My work
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 Chicago
Chair, Department of Visual Art, University of Chicago
Selected Solo & Two Artist Exhibitions:
2019
Centraal Museum of Агt, Utrecht, Netherlands, Stuff Matters
The Contemporary Austin, Austin, ТХ, Save оп select landscape & outdoor lighting: Song to mind uncouples
2018
The Contemporary Austin, Austin, ТХ, Relational Aesthetics
Regenstein Library, University of Chicago, Chicago, IL, Play оп Surfaces & Surfing
Parcours, Art Basel, Switzerland, Three Squared оп the River Bank
2016
Mitchell-Innes & Nash, New York, NY, The Guests All Crowded into the Dining Room
Cleopatra’s, Brooklyn, NY, Jessica Stockholder: Works оп Paper from the 1980’s
Galerie Nächst St. Stephan, Vienna, Austria, Snug Parting
56 Henry, New York, NY, Stockholder
2015
Smart Museum, Chicago, IL, Rose’s lnclination
Kavi Gupta Gallery, Chicago, IL and Smart Mнseum, Chicago, IL, Door Hinges
Galeгie Nathalie Obadia, Paгi, Раlрablе Glyphic Rapture
2014
Gary Lichtenstein Editions at Mana Contemporary, Jersey City, NJ
C.Ar.D Contemporary Art & Design, Pianello Val Tidone, Italy, Erstwhile & Notwithstanding
Galleria Raffaella Cortese, Milan, Italy, Glimpse
2013
Ваrbага Edwards Contemporary, Calgary, Canada, Jessica Stockholder
1301РЕ, California, Lift
Art 44 Basel, Switzerland, Wide Eyes Smeared Here Dear
2012
Fuпdacion Ваriе de la Maza, Vigo, Spain
Le voyage а Nantes, Biennale de Nantes, organized Ьу the Frac des Pays de la Loire, Hollow Places Court in Ash-Tree Wood
Musee d’art moderne, Saint-Etienne Metropole, France, Wide Eyes Smeared Here Dear
Мах Estrella Gallery, Madrid, Spain, Jessica Stockholder
2011
Aldrich Contemporary Art Museum, Ridgefield, Connecticut, Hollow Places Court in Ash-Tree Wood
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):
2018
The Fragrance of Images – Works of colección OLOR VISUAL, Barcelona, Art and Culture Foundation Opelvillen Rüsselsheim, Germany
Senza Теrrа. Carta / Paper; Studio La Città, Verona, Italy
The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Со. (1983- 2004), Center for Cultural Studies, Bard College, Annandale-on-Hudson, NY
Generations Female Artists in Dialog Part 1; Sammlung Goetz, Munich, Germany
Outliers and American Vanguard Art; National Gallery of Art, Concourse Galleries, Landover, MD
Plastic Entanglements: Ecology, Aesthetics, Materials; Palmer Museum of Art, Penn State College, University Park, РА
2017
[sic] Works from the САРС Collection; Musee d’Art Contemporain de Bordeaux, Bordeaux, France
La Pergola; Musée régional d’art contemporain Occitanie / Pyrénées Méditerranée, Serignan, France
ТНЕ ANXIETY OF INFLUENCE; Chapter NY, New York, NY
Contra; Fine Arts Center Gallery, University of Arkansas, AR
UmhverfinglShapeshifting; Hjalteyri Herring Factory, Hjalteyri, Iceland
99 Cents or Less; Museum of Contemporary Art Detroit, Detroit, MI
Expanded; Mana Contemporary, Chicago, IL
2016
Revolution in the Making: Abstract Sculpture bу Women, 1947 – 2016; Hauser & Wirth, Los Angeles, СА
Contemporary Highlights from the Collection; The National Academy Museum, New York, NY
Her Crowd, New Art bу Women for our Neighbors’ Private Collections; Bruce Museum, Greenwich, CN
А Revolution in the Making; Hauser Wirth and Schimmel Gallery, Los Angeles, СА
2015
Dancing Foxes Benefit Exhibition; Bridget Donahue Gallery, New York, NY
SITE 20 Years / 20 Shows SPRING, SITE Santa Fe, NM
2014
Ladies First!; Kiinstlerinnen aus der Sammlung Schaufler, Schauwerk Sindelfingen, Sindelfingen, Germany
ОК Great REALLY this is ALSO RIDICULOUS; DCKT Contemporary, New York, NY
ОК GREAT THANKS THIS IS SO RIDICULOUS; curated bу Brion Nuda Rosch, АСМЕ Gallery, Los Angeles, СА
IN FUTURE: а potential; Magazin 4, Bregenzer Kunstverein, Bregenez, Austria
Painting Made Different: Fabian Marcaccio, Sam Moyer, & ]essica Stockholder; curated bу Jill Brienza, Salina Art Center, Salina, KS
2014 Invitational Exhibition of Visual Arts; Academy of Arts & Letters, New York, NY
2013
Painting in the Expanded Field; Mary S. Byrd Gallery of Art, Georgia Regents University, Augusta, GA
Impulse and Connoisseurship: Selections from the Forde Collection; Westmont Ridley-Tree Museum of Art, Montecito, СА
The Ceiling Should Ве Green; Р!, New York, NY
Paint Things; DeCordova Museum and Sculpture Park, Lincoln, МА
Оп the Matter of Abstraction (figs. А & В); Rose Art Museum, Brandeis University, Waltham, МА
2012
Drawings bу Sculptors; Inman Gallery, Houston, ТХ
Greetings from Los Angeles; Starkwhite, Auckland, New Zealand
То Ве а Lady: Forty-Five Women in the Arts; 1285 Avenue of the Americas Art Gallery, New York, NY
Everyday Things: Contemporary Works from the Collection; The Museum of Art, Rhode Island School of Design, Providence, RI
2011
Not about Paint; Steven Zevitas Gallery, Boston, МА
New Work: ]essica Stockholder, ]ohn McEnroe, Jае Ко, Derrick Velasquez, Wendi Harford, Terry Maker, Linda Fleming, Judy Pfaff, Katy Stone and Вlake Haygood, Roblschon Gallery, Denver, СО
Schnitte im Raum: Skulpturale Collagen; Museum Morsbroich, Leverkusen, Germany
21 Americans; Bernard Jacobson Gallery, New York, NY
Towards the Third Dimension; David Floria Gallery, Aspen, СО
CIRCA 1986: The 80’s from Six Important New York Art Collections; curated bу John Newson, Nicola Trezzi, and Astrid Honold, Hudson Valley Center for Contemporary Art, Peekskill, NY
2010
Friends in High Places; Christopher Henry Gallery, New York
España/América La Abstraccion redefinida; Galleria Мах Estrella, Madrid
The ]ewel Thief; Frances Уoung Тang Тeaching Мuseum and Art Gallery at Skidmore College, Saratoga Springs, NY, co-curated with Ian Berry
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, МА
Auckland Art Gallery, Auckland, New Zealand
Albright-Knox Art Gallery, Buffalo, NY
Art Institute of Chicago, Chicago, IL
Birmingham Museum of Art, AL
The British Museum, London, UK Bump, 1997
Carré d’Art, Musée d’Art Contemporain de Nimes, France
Centraal Museum, Utrecht, The Netherlands
Corcoran Gallery of Art, Washington, DC
Fonds Regional d’Art Contemporain – Limousin, Limoges, France
GАМ Torino, Turin, Italy
Indianapolis Museum of Art, Indianapolis, IN Kunstmuseum St. Gallen, St. Gallen, Switzerland
Le Consortium, Dijon, France
Lehmbruck Museum, Duisburg, Germany
Los Angeles County Museum of Art, Los Angeles, СА
Musée d’art Moderne, Saint-Etienne, France
Musée des Beaux-Arts, Nimes, France
Musée National d’Art Moderne Centre Pompidou, Paris, France
Musée Picasso d’Antibes, Antibes, France
Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
Museum of Fine Arts, Boston, МА
Museum of Modern Art, NY
National Gallery of Australia, Canberra, Australia
Neuberger Museum of Art, Purchase, NY
Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerp, Belgium
Orange County Museum of Art, Newport Beach, СА
Saatchi & Saatchi Collection, London, UK
Staedel Museum, Frankfurt, Germany
Stedelijk Museum, Amsterdam, The Netherlands
San Francisco Museum of Modern Art, СА
The British Museum, London, England
Ulrich Museum, Wichita State University, Wichita, Kansas
Vancouver Art Gallery, Canada
Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC
Westmont Ridley-Tree Museum, Santa Barbara, СА
Westfalischer Kunstverein, Miinster, Germany
Whitney Museum of American Art, New York, NY
Yale University Art Gallery, New Haven, СТ
Curated Exhibitions:
2010
Tang Teaching Museum, Skidmore College, Saratoga Springs, NY, The Jewel Thief
Selected Bibliography:
2018
Celant, Germano, et al. Jessica Stockholder: Revised and Expanded Edition,Phaidon Press, Ltd., London, England, 2018
2012
Madoff, Steven Henry. Jessica Stockholder: Wide Eyes Smeared Here Dear, Musée d’Art Moderne Saint-Etienne Metropole, Saint-Priest-en-Jarez, France, 2012
Madoff, Steven Henry, The Question of Assignment
Pique, Pascal, The Invisible in the Art of ]essica Stockholder
2011
Jessica Stockholder: Grab grassy this moment your I’s, Laumeier Sculpture Park, St. Louis, IL, 2011
2010
АВС Taste: The Perfect Guest, Captures Editions, Valence, France, 2010
2009
Jessica Stockholder: Coating, Les Editions Incertain Sense/Universite Rennes, Rennes, France, 2009
Stockholder, Jessica and Adam Weinberg. Jessica Stockholder: Flooded Chambers Maid, Madison Square Art, New York, 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