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Document is pleased to present “Soap Opera Pop Music”, a selection of image and text based works by New York based artist Sara Magenheimer.

A particular confluence from earlier this year:

I was reading Blaise Cendrars’ poems. I wrote a poem for each of the titles in his poem “16. Titles.”

I was reading Michael McClure’s poems – I Iike his performative linguistic physicality, both sonically and graphically.

I was introduced to a letterpress. Each piece of lead type was a sculptural form dictated by the letter, punctuation mark or dingbat it depicted. Arranging them on a surface created a landscape of text.

I was shooting video and still photos of object arrangements in my studio, rocks that I’d collected and painted different colors, sponges, earplugs, display hands, and ceramics.

I visited Brancusi’s studio in Paris. Encased in glass, it felt like a sort of diorama in a natural history museum. I saw his photographic equipment alongside his sculptural works, in multiple, and thought about representation, repetition of form, and objects’ performative qualities before a camera lens.

My studio evolved into a set in which an actor, objects, and photographs performed for the camera. The text I was writing turned into letterpress arrangements, turned into collages with photographs.

A relationship to an oblique narrative runs through my work; references to things outside of the work connect to an unknown social or cultural context. The work accesses narrative potential and emotional energy in a constant vacillation between specific references (Chris Montez, an earplug, a hand) and ambiguity (ADD A MARK, an abstract blob of clay), functionality (a period acts like a period) and abstraction (a period is a circle, a dot, a shape, the sound “ooo”.)

It’s said that Cendrars’ work evoked photographic impressions, cinematic effects of montage and rapidly changing imagery, while McClure famously performed a reading of his work for caged lions at the SF Zoo. In my work, words are always the shape of the letters that comprise them, the sound of their articulation, as well as what they mean. Sound is always a vibration of molecules, as well as a catalyst for emotion when organized into a melody. The physical embodiment of linguistic utterance as performed by material is at play.

Sara Magenheimer is an artist based in upstate NY. Recent exhibitions include Chapter NY, 247365 Gallery, Cleopatra’s, NY. Recent screenings include The New York Film Festival, The Kitchen, New York; Brooklyn Academy of Music, Brooklyn, NY; The Cave, Detroit, MI; SiteWork, Chapel Hill, NC; MOMA, Portland, OR; The Living Art Museum, Reykjavik, Iceland; and Meet Factory, Prague, Czech Republic. Since 2012 she has performed at Recess, MOMA P.S.1, Issue Project Room, Canada Gallery, and the Performa 13 Biennial. Her collaborative project, Bloopers, received commissions from Triple Canopy and EMPAC, at Rensselaer Polytechnic Institute. She was named one of Blouin Art Info and Modern Painters Top 25 Artists to Watch in 2014, and was the recipient of a 2014 Rema Hort Mann Foundation Emerging Artist Grant.

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, The Portland Museum of Art, Mrs, The Colby College Museum of Art, Waterville, kijidome, Boston, Document, Chicago, 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.

The Well, The Wall, 2016 Silver gelatin print 20 x 24 in

The Well, The Wall II, 2016 Silver gelatin print 20 x 24 in

Beach Woks (Marks of a Tool II), 2016 Silver gelatin print 20 x 24 in

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

Logogram III, 2016 Silver gelatin print 20 x 24 in

Logogram II, 2016 Silver gelatin print 20 x 24 in

Logogram I, 2016 Silver gelatin print 20 x 24 in

Sunny Side, FL (Tomb), 2016 Enamel paint, steel 12 x 7 1/2 x 5 1/2 in

Sunny Side, FL (The Cut), 2016 Enamel paint, steel 13 1/2 x 28 1/2 x 1 1/4 in

Sunny Side, FL (Sunset Hedge), 2016 Enamel paint, steel 1 1/2 x 16 x 2 1/2 in

Sunny Side, FL (Small House), 2016 Enamel paint, steel 1 x 16 3/4 x 14 1/2 in

Sunny Side, FL (Bull Shark), 2016 Enamel paint, steel 2 1/2 x 18 x 1 1/2 in

Sunny Side, FL (Paper Cut / Hedge), 2016 Enamel paint, steel 10 x 9 x 1 3/4 in

Sunny Side, FL (Noguchi's Intetra, Mist Fountain), 2016 Enamel paint, steel 11 x 9 1/2 x 9 1/2 in

Sunny Side, FL (Lawn), 2016 Enamel paint, steel 9 x 9 in

Sunny Side, FL (Big House), 2016 Enamel paint, steel 16 x 18 x 6 in

Sunny Side, FL (Palms), 2015 Enamel paint, steel 17 1/2 x 11 x 16 in

Relief (China White), 2015 Plywood and paint 33 x 48 x 1 3/4 in

Moonlight on the river, 2014, chromogenic print 14 x 11 in

Slow Song, 2014, chromogenic print 14 x 11 in

Marks of a tool, 2014, silver gelatin print 11 x 14 in

Rake, 2014, Silver gelatin print 24h x 20w in

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

Black Beach, 2014, silver gelatin print 14 x 11 in.

Bones, 2014 Silver gelatin print 11 x 14 in

Glyphs II, 2014 Silver gelatin print 11 x 14 in

Glyphs, 2014 Silver gelatin print 11 x 14 in

Site, 2014 Silver gelatin print 11 x 14 in

Sculpture Park, 2014 Silver gelatin print 11 x 14 in

Bricks, 2013, chromogenic print 14 x 11 in

Harry, Henri, Sal, 2013, chromogenic print 14 x 11 in

Blue runner, 2013, chromogenic print 14 x 11 in

Art Omi: The Fields Sculpture Park opens a new exhibition including works by Sara Greenberger Rafferty. The exhibition will be on view from June 14, 2018 until June 1, 2019.

After Harry, 2008, plexiglass, stainless steel, rope, chains, locks, vinyl, found objects. 84 x 36 x 36 inches.

Created for the Public Art Fund in 2008, this work was sited at Metrotech Center in Brooklyn, a public plaza ensconced in the judicial center of Brooklyn. While title After Harry explicitly references Harry Houdini—a figure that figured prominently in Greenberger Rafferty’s practice at that time—this work also alludes to the grave impacts of the judicial system. The courts are a place where justice is handed out, and where there terms of bondage are determined: will the invisible actor in this piece escape or be held in chains?

Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at The Kitchen, New York; MoMA PS1, New York; Eli Marsh Gallery at Amherst College, Massachusetts; The Suburban, Illinois; and a commissioned sculpture for the Public Art Fund. In 2014, she participated in the Whitney Biennial; the Hammer Biennial; and had solo exhibitions in Portland, Oregon, Riga, Latvia, and New York. In 2015, her work was included in exhibitions at the Museum of Contemporary Art, San Diego, the Atlanta Contemporary Art Center in Georgia, and Galerie Andreas Huber in Vienna. In 2016, she mounted her 4th solo exhibition at Rachel Uffner Gallery; and had a solo project at Document in Chicago. In 2017, she opened a traveling museum show with accompanying fully illustrated catalogue, published by SUNY Press.

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.