Jessica Stockholder

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Jessica Stockholder
Born 1959
Seattle, Washington, United States
Nationality American / Canadian
Education Yale University
Known for Painting, Drawing, Sculpture, Printmaking, Ceramics
Notable work(s) Peer out to see, (2010); Swiss Cheese Field 8 (2009); Growing Rock Candy Mountain – Grasses in Canned Sand, (1992)
Movement Installation art

Jessica Stockholder (born 1959) is a sculptor and installation artist who has had exhibitions in Europe and USA, her works, "challenge boundaries, blurring the distinction among painting, sculpture and environment, and even breaching gallery walls by extending beyond windows and doors".[1]

Life and work[edit]

Flooded Chambers Maid (2009-10) at Laumeier Sculpture Park, St. Louis, Missouri

Stockholder studied painting at the University of Victoria in Victoria, B.C., Canada, and received an MFA from Yale University. In 2010 she was awarded an honorary Doctorate of Fine Arts from the Emily Carr College of Art.[2]

Up until 2011, Stockholder worked as a director and professor of graduate studies in sculpture at Yale University. She is currently the faculty chair of the Department of Visual Arts at the University of Chicago. Her work has been exhibited at Dia Center for the Arts, New York; the Whitney Museum of American Art, New York; P.S. 1, New York; SITE Santa Fe; the Venice Biennale; Kunstmuseum St. Gallen; and Centre Georges Pompidou, Paris.

Stockholder has said of her own work and approach that "My work developed through the process of making site-specific installations—site-specific sometimes in very specific ways but also just by virtue of being "art" in a room; there's at least that much going on between the work and its context; after all, paintings don't hang on trees. In all of the work I place something I make in relationship to what's already there. With installations it's the building, the architecture, or you might say it's the place that I work on top of; with the smaller pieces I work on top of or in relation to stuff that I collect. I don't see a dichotomy between formalism and something else. Form and formal relations are important because they mean something; their meaning grows out of our experiences as physical mortal beings of a particular scale in relationship to the world as we find it and make it. I don't buy that formalism is meaningless".[3]

In 2009, The New York Times said of Stockholder: "For more than 25 years, Ms. Stockholder has been celebrated for site-specific sculptures and installations that challenge boundaries, blurring the distinction among painting, sculpture and environment, and even breaching gallery walls by extending beyond windows and doors".[1]

References[edit]

  1. ^ a b Carol Kino (June 12, 2009). "Go Ahead, Play With (and on) the Art". The New York Times. Retrieved 7 January 2011. 
  2. ^ Christian Flynn. "Jessica Stockholder, Artist". Yale University website. Retrieved 7 January 2011. 
  3. ^ Klaus Ottmann (1990). "Jessica Stockholder". Journal of Contemporary Art. Retrieved 7 January 2011. 

Catalogues and Publications[edit]

  • Doll, Nancy & Sultan, Terry. Jessica Stockholder. Kissing the Wall: Works, 1988-2003. Blaffer Gallery, Houston. 2003
  • Special Offer. Kasseler Kunstverein. Kassel, Germany. 1999.
  • Coming Off the Wall. Susquehanna Art Museum. Harrisburg, Pennsylvania. 1999.
  • Jessica Stockholder: With Wanton Heed and Giddy Cunning Hedging Red and That's Not Funny. Centre for Visual Arts. Cardiff, Wales. 1999.
  • Jessica Stockholder: First Cousin Once Removed or Cinema of Brushing Skin. The Power Plant. Toronto, Canada. 2000.
  • Jessica Stockholder: Vortex in the Play of Theatre with the Real Passion (for Kay Stockholder).
  • Verlag fur moderne Kunst, Nurnberg, Germany with Kunstmuseum St. Gallen. St. Gallen, Switzerland. 2001.
  • Jessica Stockholder. K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf and Stiftung Wilhelm Lehmbruck Museum. Duisburg, Germany. 2002.
  • Jessica Stockholder: Sam Ran Over Sand or Sand Ran Over Sam. Rice University Art Gallery. Houston, Texas. 2004.
  • ART in Embassies Program: Contemporary American Art. United States Embassy Prague. ART in Embassies Program U.S. Department of State. Washington, DC. September, 2004.
  • Jessica Stockholder: White Light Laid Frozen-Bright Longing and Soggy Up the Hill. Kunsthallen Brandts. Odense, Denmark. 2005.

External links[edit]