Jessica Stockholder

August 28, 2006 at 6:59 pm Leave a comment

installation detail: “Your Skin in this Weather Borne Eye-Threads and Swolen Perfume,” at the Dia Center, NYC, 1994

“Made of Two Elements” 1990; one: wood, cloth, clothes line, wire lath, oil and acrylic paint;
two: 3 green light bulbs, light fixture, oil, enamel and acrylic paint, styrofoam, carpet, newspaper, magazines, glue, metal, street lamp shade, cloth and hardware, 96.5 x 78.7 x 284.5cm

“Vortex in the Play of Theatre with Real Passion: In Memory of Kay Stockholder,” 2000;
Duplo,theatre curtain, work site containers, bench, theatre light, linoleum, tables, fur, newspaper, fabric and paint, dimensions site-specific

“Untitled,” 2004; Metal hardware, green bowl, metal sign, wooden trivet, pink bias tape, plastic scrubby

“Inventory #355,” 2001; Toasters, red and white plastic parts, carpets, acrylic paint, green duct tape

“Inventory #351,” 2001; Washing machine, lift, cart, two lamps, acrylic and enamel paint

Since the 1980s, Stockholder has used everyday items and liberally applied paint to create distinctive sculpture-painting hybrids.

The concept of sculpture has changed so much in recent decades that most of what is currently classified as sculpture bears little resemblance to the millennia-old tradition of carved or cast figures. Practically any three-dimensional object serving a decorative, esthetic or conceptual purpose is now viewed as sculpture. The shift occurred in the 1960s, when Donald Judd argued that his planar wooden forms were not sculptures since they were neither “sculpted” nor statues. Sculpture, he proclaimed in 1965, “is finished.” In the late ’60s, Earth artist Michael Heizer declared that “the idea of sculpture has been destroyed, subverted, put down.” But sculpture, like painting, refused to die; instead, it was redefined to include the works of the very artists who rejected it. Read the entire article here Source:

It doesn’t matter what I use. It can be anything. What’s interesting is how what I’m doing meets with the stuff I use. But then it’s not entirely true to say that. I also choose things for particular reasons though not according to a particular aesthetic. More often I avoid the development of a cohesive look that will too powerfully direct the work in only one direction…”

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.”


Entry filed under: artist works, uncategorized.

“The Cast-Off Recast: Recycling and the Creative Transformation of Mass-Produced Objects” Do-Ho Suh

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