta, who carved and shaped her own figure into the earth and documented these private sculptural performances, to Michelangelo Pistoletto’s performance, Walking Sculpture, in which he and a group of people walked a large newspaper ball down the streets of Turin, the exhibition will include works from all decades since the 60s and commission artists to create new work for 2017. Commissions of new work will include: a two-channel video piece by William Lamson, who will explore a double mirror video project filmed on a boat; and a new walk by artist Carmen Papalia; and The Grass is Always Greener—a collaboration with art collective Fallen Fruit to bring fruit trees back to Buffalo’s Fruit Belt neighborhood.

During the exhibition, public programs and workshops will be scheduled to take place outside of the gallery walls, allowing visitors to experience their own form of wanderlust. A schedule of public programs will be posted closer to the opening of the exhibition.

Wanderlust: Actions, Traces, and Journeys 1967-2017 is organized by the University at Buffalo Art Galleries, Buffalo, New York and curated by Rachel Adams, UB Art Galleries Senior Curator. Wanderlust: Actions, Traces, and Journeys 1967-2017 and its publication are supported by Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.

IMAGE: Janine Antoni. Touch, 2002. © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York.

Wanderlust: Actions, Traces, Journeys 1967-2017

 

Geraldo de Barros at DOCUMENT (6)
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.