During the month of August DOCUMENT will be hosting a residency for Michael Pfisterer. This month long studio session will be used for the preparation of an upcoming exhibition at devening projects + editions. All Works are available through devening projects + editions and his exhibition “Beyond the Garden of Cyrus” is on view at devening projects + editions though October 3rd. www.deveningprojects.com

In his most recent project, Michael Pfisterer has been photographing early 19th and 20th century mathematical and biological models found in various university and library collections. Once photographed, the objects are carefully stripped of their context and left as empirical evidence of a once, very specific usage. The decontextualization of these mysterious objects divests them of their original meaning and loads them with new associations. In a text by Francis Bacon there is a tale of an emperor seeking wisdom. His counselor suggests four things: that he should establish a comprehensive library; create a botanical and a zoological garden; build a laboratory and a studio of considerable size in which there shall be assembled and classified whatever man´s hand has created, from rare and exquisite art to mechanics in matter; and to identify whatever nature has created that might live and be conserved. This essay can be seen today as not only an important document of modern sciences´ beginnings and comprehension of nature but also a very accurate and poetic introduction to how one explores, handles and organizes knowledge. The medium of photography does not only encompass creation and collection of images, their organization and sequence but also the possibility to show new orders of visibilities. Through photography Pfisterer presents images outside of their original, pragmatic, syntactic or semantic characteristics, in order to explore new multi-focal relationships between illustration, reference, exposition, display, assumption, analogy, concept, prototype, formula, theory, system, sign, fiction and vision.

Ideas about spatial order and various utopian theories developed over time have created a vast array of models of ambiguous origin and make. Pfisterer uses these models as vehicles to collect and compare conceptual commonalities. His choice of subject is chiefly guided by three aspects. Each model has its origin in a historical past and is therefore defined and framed in our perception by that lineage. He is also intensely attracted to a particular quality of ambivalence, of an openness in the interpretation of the function and intent of each object. The third quality is purely visual. The richness of the patinated surfaces and the many layers inherent in the structure of each form become important to the selection and editing process. The models are evocative; distilling the relationship between the physical aspect of each and its intended function, becomes a mechanism for the conversation between the audience and the work. Through his highly methodical process, Pfisterer adds new layers of reality to those concepts and enriches them through a complex recalibration of documentation and fiction.

Michael Pfisterer studied in Mainz and Hamburg, Germany; since 1998 he has shown his work in solo and group exhibitions in Shanghai, Chicago, Boston, Hamburg, Cologne, Leipzig, Paris, Vienna and many other cities. Michael Pfisterer is currently Professor of Visual Communication at the Akademie Mode and Design in Hamburg where he also lives and works. In preparation for this exhibition, Michael Pfisterer completed a month-long residency at Document in Chicago. This is his second solo exhibition with the gallery.All Text and Images Courtesy devening projects + editions.

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

Andrew Norman Wilson will be participating in a group exhibition, Art in the Age of Anxiety, at Sharjah Art Foundation in the United Arab Emirates! He will be showing his 2011 film, “Workers Leaving the Googleplex.”⁠
The exhibition runs March 21 – June 21, 2020.⁠

Participating artists

• Lawrence Abu Hamdan
• Cory Arcangel
• Jeremy Bailey
• Wafaa Bilal
• James Bridle
• Antoine Catala
• Douglas Coupland
• Thomson & Craighead
• Simon Denny
• Aleksandra Domanović
• Constant Dullaart
• Electronic Disturbance Theater
• Cao Fei
• Oliver Laric
• Lynn Hershman Leeson
• Rafael Lozano-Hemmer
• Eva and Franco Mattes
• Joshua Nathanson
• Katja Novitskova
• Trevor Paglen
• Jon Rafman
• Tabor Robak
• Pamela Rosenkranz
• Aura Satz
• Bogosi Sekhukhuni
• Jenna Sutela
• UVA
• Siebren Versteeg
• Andrew Norman Wilson
• Guan Xiao
• YOUNG-HAE CHANG HEAVY INDUSTRIES

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.