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DOCUMENT is pleased to present The Laughter, Sara Greenberger Rafferty’s second solo exhibition at the gallery. The exhibition will open on November 2nd with a reception from 5pm to 8pm, and will continue through December 23, 2018.

  • Stan VanDerBeek, Poemfield No. 7, 1967-1968, 16mm film, color, sound, 4:10 min., dimensions variable

  • Installation view at DOCUMENT

  • Installation view at DOCUMENT

  • Installation view at DOCUMENT

  • Poemfield No. 7 installation view at DOCUMENT

  • Stan VanDerBeek, Poemfield No. 7, 1967-1968, 16mm film, color, sound, 4:10 min., dimensions variable

  • Poemfield No. 7 installation view at DOCUMENT

  • Poemfield No. 7 installation view at DOCUMENT

  • Stan VanDerBeek, Poemfield No. 7, 1967-1968, 16mm film, color, sound, 4:10 min., dimensions variable

  • Stan VanDerBeek, Poemfield No. 7, 1967-1968, 16mm film, color, sound, 4:10 min., dimensions variable

  • Stan VanDerBeek, Poemfield No. 7, 1967-1968, 16mm film, color, sound, 4:10 min., dimensions variable

  • Installation view at DOCUMENT

  • Installation view at DOCUMENT

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still

  • Stan VanDerBeek, Computer Generated Animation Film Frames, 1977-1978, 3M Color-in-Color System 1 Copy Machine prints from black-and-white 35mm film stills, 11 1/2h x 14 1/2w in each

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still 11h x 8w in

  • Stan VanDerBeek Computer Generated Animation Film Frame, 1977-1978 3M Color-in-Color System 1 Copy Machine print from black-and-white 35mm film still 11h x 8 1/2w in

  • Installation view at DOCUMENT

  • Stan VanDerBeek, Mandell/as 1, 2, and 3, 1973, Computer graphic silkscreen on paper, 18 x 18 inches each, Edition of 20

  • Installation view at DOCUMENT

  • Stan VanDerBeek Mandell/as 1, 1973 Computer graphic silkscreen on paper 18 x 18 inches each 19/20 SV001

  • Stan VanDerBeek Mandell/as 3, 1973 Computer graphic silkscreen on paper 18 x 18 inches each 19/20 SV001

  • Stan VanDerBeek Mandell/as 2, 1973 Computer graphic silkscreen on paper 18 x 18 inches each 19/20 SV001

  • Installation view at DOCUMENT

  • Installation view at DOCUMENT

Available Works

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 3/4h x 19w x 1d in

Elizabeth Atterbury, Alone at night, 2018, Mortar, plywood and glue, 23h x 19w x 1d in

Elizabeth Atterbury, Still life with bowl and mirror, 2018, Mortar, plywood and glue, 23h x 19w x 1d in

Elizabeth Atterbury, Anonymous Old Poem, 2018, Mortar, plywood and glue, 23h x 19w x 1d in

Elizabeth Atterbury, Calligraphy Frame, 2018, Maple, acrylic paint, glue, 60h x 40w x 1d in

Elizabeth Atterbury, The Well, Again (Pool), 2017, Beach sand, glue, MDF, 10 1/2h x 8w x 6 1/4d in

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

Claude Viallat, 1972/C23 1972 Ink on rope 51 x 3/4 in

1989/066, 1989 Acrylic on tarpaulin 76h x 35 3/4w in

Claude Viallat 1990/133, 1990 Acrylic on Fabric 59 1/4h x 60 1/4w in

Claude Viallat 2010/217, 2010 Acrylic on sheet 61 x 33 1/2 in

Claude Viallat studied at the Ecole des Beaux-Arts de Montpellier from 1955 to 1959, then at the École des Beaux-Arts in Paris in 1962-63, in Raymond Legueult’s workshop. In 1966, he adopts a process based on fingerprints, which shall enter into a critical radical of the lyrical abstraction and geometric (in technique called All-over). A neutral form is repeated on a free canvas without frame determining the composition of the work. In 1969, he was a founding member of Supports / Surfaces.
In addition to the growing success of its exhibitions in France (at the Pompidou Center in 1982) and abroad (Venice Biennale in 1988), he devoted himself to his work as a teacher in the art schools following: Nice, Limoges, Marseille, Nimes (where he was director for many years), then Paris at the École Nationale Supérieure des Beaux-Arts de Paris.

Claude Viallat has been a contentious defender of modernism since 1964, when he began working with the idea repeated pattern to refuse the idea of subject. Since then he has eschewed stretchers or frames. This repeated shape has become Viallat’s trademark and signature and figures on all kinds of surfaces, from rugs, tents, curtains and other loose fabrics, endlessly repeating itself, yet always creating something new.

1709 W Chicago avenue
Chicago, IL 60622
262-719-3500

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

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 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.