Reception: Friday July 24th > 5-8 Pm

RE|PRODUCTION is part of a 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 (in-house) production of a new work at Document.

Document presents new context-specific works from Alice Konitz, Lasse Schmidt Hansen, and Sterling Lawrence; three artists who each reproduce objects, either through de-contextualization or re-presenting forms of architectural displacement. This exhibition conceptually links to an earlier exhibition of Marcus Geiger & Margaret Welsh, which was presented at Document earlier this year. The series will come together next for the September exhibition with Sean Snyder’s “Re-Convergence (Algorithmic Archaeology),” which will be his first US solo exhibition since his Artists Space exhibition in 2011.

Alice Konitz sculptural works border on the edge of existing as architecture either as small models or sculptures. Conceived initially as small models or sketches, they sometimes reappear in her work as life size sculptural objects with names like Taco Stand, etc. Often the materials she chooses (Cardboard, mirrored foils) often force the viewer to rethink the (architectural) object; as these materials are often metaphorical stand-ins for other materials. For example “Untitled” (2015) which has been reproduced at Document, started out as a small model based on the memory of a table at a Swedish rest-stop. This sculpture, which functions as part table, part trashcan, was based on architectural drawings that were created to produce the object life-size. Through these gaps in memory and technical reproduction this object becomes a unique sculptural object through minor adjustments in size, material, and general placement within the gallery space.

Lasse Schmidt Hansen presents a grouping of black molleton fabrics entitled “Dismantled” (2014 – Present). These fabrics were originally used in theatres, photo studios, or galleries and their general purpose serves to block out light sources in galleries or black boxes. Generally these objects are part of the (gallery) inventory and are often kept for re- use. These remnants contain indexical traces of the original architectural spaces from which they were used, along with nail holes, plaster, and staples. By re-presenting these spatial fragments the original space becomes partially reassembled within Document.

Sterling Lawrence’s Rack 03 is a sculpture that references a sensibility of use, which is intentionally left unclear as to what specificity this use was intended for. Studies for the form started with investigations into the skeletal supports of magazine racks. In the process of making the work, size sifted from a traditional floor magazine rack found next to a reading chair to something different. Lawrence shortened the legs, and exaggerated the length of the piece to the length of his own body. In doing so, the form began to resemble a cot in scale, however the elastic bands kept to the interior form of that found in initial studies of magazine racks. The work itself is a model for a study of translation; it becomes something new and in turn revealing a state of confusion, which questions both platforms and circumstances.

 

Artists Bios:

Alice Konitz (Born in Germany, lives in Los Angeles). Since 2012, Konitz runs LAMOA Space and in 2014 she became the winner of the Mohn Award at the UCLA Hammer Museum (Los Angeles) through her participation in the “Made in L.A.” Exhibition. She also participated in the 2008 Whitney Biennale. Solo Exhibitions include: Galerie naechst St. Stephan in Vienna (upcoming), LAXART (Los Angeles), Susanne Vielmetter (Los Angeles and Berlin), Hudson Franklin (NY), and LACE (Los Angeles).

Lasse Schmidt Hansen (Born in Denmark, lives in Copenhagen and Berlin). Recent solo exhibitions include Christian Andersen (Copenhagen), Galerie Hussenot (Paris), and Galerie Reinhard Hauff (Stuttgart).

Sterling Lawrence (Born in the United States of America, Lives in Chicago) has had solo exhibitions with Devening Projects + Editions, Chicago; and Tony Wight Gallery, Chicago. Lawrence has been included in group exhibitions at Scotty Enterprises, Berlin; Soloway, NY; Columbia College, Chicago; Devening Projects + Editions, Chicago; and New Capital via Forever and Always, Chicago.

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 3/4 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

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

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, Ghost Tracks, 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

Contemporary Art Daily

NADA Miami 2018

December 11, 2018

NADA Miami 2018, Paul Mpagi Sepuya at Document. Courtesy of the artist and Document, Chicago.

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

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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.