Jessica Stockholder

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My work this January 2011

I began, and still do begin, with a love for color and unrelenting interest in the intersection of a pictorial way of looking, (or thinking,) with the physical matter of the body and the materiality of things in space. I continue to be interested in how experience of the physical world, its form, and our form determine how and what we are capable of thinking. Both the structure of our perceptual apparatus (eyes, brain, size) and the given nature of the cosmos are the foundation for thought and understanding. Following from these givens we humans use metaphor to build elaborate abstract and concrete structures to live within. In this way I find form to be full of significance.

The surfaces of walls and objects are full of pictorial potential. The surface of an object purports to let us know something about its mass. This something is sometimes accurate, or informative about the nature of the thing we are apprehending, and sometimes the surface tells another story entirely — sometimes the surface generates a kind of fiction. It is this possibility, inherent in materiality, to generate fiction that I am enamored with. This interest has fueled my exploration of how paint meets, sticks to, or appears to jump off of, many different kinds of material. The addition of more materials put pressure on the edges of the frame.

I have explored the question of boundary first as it is proposed by the picture frame. I began with paint on canvas. Quickly I started adding things to the paint, and became interested in the materiality and dimension of the canvas. The relationship of the un-stretched canvas to the wall it hangs on was questioned. The loose fabric did not have the same mirroring relationship to the stiff wall as does a stretched canvas. I began to tend to the wall as a site with particular qualities. I placed multiple pieces of things in relation to one another on the wall and tended to the negative space between them. It became apparent that once having breached the boundary established by the painting frame the edges of the wall stepped in to establish boundary. And so, I moved from the wall out onto the floor in front of the wall, and then my attention moved past the walls of the room. I tended to light coming in from outside and vistas seen through windows. This exploration of physical boundary is resonant with the complexity of the boundaries we establish between one another in personal, social, cultural, and legal realms. The question of how we exist as individuals within a larger whole from which we are inseparable, and how we manage this juncture resonates with hundreds of years of philosophy, psychology and history.

Making sense of ourselves, the choices we make, and our reasons for living we must account for feelings alongside thoughts. I don’t believe the two are separable. Color evokes feeling; I am not sure why, but I do know that it does. I work with color, form and composition exploring the links between emotive and thoughtful response. My works provide an opportunity to reify internal mind/feeling space. For a moment the abstract insubstantial nature of feeling/thoughts can be experienced as external and embodied by material.

I am interested in ascertaining just what the nature of my experience is and noticing how the world I live in is meaningful in a very direct way. However, I have, through this process of inquiry become interested in and concerned about the nature of the objects I make use of. These things I find, buy, or accept as gifts, are made in myriad countries using a vast array of different skills, crafts and systems. They reference very different time periods, carry with them and reference many different histories. The collection of objects that I have easy access to is stunning in its diversity. I make my work in relationship to this backdrop and I have care and feeling for what it portends.

Biography

Born 1959, Seattle, WA

Lives and works in New Haven, CT

Director of Graduate Studies in Sculpture, Yale University, New
Haven, CT

Selected Solo & Two Artist Exhibitions:

2011

Aldrich Contemporary Art Museum, Ridgefield, Connecticut

Laumeier Sculpture Park, St. Louis, Grab grassy this moment your I’s

2010

Palacio de Cristal, Reina Sofia, Madrid, Peer Out to See

Barbara Edwards Contemporary, Toronto

Carreras Mugica, Bilbao, Air Padded Table Haunches, and…

2009

Mitchell-Innes & Nash, New York, Sailcloth Tears

Madison Square Park, New York, Flooded Chambers Maid, outdoor installation

Senior and Shopmaker Gallery, New York, Swiss Cheese Field

Robischon Gallery, Denver

Nathalie Obadia, Paris, Coating

2008

Galerie Art & Essai, Rennes, France, Jessica Stockholder – Lumps Bumps & Windy Figures Too

2007

1301 PE, Los Angeles, CA

Galerie Nächt St. Stephan, Vienna, Austria

Galerie Thomas Schulte, Berlin, Germany

2006

Mitchell-Innes & Nash, New York

Galleria Raffaella Cortese, Milan, Italy

PS1 Contemporary Art Center, Long Island City, NY, Of Standing Float Roots in Thin Air

Galerie Nathalie Obadia, Paris, Space Between

2005

Mario Diacono Gallery, Boston, MA, Four Gummed-Up Bits of a Crepe Sole Balled Up
Together with the Grimy Dirt on the Sidewalk and Stuck Dangling, but Firm, to
the Bottom of the Shoe that Hangs on the Toe of the Foot under the Diving Board

Kunsthallen Brandts Klaedefabrik, Odense, Denmark, survey exhibition

Galleria Civica D’Arte Moderna e Contemporanea di Torino, Italy; sculpture and prints

Blaffer Art Gallery, University of Houston, Texas

Weatherspoon Art Gallery University of Houston; Jessica Stockholder, Kissing the Wall: Works,1988-2003

2004

Rice University Art Gallery, Houston, Texas, Sam Ran Over Sand or Sand Ran Over Sam

Sable-Castelli Gallery, Toronto, Canada

2003

Gorney Bravin + Lee, New York, NY; Table Top Sculpture

CAPC, Musée d’art contemporain de Bordeaux, France; Jessica Stockholder, TV Tipped Toe Nail & the Green Salami

Chelsea Art Museum, New York, NY; Jessica Stockholder Prints

Galerie Rolf Ricke, Cologne, Germany; Jessica Stockholder

Baltic Art Center, Visby, Sweden, curated by Lynne Cooke

Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany; On The Spending Money Tenderly

Stiftung Wilhelm Lehmbruck Museum, Duisburg, Germany

2002

Galleria Raffaela Cortese, Milan, Italy

2001

Galerie Nächst St.Stephan,Vienna, Austria

Gorney Bravin + Lee, New York, NY

Galerie Nathalie Obadia, Paris, France

2000

Kunstmuseum St. Gallen, St. Gallen, Switzerland; Vortex in the Play of Theater with Real Passion (for Kay Stockholder) ‘Pictures at an Exhibition’

Bucknell Art Gallery, Bucknell University, Lewisburg, PA: Jessica Stockholder: Photography

1999

Center for Visual Arts, Cardiff, Wales; With Wanton Heed and Giddy Cunning, Hedging Red and That’s Not Funny

The Power Plant, Toronto, Canada; First Cousin Once Removed or Cinema of Brushing Skin

Galerie Rolf Ricke, Köln, Germany

1998

Catriona Jeffries Gallery, Vancouver, Canada

Galerie Nathalie Obadia, Paris, France; Turning Paper, monotypes from Two Palms Press

Sammlung Goetz, München, Germany; Fabian Marcaccio & Jessica Stockholder

Works on Paper, Inc., Los Angeles, CA; Fabian Marcaccio & Jessica Stockholder

Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerpen, Belgium; Landscape Linoleum

Betsy Senior Gallery, New York, NY; Turning Paper, monotypes from Two Palms Press

White Cube, London, England; installation: Coupling

Musée Picasso d’Antibes, Antibes, France; Torque, Jelly Role, and Goose

Musée des Beaux-Arts de Nantes / La Salle Blanche, Nantes, France; Nit Picking Trumpets of Iced Blue Vagueries

1997

Kunstnernes Hus, Oslo, Norway; Slab of Skinned Water, Cubed Chicken & White Sauce

Otis Gallery of Otis College of Art & Design, Los Angeles, CA; Jessica Stockholder: 200 Drawings

Gallery of Art, Johnson County Community College, Overland Park, KS; The Point of Departure: Moira Dryer & Jessica Stockholder

Deutscher Akademischer Austauschdienst (D. A. A. D.), Berlin, Germany; drawings

Contemporary Fine Arts, Berlin, Germany

Jay Gorney Modern Art, New York, NY

1996

Baxter Gallery, Maine College of Art, Portland, ME; Jessica Stockholder: 200 Drawings

Tom Solomon’s Garage, LA, CA, Bowtied In the Middle

Studio La Città II, Verona, Italy

1995

Galerie Nathalie Obadia, Paris, France

Dia Center for the Arts, New York, NY; Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume

Jay Gorney Modern Art, New York, NY

S. L. Simpson Gallery, Toronto, Canada

Sala Montcada de la Fundació “la Caixa”, Barcelona, Spain; Sweet for Three Oranges

1994

Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC; studio works & installation: PinkLady

Jay Gorney Modern Art, New York, NY; Joan Snyder and Jessica Stockholder

1993

Galerie Ludwig, Krefeld, Germany

Galerie des Arènes, Carré d’Art, Musée d’Art Contemporain de Nîmes, Nîmes, France; Edge of Hothouse Glass

1992

Kunsthalle Zürich, Zürich, Switzerland; Sea Floor Movement to Rise of Fire Place Stripping

Galerie Metropol, Wien, Austria; SpICE BOXed Project(ion)

American Fine Arts, Co., New York, NY; Flower Dusted Prosies

Westfälischer Kunstverein, Münster, Germany; Growing Rock Candy Mountain – Grasses in Canned Sand

1991

The Renaissance Society at the University of Chicago, Chicago, IL; Skin Toned Garden Mapping

Witte de With, Rotterdam, The Netherlands; Near Weather Wall and Making a Clean Edge II

Daniel Weinberg Gallery, Santa Monica, CA

Ezra and Cecile Zilkha Gallery, Center for Arts, Wesleyan University, Middletown, CN; UNTI⁠TLED Seepage: Sandwashed, Sundried & Shrinkwrapped, part three of three-part series: The Broken Mirror, curated by Klaus Ottman

1990

Isabella Kacprzak Galerie, Köln, Germany; Mary Heilmann and Jessica Stockholder; For Mary Heilmann

American Fine Arts, New York, NY; Where it Happened

1989

The Mattress Factory, Pittsburgh, PA; Mixing Food with the Bed

1988

Mercer Union, Toronto, Ontario, Canada; Indoor lighting for my father

Contemporary Art Gallery, Vancouver, BC, Canada; It’s not over til the fat lady sings

1985

Melinda Wyatt Gallery, New York, NY; Wall Sandwich

1984

Art Culture Resource Center, Toronto, Ont., Canada; In-side out

Selected Group Exhibitions (which included site installations):

2010

Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY, The Jewel Thief, co-curated with Ian Berry (September 18, 2010 – February 27, 2011)

2009

Denver Art Museum, Denver, CO, Embrace!

2006

Vancouver Art Gallery, Canada, Paint

2004

National Academy Museum, New York; 179th Annual: An Invitational Exhibition of Contemporary American Art

Galerie Nächt St. Stephan, Vienna, Austria; Kunst Stoff

Whitney Museum of American Art, New York, NY; “Whitney Biennial 2004”

2003

FRAC Lille, France; Flower Power; installation in group show

Tanya Bonakdar Gallery, New York, NY; Painting on Sculpture

2002-4

Trespassing: Houses x Artists; Palm Springs Desert Museum, Palm Springs, CA

Blaffer Gallery, Houston, TX University of South Florida

Contemporary Art Museum, Tampa, FL; MAK Center for Art and Art History, Los Angeles; Bellevue Art Museum, Bellevue, WA

2002

Addison Gallery of American Art, Phillips Academy, Andover, MA; SiteLines: Art on Main

Pace/Prints, New York, NY; New Editions & Monoprints (19 June – 12 July)

Triple Candie, NY; Living Units

2001

Site Santa Fe, Santa Fe, NM; Beau Monde: Toward a Redeemed Cosmopolitanism, curated by Dave Hickey; installation: Bird Watching

2000

Sprengel Museum, Hannover, Germany; In the Beginning was MERZ, Gelatinous Too Dry

(Schwitters homage exhibition traveling to Haus der Kunst, München, Germany)

Haus der Kunst, München, Germany; Apparent Things: Painting with Things, Pictures at an Exhibition (2 Sept. – 26 Nov., cat.)

1998

Centre Georges Pompidou, Paris France: Dijon / le Consortium. coll; House Beautiful, 1994 and Recording Forever Pickled, 1990

Saatchi Gallery, London, England; Young Americans 2; Bowtied In the Middle

1997

Halle Tony Garnier, Lyon, France; 4e Biennale de Lyon, curated by Harald Szeemann; Bowtied In the Middle, 1995

Corderie Building, Venice, Italy; La Biennale di Venezia: XLVII International Art Exhibition, curated by Germano Celant; Recording Forever Pickled, 1991

1996

Rooseum, Malmö, Sweden Magasin 3, Stockholm, Sweden; Painting The Extended Field; Bowtied In the Middle

1995

Horodner Romley Gallery, Soho NY Targets

Neue Galerie am Landesmuseum Joanneum, Graz, Austria; Pittura – Immedia: Malerei in den 90er Jahren, curated by Peter Weibel; Recording Forever Pickled

Selected Group Exhibitions (which included studio works):

2010

Friends in High Places, Christopher Henry Gallery, New York, NY

Galleria Max Estrella, Madrid, España/América La Abstracción redefinida

1301PE, Los Angeles, Mind The Step

Galleria Raffaella Cortese, Milan, Italy, Living With…

2008

Westport Art Center, Westport, CT, Color in 3D

Doris McCarthy Gallery, Toronto; Paragons: New Abstraction from the Albright-Knox Gallery

Center for Contemporary Printmaking, Norwalk, CT, Not Printed on Paper

Carreras Mugica, Bilbao

2007

Kunstmuseum Liechtenstein, Lust for Life: The Ricke Collection, Vaduz, Liechtenstein

Pilar Parra & Romero, Madrid

Aspen Art Museum, Like Color in Pictures

Mitchell-Innes & Nash, Concrete Works, New York, NY

Bellwether, In Defense of Ardor, New York, NY

Wadsworth Atheneum Museum of Art, Hartford, CT, Connecticut Contemporary

Albright-Knox Gallery, Buffalo, NY; Paragons: New Abstraction

2006

Greenberg van Doren Gallery, New York, NY, Women’s Work

2004

Ecole Superieure des Beaux-Arts du Mans, Le Mans, France; Peintures Migrantes

2003

The Cooper Union School of Art, New York; Under Pressure: Prints from Two Palms Press

2002

Wall St Rising, New York, NY; Art Downtown: New Photography

Barbara Krakow Gallery, Boston, MA; Print Publisher’s Spotlight Two Palm Press

Neuberger Museum of Art, Purchase, NY; Beyond the Pale: Material Possibilities

University Gallery, University of Massachusetts, Amherst, MA; Under Pressure: Prints from Two Palms Press

2001

Marianne Boesky Gallery, New York, NY; Camera Works

Rudolfinum, Prague, Czech Republic; American Art from Sammlung Goetz

Senior & Shopmaker Gallery, New York, NY; Prints & Multiples

Yale University Art Gallery, New Haven, CT; Objective Color, curated by Jennifer Gross

Western Gallery, Western Washington University, Bellingham, WA and traveling under the auspices of Independent Curators Incorporated; On Collecting: Pictures, Patents, Monkeys and More…, curated by Ingrid Schaffner (19 Jan. – Spring 2003, cat.)

2000

Kravets/Wehby Gallery, New York, NY; Before They Became Who They Are (13 Jan.-10 Feb), curated by Norman Dubrow

Galerie Nachst St. Stephan, Vienna, Austria

Heimer & Döring Kunstberatung, Berlin, Germany; Gebaude: Donald Judd, Gerhard Merz, Jessica Stockholder (with OpenOffice)

Kunsthalle Wilhelmshaven, Wilhelmshaven, Germany; Skulptur 2000, curated by Ute Riese

Hand Workshop Art Center, Richmond, VA; Beyond the Press: Innovations in Print

Blackwood Gallery, University of Toronto at Mississauga, Erindale College, Mississauga, Ont., Canada; Spilled Edge/Soft Corner

1999

Educational Alliance Gallery, New York, NY; Geez Louise!: Art After Louise Nevelson

Galeria OMR, Mexico City, Mexico; Think Twice: International Sculpture Show

Aronson & Main Galleries, Parson School of Design, New York, NY; Drawing in the Present

Galerie Nächst St. Stephan / Rosemarie Schwarzwälder, Wien, Austria; …und wandelt mit bedächtiger Schnelle vom Himmel durch die Welt zur Hölle, curated by Gunther Umberg

Betsy Senior Gallery, New York, NY; Recent Prints

Marcel Sitkoske Gallery, San Francisco, CA; Re: Rauschenberg, curated by Stuart Horodner

Kasseler Kunstverein, Kassel, Germany; Special Offer: Eine Ausstellung des Kölner Galeristen Rolf Ricke

1998

Susquehanna Art Museum, Harrisburg, PA; Coming Off the Wall, curated by Jonathan VanDyke

Museum Ludwig Köln, Köln, Germany; I Love New York: Crossover der aktuellen Kunst, curated by Dr. Christina Lissmann

Kunsthalle Zürich, Zürich, Switzerland; Auf der Spur: Kunst der 90er Jahre im Spiegel von Schweizer Sammlungen, organized by Andreas Schweizer

The Rotunda Gallery, Brooklyn, NY; Interpreting, with curatorial perspectives by: Lynn Cooke, Lia Gangitano, Robert Storr and Lydia Yee, curated by Dena Shottenkirk

University of Texas at San Antonio Art Gallery, San Antonio, TX

University Art Gallery, New Mexico State University, Las Cruces, NM; Santa Barbara Contemporary Arts Forum, Santa Barbara, CA; Chromaform: Color in, curated by Frances Colpitt

L A Louver Gallery, Los Angeles, CA; Painting Language

Galerie Georg Kargl, Vienna, Austria; Review

D’Amelio Terras Gallery, New York, NY; Humble County

Feigen Contemporary, New York, NY; Exploiting the Abstract

Yale University Art Gallery, New Haven, CT; Now and Later, alumni exhibition curated by Joachim Pissarro & Prof. Thomas Crow

Museum of American Art of the Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Pop/Abstraction, curated by Sid Sachs

Castle Gallery, College of New Rochelle, New Rochelle, NY; Alternative Measures, curated by Susan Canning

Jay Gorney Modern Art, New York, NY; Gallery Artists

1997

Contemporary Arts Center, New Orleans, LA; The Prophecy of Pop, curated by John Good

The Whitney Museum of American Art, New York, NY; Heart, Mind, Body, Soul: American Art in the 1990s, Selections from the Permanent Collection

Nassauischen Kunstverein, Wiesbaden, Germany; New York – Divergent Models, curated by Saul Ostrow

Studio La Città, Verona, Italy; Onomatopoeia

Apex Art, New York, NY; Colorflex, curated by Raphael Rubinstein

Rosenberg Gallery, Hofstra University, Hempstead, NY; Across Lines: J. Beuys, M. Chin, M. DiSuvero, J. Duff, M. Kendrick, J. Monti, J. Silverthorne, R. Smithson, J. Stockholder, D. Weiner, F. West, curated by Dan Devine

Bob van Orsouw Galerie, Zürich, Switzerland; Wandstücke IV: S. Fleury, T. Grünfeld, I. Knoebel, L. Mantello, O.Metzel, J. Stockholder, R. Tiravanija

1996

Studio La Città, Verona, Italy; L’Ossessione Del Segno

The Fabric Workshop and Museum, Philadelphia, PA; Millennium Eve Dress, curated by Janet Kardon

Schmidt Contemporary Art, St. Louis, MO; Unconditionally Abstraction

Beaver College Art Gallery, Beaver College, Glenside, PA; Patterns of Excess, curated by Paula Marincola

Rotunda Gallery, Brooklyn, NY; Luminous Bodies, curated by Dara Meyers-Kingsley

White Columns, New York, NY; What I Did On My Summer Vacation (benefit photography project)

Galerie Rolf Ricke, Köln, Germany; Form als Ziel mündet immer in Formalismus (Mies van der Rohe)

Usdan Gallery, Bennington College, Bennington, VT; Painting In An Expanding Field, org. by Saul Ostrow

Nott Memorial Art Museum, Union College, Schenectady, NY; Square Bubbles, curated by Arthur Gibbons

The Corcoran Gallery of Art, Washington, DC; Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting, curated by Terrie Sultan

Galerie Oddi Baglioni, Rome, Italy; Una Nuova Tradizione Americana

Contemporary Art Museum, University of South Florida, Tampa, FL

Wolfson Galleries, Miami-Dade Community College, Miami, FL; Robert Hull

Fleming Museum, University of Vermont, Burlington, VT; Re:Fab: Painting Abstracted, Fabricated, curated by Rochelle Feinstein, Shirley Kaneda and Margaret A. Miller

Dru Arstark Gallery, New York, NY; Elena Sisto, Lisa Hoke, Jessica Stockholder

Selected Public Collections:

Addison Gallery of American Art, Phillips Academy, Andover, MA

Musée Picasso d’Antibes, Antibes, France; installation: Torque, Jelly Role, and Goose Bump, 1997

Museum of Fine Arts, Boston, MA

Albright-Knox Art Gallery, Buffalo, NY

Art Institute of Chicago, Chicago, IL

Birmingham Museum of Art, AL

Indianapolis Museum of Art, Indianapolis, IN

Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC

The British Museum, London, England

Fonds Régional d’Art Contemporain – Limousin, Limoges, France

Los Angeles County Museum of Art, Los Angeles, CA

Whitney Museum of American Art, New York, NY

Carré d’Art, Musée d’Art Contemporain de Nîmes, Nîmes, France

Kunstmuseum St. Gallen, St. Gallen, Switzerland; installation: Vortex in the Play of Theatre with the Real Passion (for Kay Stockholder), 2000

Le Consortium, Dijon, France; installation: House Beautiful, 1994 and installation: Recording Forever Pickled, 1990

Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria; installation: Nit Picking Trumpets of Iced Blue Vagaries, 1997

Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerpen, Belgium; installation: Born of Landscape Linoleum

Saatchi & Saatchi Collection, London; installation: Bowtied in the Middle and installation: Edge of Hothouse Glass

Stedelijk Museum, Amsterdam, The Netherlands; installation: Coupling, 1998

Ulrich Museum, Wichita State University, Wichita, Kansas

Westfälischer Kunstverein, Münster, Germany

Centraal Museum, Utrecht, The Netherlands

Birmingham Museum of Art

Corcoran Gallery of Art, Washington, DC

Curated Exhibitions:

2010

Tang Teaching Museum, Skidmore College, Saratoga Springs, NY, The Jewel Thief

Selected Bibliography:

2009

Kino, Carol,The New York Times Arts and Leisure, June 14, 2009 Go Ahead, Play With (And On) the Art

The L Magazine, Art Fag City Two Great Shows in Chelsea, May, 22

Jessica Stockholder Coating solo project book published by les Compagnons du Sagittaire

2007

Lehrer-Graiwer, Sarah, Artforum.com, Critics’ Picks: Jessica Stockholder, 1301 PE, September 13

2006

Schambelan, Elizabeth, Artforum, 1000 Words: Jessica Stockholder, Jan. 2006; pp. 206-07

Schwendener, Martha, The New York Times, Jessica Stockholder at Mitchell- Innes & Nash, Art in Review, September 29

Schjeldahl, Peter, The New Yorker, Art Stockpiled, Jessica Stockholder, October 2

Buhmann, Stephanie, The Brooklyn Rail, ArtSeen: Jessica Stockholder, November

Nadelman, Cynthia, Artnews, Jessica Stockholder, December

Kraft, Jessica, Contemporary, New York: Mitchell-Innes & Nash, Jessica Stockholder, No. 88

Lowenstein, Kate, Time Out New York, Jessica Stockholder: Of Standing Float Roots in Thin Air

Johnson, Ken, The New York Times, Constrasts in Sculpture, In Theme and in Medium, February 21, 2006

2005

Colpitt, Frances, Art in America, Jessica Stockholder: A Merging of Mediums, Feb., pp. 92-97

2004

Barliant, Claire, Artforum.com, Critics’ Picks: Jessica Stockholder, Rice University Art Gallery, 14 Oct; www.artforum.com/picks/place=Houston

Cheetham, Mark, Border Crossings, Crossovers, Visual Arts: Jessica Stockholder, Issue No. 91; pp. 122-125

Johnson, Ken, The New York Times, The 179th Annual, 14 May

Princethal, Nancy, Art in America, Jessica Stockholder at Gorney Bravin + Lee, March; p. 121

Verdier, Evence, Art Press, Jessica Stockholder, Fevrier 2004, pp.72-73

2003

Cohen, David, The New York Sun, Arts & Letters: Gallery-Going, 5 Nov; p. 15

Levin, Kim, The Village Voice, When a ‘tender collision’ becomes an artist’s ‘situation,’ 5-11 Nov.

Unsigned, Arte, September/October 2003, p. 34, 35

Smith, Roberta, The New York Times, Review: Jessica Stockholder, 31 October; p. E41

Unsigned, The New Yorker, Reviews: Jessica Stockholder, 3 November; pp. 21-24

Yablonsky, Linda, Time Out New York, Art Reviews: Jessica Stockholder, 23 – 30 October; p. 79

Dannatt, Adrian, The Art Newspaper, Contemporary Commercial Galleries: Jessica Stockholder Table Top Sculpture,”No. 140, October; p. 3

Tumlir, JanFrieze, Trespassing: Houses x Artists, Summer; p. 120

Roug, Louise, LA Times, Home as art, and vice versa, 15 May; p. F.4

Yablonsky, Linda, ARTnews, Even the Kitchen Sink, May; pp. 136-139, cover

Unsigned, Artforum, The 1980’s: Part Two, April; p. 112

2002

Leinz, Gottlieb, Vernissage, Jessica Stockholder: Jenseits der Malerei, Duisburg, Winter, pp.4-13

Müller-Tamm, Pia, Vernissage, Jessica Stockholder: On the Spending Money Tenderly, Eine Installation in K20 Kunstsammlung Nordrhein/Westfalen, Winter; pp.14-15

2001

D’Souza, Aruna, Art in America, Reviews: Jessica Stockholder at Gorney Bravin + Lee, Oct.; p. 157

Pollack, Barbara, ARTnews, Reviews: Jessica Stockholder at Gorney Bravin + Lee, Summer; p. 174

Chambers, Christopher, Flash Art, Jessica Stockholder at Gorney Bravin + Lee, May-June; p. 151

UnsignedThe New Yorker, Galleries Downtown: Jessica Stockholder,12 March; p. 27

Cotter, Holland, The New York Times, Review: Jessica Stockholder, 2 March; E37

Unsigned, Art on Paper, Working Proof: Jessica Stockholder, March-April.

Levin, Kim, The Village Voice, Voice Choices: Jessica Stockholder, 27 Feb.

Ryan, David, CVA (Contemporary Visual Arts)(England), Jessica Stockholder: the theater of the inferred, Issue 32, 2001; pp. 30-35

2000

Berg, Ronald, Der Tagesspiegel, Die Dienstleister, 2 December, p.30

Lütgens, Annelie, Der Tagesspiegel, Schnittemenge Schwitters, 17/18 October

Möcklinghoff, Heidi, Münstersche Zeitung, Mit Pop-Vater in die Abfallkunst, 12 Sept.

Bosetti, Petra, Art (Hamburg), Auf die Besucher wird geschlossen, September

Unsigned, Hannover Live, Kunst: Sprengel Museum: Aller Anfang ist MERZ, September

Müller, Dorothee, Süddeutsche Zeitung, Kurt Schwitters – Kein Fall fur den Abfall, 28 Aug.

Winter, Peter, Frankfurter Allgemeine Zeitung, Ursonate in der Kathedrale des erotischen Elends, 25 Aug.

Bunte, Ursula, Kölnische Rundschau, Alle Dinge der Welt vernüpft, 25 August.

E., I., www.oraos.com, De Kurt Schwitters à aujourd’hui, 24 August.

Stockmann, Jochen, Focus (München), Müll war sein Motiv, 21 August.

Glanz, Alexandra, Hannoversche Allgemeine Zeitung, Die Dinge der Welt, 19/20 August.

Klara ,Hannover Woche, So viel Schwitters war noch nie da, 4 – 25 August.

Glanz, Alexandra, Hannoversche Allgemeine Zeitung, Das Sommergeschwitter, 4 August.

Restorff, Jorg, Kunstzeitung (Regensburg), Prinzip Collage, August.

Eakin, Hugh, Artnews, Dia’s New Direction, June, p.134-137 (news)

Anderson, Cecilia, NU: The Nordic Art Review, Artists for Hire: Houses X Artists, May, p. 12-13 (feature re: Houses X Artists project)

Unsigned, Neue Press, Blech aus Stöcken für Bildhauerin aus USA, 8 March.

Unsigned, Bild, Schrott in Sprengel Museum, 7 March

Unknown, Wolgan Misool (Seoul), World Topic: Jessica Stockholder, April, p. 112-116 (feat.)

1999

Feaver, William, Artnews, The Century’s 25 Most Influential Artists: Picasso, Leading Man, May, p.145 (editorial)

Milroy, Sarah, The Globe and Mail Visual Arts (Vancouver), Jessica Stockholder’s Material World, 2 Jan.

1998

Hirsch, Faye, On Paper, Working Proof: Turning Paper, May/June, p.35-37 (interview about Two Palms’ Turning Paper monotypes)

Zimmer, William, The New York Times,Show of Work Resembling Items at Hand, 15 Mar., p.16

1997

Storr, Robert, Artforum, Just Exquisite?: The Art of Richard Tuttle, Nov., pp. 86-93, 130 (illus.+ mention)

Rubinstein, Raphael, Art in America, Abstraction Out of Bounds, Nov., pp. 104-115 (editorial)

Unsigned, Scholastic Art, Artists Today, The Latest Trends in Art: Objects Transformed, Mar., pp. 6-7, 16 (editorial)

1996

Wilson, Malin, Art Issues (Los Angeles), Coming to Our Senses, Nov./ Dec., pp. 18-21 (editorial)

Tomlinson, Jessica, Portland Press Herald, Target Art opening Invited Participation, Nov. 7.

Halley, Peter, Tema Celeste, Il silenzio di ghiaccio / Icy Silence, Autumn, pp. 40-44,100-103

Wachtmeister, Marika, Femina (Stockholm), konst P† Gränsen Till Kaos, June, pp. 88-92 (feat.)

Independent Curators Incorporated Newsletter, New York Studio Events: Jessica Stockholder, Spring/Summer, p. 4 (studio conversation)

van den Boogerd, Dominic, Metropolis M, Ontbonden schilderkunst: Picturale ensceneringen van Rob Birza, Avery Preesman en Jessica Stock-holder, Apr., pp. 24-29 (feat.)

Iannacci, Anthony, Kunst Bulletin (Zürich), Installation als Illustration eines Denkprozesses: Jessica Stockholder im Dia Center for the Arts, New York, Apr., pp. 8-15 (feature)

Gardner, Paul, Artnews, Studio Visits: Pleasure, Pain & Protocol, Mar., p. 106 (editorial)

Stockholder, Jessica, The New Yorker, Self-portrait by Jessica Stockholder (Dia), 4 Mar., p. 36 (project)

Smith, Roberta, The New York Times, Art in Review, Feb. 3.

Levin, Kim, Village Voice, The Joy of Curating, Feb. 21.

Unsigned, Interview, Wham: Jessica Stockholder, Feb., p. 32-33 (feature)

Berkman, Robert, Linewaters’ Gazette (Brooklyn), Pulling Matisse Off the Wall, p.1 (feature)

Grants and Awards:

2007

Lucelia Artist Award, Smithsonian American Art Museum

Association Internationale des Critiques d’art, New England Chapter, First Place Award for the Best Installation or Single Work of Art in a Boston Museum

2001

August Seeling Preis, Freundeskreis Wilhelm Lehmbruck Museum e.V., Duisburg, Germany

1996

John Solomon Guggenheim Fellowship Award, Visual Art

1989

New York Foundation for the Arts Grant in Painting

1988

National Endowment for the Arts Grant in
Sculpture

1985

Susan H. Whedon Award, Yale University

First Alternate, Prix de Rome, American Academy of Rome