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Reception: Friday, November 2nd

DOCUMENT is pleased to present THE LAUGHTER, an exhibition of new works by Sara Greenberger Rafferty, the artist’s second solo show with the gallery.

Using images pulled from from archival, stock, and dis­carded commercial film, primarily purchased via eBay, Rafferty’s works in plastic and silver gelatin prints present both colorful and achromatic versions of images which invoke the senses: hands, eyes, lips. These include scans of positive film, specifically slides, representing photographic exercises by teachers and students alike. While the imagery is quite historical, the evocations are quite contemporary. As Johanna Fateman recently noted in The New Yorker, Rafferty’s works [give] “random cultural artifacts the heft of major archeological finds.”

Sara Greenberger Rafferty has exhibited widely since 2001, including solo exhibitions at MoMA PS1, New York; The Kitchen, New York; Eli Marsh Gallery at Amherst College, Massachusetts; Fine Arts Center Gallery at University of Arkansas; and a commissioned sculpture for the Public Art Fund. Gloves Off, the first traveling survey of her work with accompanying fully illustrated catalogue published by SUNY Press, completed a three-venue tour last year.

The artist was included in the 2014 Whitney Biennial and the 2014 Hammer Biennial in addition to group shows at the Portland Institute for Contemporary Art, Oregon; Museum of Contemporary Art San Diego, California; and The Jewish Museum, New York, among many others. Her work is included in the collections of the Museum of Modern Art, the Whitney Museum of American Art, and the University of Chicago Booth School of Business. Rafferty is Associate Professor and Director of Graduate Studies in Photography at Pratt Institute in Brooklyn.

  • Sara Greenberger Rafferty, Dollar Test (University of Michigan Extension), 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 x 20 in

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, Slides I (University of Michigan Extension), 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 17 x 21 1/2 in

  • Sara Greenberger Rafferty, Slides II (University of Michigan Extension), 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 17 x 21 1/2 in

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, Ringaround, 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 1/2 x 23 1/2 x 1 3/8 in

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, Red Hand, 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 x 20 in

  • Sara Greenberger Rafferty, 1, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Sara Greenberger Rafferty, 2, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Sara Greenberger Rafferty, 3, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, 4, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Sara Greenberger Rafferty, 5, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Sara Greenberger Rafferty, 6, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Installation view at DOCUMENT

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, 7, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Sara Greenberger Rafferty, 8, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4 x 16 1/4 x 1 3/8 in, Edition of 5

  • Sara Greenberger Rafferty, 9, 2018, Gelatin silver print mounted to 8-ply archival board, 20 1/4h x 16 1/4w x 1 3/8d in, Edition of 5

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, Eye Test (University of Michigan Extension), 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 x 20 in

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, Yellow Wall, 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 x 20 in

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty, Color Bar Composition, 2018, Acrylic polymer and inkjet prints on acetate on Plexiglas, and hardware, 60h x 63w in

  • Installation view at DOCUMENT

  • Sara Greenberger Rafferty Double Wall, 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 x 30 1/2 in

  • Sara Greenberger Rafferty, Meds II, 2018, Acrylic polymer and inkjet print on acetate mounted to Plexiglas, 16 3/4 x 20 3/4 in

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 3/4 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

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
312-535-4555

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.