Friedrich Meschede: Laokoon oder Über die Grenzen von Skulptur und Installation bei Jessica Stockholder
Die Ausstellung mit Werken von Jessica Stockholder in der Sammlung Goetz gibt Anlaß und Gelegenheit, deutlicher, als bisher auf die Unterschiede oder gar Gegensätze hinzuweisen, die zwischen den Installationen einerseits und den Skulpturen andererseits bestehen.
Die Installationen
Jessica Stockholder ist in den vergangenen Jahren, beginnend mit der Installation "The Lion, the Witch and the Wardrobe" (Der Löwe, die Hexe und der Kleiderschrank) im Artists Space 1985 in New York, bekannt geworden durch die völlige Inbesitznahme von Ausstellungsräumen, die man ihr zur Verfügung gestellt hat. Nahezu alle Installationen der vergangenen Jahre sind durch Kataloge dokumentiert, die anläßlich der Ausstellungen in Rotterdam/Chicago 1991, Münster/Zürich 1992/93, New York 1995/96, Oslo 1997, Nizza und Nantes 1998 erschienen sind. Jessica Stockholder hat in den Tagen und Wochen vor den Ausstellungen in diesen öffentlichen Institutionen gearbeitet, im Hinblick auf die Räume Material bestellt, das auf seine Weise in Form und Farbe zu einem Leitmotiv jeder einzelnen Installation wurde. Mit Helfern wurden die Bestandteile für die Bedingungen des Raumes geordnet, bisweilen wurden subtile architektonische Veränderungen vorgenommen, um so den jeweiligen Ort zu einem neuen, unverkennbaren Raum mit eigener Ordnung werden zu lassen. Diese Installationen haben Raumbilder geschaffen, aber immer nur auf Zeit; deshalb dokumentieren heute nur noch die Photographien davon diese Landschaften aus Materialassemblagen, Farben, Passagen und Lichtern. Als Erinnerung bleiben die Dimensionen im Gedächtnis haften, die Jessica Stockholder zu gestalten wußte. Als Stimmung dieser Resonanzräume von Formen und Farben herrscht eine gewisse Heiterkeit vor, die von einer respektvollen Bewunderung für die Souveränität begleitet wird, mit der Jessica Stockholder immer wieder einen Raum verwandelt. Betrachtet man die wunderbaren, langen Titel der Installationen, die selbst Jessica Stockholder nicht mehr auswendig kann, so rufen sie ein leichtes Schmunzeln hervor: "Sea Flower Movement to Rise or Fire-place Stripping" (Seeanemonen Bewegung nach oben oder Sich ausziehender Kamin), Zürich, "Growing Rock Candy Mountain Grasses in Canned Sand" (Wachsende Stein Bonbon Berg Gräser in Sand in Dosen), Münster, "Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume" (Deine Haut in diesem Wetter Bach Augefäden & angeschwollenes Parfüm), New York, "Slab of Skinned Water, Cubed Chicken & White Sauce" (Eine Scheibe von gehäutetem Wasser, gewürfeltem Huhn & weißer Soße), Oslo.
Alle Installationen entstanden in relativ kurzer Zeit, immer auf den Raum bezogen, nur für die angesetzte Ausstellungsdauer. Die Arbeitsprinzipien einer raumgreifenden Installation wurzeln in Konzepten gestalteter Räume, wie sie seit jener Urzelle des Merzbaus von Kurt Schwitters die Kunstgeschichte durchziehen. Immer wieder ist auf die Einflüsse der Happenings von Allan Kaprow, der "Combined Paintings" von Robert Rauschenberg, der Assemblagen von Edward Kienholz hingewiesen worden, um die spezifisch amerikanische Struktur der Installationen von Jessica Stockholder zu betonen. Schließlich ist den Installationen von Jessica Stockholder ein Aspekt der Performance eigen, der auf Theatralik, Inszenierung und Ereignishaftigkeit dieser Werke basiert.
Die Skulpturen
Anders die Skulpturen. Diese Werke von Jessica Stockholder, die aufgrund ihrer Herstellungsweise und Materialien auf den ersten Blick den Installationen verwandt zu sein scheinen, entstehen jedoch aus einer anderen künstlerischen Haltung. Sie werden im Atelier geschaffen, sie entstehen nach langer Auseinandersetzung um die richtige Form, im Bewußtsein, sie dauerhaft in die Welt zu setzen. Man kann sie insofern als autonom bezeichnen, als sie unabhängig vom Raum für viele vergleichbare Stellen gestaltet worden sind. Im Unterschied zu spontanen Anordnungen bei den Installationen arbeitet Jessica Stockholder im Atelier behutsam komponierend mit den präzise ausgewählten Materialien. Das hat zur Folge, daß die Themen der Skulptur, ihre Bestimmung von Größe und Proportion, Gliederung und Fassung unabhängig von architektonischen Vorgaben aus der werkimmanenten Konstellation heraus begreifbar werden müssen.
Ein hervorragendes Beispiel dafür ist Arbeit "Kissing the Wall I" (Die Wand küssend I) aus dem Jahre 1988. Ein gefundenes Möbelstück dient Jessica Stockholder als Ausgangsform. Es gibt durch seine Größe ein Maß vor, das die Privatheit eines Wohnraumes repräsentiert. Die Vorderseite, an der sich die Schubladen befinden, ist mit Zeitungspapier verklebt und somit seiner Funktion beraubt. Das aufgekleisterte Papier schwillt zu einer wulstigen Form an, so daß ein neues Volumen entsteht, das die Kommode zusammen mit der Machémasse wie ein amorphes Gebilde erscheinen läßt. Diese Einheit der neuen Gestalt wird durch ein farbiges Band bekräftigt, das in seiner geometrischen Form und durch seinen Verlauf das Gebilde wie eine Klammer zusammenhält. Die Skulptur ist so der Wand zugewendet, daß die "Rückseite" zu sehen ist, womit die Geschlossenheit des Volumens betont wird. Schließlich ist an einer Ecke des Objekts eine Glühbirne angebracht, die die Wand anstrahlt und aus der Distanz gesehen der Skulptur eine Art Aureole verleiht, weil man die Glühbirne selbst zunächst nicht sieht. So wird die Plazierung des Objekts zu einem wesentlichen Gestaltungsmoment; die Zuordnung zur Wand macht diese zum Teil des Werkes als eine farbliche immaterielle Form, vor der das plastische Volumen der Skulptur sich um so deutlicher abzeichnet. Jessica Stockholder vernachlässigt den Objektcharakter des Möbelstücks und baut so den Spannungsbogen der formalen Themen auf, die ihr Werk durchziehen: die ästhetischen Erscheinungen gefundener Gegenstände, die plastische Verformung eines Gegenstandes, die malerische Verfremdung und schließlich die Erweiterung in den Umraum mit dem Ziel, die Summe der künstlerischen Gestaltung in eine Polarität von bildhafter Wirkung und deren dreidimensionaler Präsenz zu verspannen.
Jessica Stockholder, die seit Beginn ihrer künstlerischen Tätigkeit immer an diesen Grenzen zwischen Malerei als einer Kunst der Flächenkomposition und Skulptur als einer Kunst der Räumlichkeit gearbeitet hat, sucht insbesondere in diesen Werken, die im Atelier entstehen und deshalb nicht auf das Durchschreiten, sondern auf ein Umschreiten hin gemacht werden, die Einheit eines Bildes. Wenn man erkennt, daß die Installationen aus der Folge vielfältiger Details, unterschiedlicher Blickwinkel und einer variierenden Zusammenschau von Momenten bestehen und deshalb als etwas Sukzessives zu begreifen sind, so muß man die Skulpturen als Bestreben nach Simultaneität begreifen, als Gemeinschaft und Gleichzeitigkeit des Verschiedenen.
In dieser Unterscheidung lag für Gotthold Ephraim Lessing die Wesensbestimmung von Malerei und Plastik als etwas "raum-zeitlich Begrenztem", im Gegensatz zum Ablauf einer Erzählung in der Poesie. Seine Analyse des "Laokoon", eine Streitschrift über das Primat der Poesie gegenüber der bildenden Kunst, definiert den "fruchtbaren Augenblick" als Moment innerhalb einer Erzählung, in dem die materielle Beschaffenheit, an die die bildende Kunst gebunden ist, aufgrund der ausschnitthaften Präsenz, "der Einbildungskraft freies Spiel läßt" (Lessing). Übertragen auf die Skulpturen von Jessica Stockholder bedeutet dieser Verweis auf "Laokoon", daß die Verstofflichung ihrer malerischen Vorstellung eben den verwendeten Dingen und Gegenständen deren rein visuelle Qualität abringt. Anders ausgedrückt: Die anekdotisch-erzählerischen Momente, die wir uns bei der Betrachtung bekannter Elemente assoziativ vergegenwärtigen, werden reduziert auf ihre malerisch-kompositionelle Wirkung im simultanen Bild.
Diese Feststellung bestätigt sich insbesondere bei den Skulpturen der jüngeren Vergangenheit, und der Befund entspricht einer Tendenz im Werk Jessica Stockholders, die farbliche Qualität von Gegenständen, die Verstofflichung von Farbe, die bisher vielleicht in ihrer Intensität der Kunst vorbehalten war, in alltäglichen Dingen zu finden. Die verwendeten Fundstücke, ob alt oder neu, werden unter dem Aspekt ihrer malerischen Wirkung ausgewählt und so in den Gesamtzusammenhang komponiert, daß ihre Funktion zurücktritt hinter die Wirkung der Farbe, die Jessica Stockholder zudem malend einsetzt, um die Funktion zu verfremden oder Unterschiede zu vereinheitlichen. Die kombinatorische Technik der Gestaltung, die wesentlich die Arbeiten von Jessica Stockholder bestimmt, läßt in den jüngeren Werken dieser Ausstellung die Eigenfarbigkeit verwendeter Dinge deutlicher in den Vordergrund treten. Eine schwarze Plastikmatte ist Fläche, Farbe und Form in einem, malerisch wirksam als Hintergrund für die anderen Komponenten an der Wand, räumlich wirksam, wo sie von der Wand aus über die Bodenfläche gedehnt ist. Dort, wo Jessica Stockholder malt, sind mittels Farben raumgreifend Falten und Formen fixiert, dort, wo räumliche Formen auftreten, nimmt sie sie mit gemalten Flächen zurück zur Planimetrie. Es ist eben diese Simultaneität der Gegensätze, die die Assemblagen von Jessica Stockholder zu einem permanenten Spiel von Farben, Flächen und Formen werden läßt.
Im Unterschied zu frühen Arbeiten von Tony Cragg, bei denen die farbliche Gleichheit verschiedener Objekte ein enzyklopädisches Bild erzeugt und in Abgrenzung zu den phänomenologischen Arrangements von Jason Rhodes, der jeden malerischen Ausgleich meidet, reduziert Jessica Stockholder verwendete Dinge immer zugunsten einer formal ästhetischen Qualität. Ein Wollfaden beispielsweise ist eine farbige Linie und in seiner kompositionellen Begrenzung so eingesetzt, daß er ausschließlich als Darstellung einer farbigen Linie funktioniert, gewissermaßen als Nachahmung des Fadens, ohne handwerklichen Nachweis einer Illusion davon. Dieser Umgang mit Stoffen, Gegenständen und Formen ist in den Skulpturen, die im Atelier entstehen, stärker ausgeprägt und von mehr malerischem Denken bestimmt, als es bei den Installationen der Fall ist. Installationen integrieren deutlich tektonische Konstruktionen, architektonische Motive wie Wände, Gebautes. Bei den Skulpturen folgen die Gegenstände ihrer eigenen Ponderation, weshalb sie so hängen oder liegen, daß jedes Element auf seine Weise 'pictorial' stillebenhaft erscheint. In diesem Zusammenhang muß auf eine rein malerische Tradition des abstrakten amerikanischen Expressionismus verwiesen werden, namentlich auf die Werke von Clyfford Still, die Jessica Stockholder Vorbild waren für den Umgang mit Farben und Kompositionen. So wie Clyfford Stills Kompositionen von großen Formaten bestimmt sind, die Farbflächen von ausfransenden Konturen leben und immer einen Ausschnitt suggerieren, so sucht Jessica Stockholder diese Strukturen in den Formen und ihrer Anordnung zueinander.
Die Zeichnungen
Die Nähe zu dieser Tradition von Malerei, wie sie von Clyfford Still vertreten wird, ist auch in jener Werkgruppe von Zeichnungen auszumachen, die für die Installationen entstehen. Diese Zeichnungen, die Entwürfe für die räumliche Anordnung von Farben und Formen entwickeln, sind durch einen schnellen Duktus gekennzeichnet, durch Buntstiftschraffuren addierte Flächen und Bleistiftstriche, mit denen Grund- und Aufriß eines Raumes in perspektivischer Verzerrung angedeutet sind. Insbesondere die mit Buntstiften angelegten Flächen bekräftigen diese Nähe zu Vertretern des amerikanischen Expressionismus. Die schriftlichen Notate in diesen Zeichnungen, mit denen Jessica Stockholder Materialien markiert, verleihen diesen Zeichnungen bisweilen den Charakter einer 'Bildhauerskizze', weil die räumliche Disposition von Formen und die Bestandteile der Installation immer auf eine bestimmte Ausstellung hin gedacht sind. Wenn Jessica Stockholder bei den großen Dimensionen einer Installation deren Elemente zuvor exakt bestimmen muß, dann dienen diese Zeichnungen in ihrer Variationsbreite dazu, die konzeptionelle Entwicklung einer Installation nachzuvollziehen. Gerade das Bestreben, zeichnerisch jede Perspektive zu brechen und sich den Raum als Bild vorzustellen, verweist im Entwurf deutlich auf das malerische Moment der Installation.
Die andere Werkgruppe von Zeichnungen und Collagen ist nicht unmittelbar auf eine zukünftige Installation bezogen. Hier wird die malerische Konzeption offensichtlich, die Lust an der Farbe und der Komposition eines Blattes. In diesen Zeichnungen kommen zugleich malerische Zeichentechniken zum Einsatz. Jessica Stockholder aquarelliert und zeichnet mit Pastellkreiden, wodurch die Farbintensität der verwendeten Töne gesteigert wird.
In den Collagen finden sich innerhalb der Zeichnungen bisweilen Photographien, die gleichsam Motive oder Stoffe aus dem plastischen Werk zitieren. Analog zu den Verfahren, verschiedene Stoffe durch Übermalung zu vereinheitlichen, vereinnahmt Jessica Stockholder in den Zeichnungen Landschaftsausschnitte, Stilleben in ihrer photographisch abgebildeten Wirklichkeit als Räume im Raum. Wie sehr die Balance zwischen der Planimetrie von Farbe und der Farbigkeit von Stoffen immer wieder gesucht wird, kommt in den wenigen Werken zum Ausdruck, die sowohl vor als auch hinter Glas gemalt sind. Einerseits ist das Glas Bildträger, andererseits geben Freistellen innerhalb des Bildes den Blick frei auf den Grund, der von der anderen Seite bemalt ist, so daß dort die Farbe wie unter einem Mikroskop erscheint, so als wollte Jessica Stockholder hinter die Farbe schauen. Hier schließt sich ein gedanklicher Kreis, und das Glas wird zu einer Metapher für ein Phänomen, das durch die Glühbirne schon bei "Kissing the Wall I" zu beobachten war: Die Farbe erreicht ihre höchste Intensität im Scheinen.
Zwei Traditionen
Die Tatsache, daß mit der Ausstellung der Sammlung Goetz erstmals eine Präsentation von Jessica Stockholder ohne Installation stattfindet, war Ausgangspunkt dafür, deutlicher, als es bisher geschehen ist, die Unterschiede zwischen den Installationen und den Skulpturen, die im Atelier entstehen, herauszuarbeiten. Aufgrund der Arbeitsweise Jessica Stockholders, die den Prinzipien kombinatorischer Techniken von Collage und Assemblage folgt, wurden immer wieder Vorbilder zitiert, von Picasso über Schwitters bis hin zu Rauschenberg und Kaprow, die gefundenes Material in vermeintlich vergleichbarer Weise umdeuten und verfremden. Es erscheint mir jedoch wichtig festzustellen, daß die Installationen als temporäre, architekturorientierte Inszenierung einerseits und die Skulpturen als dauerhafte, objektbezogene Werke andererseits zwei in ihrer formalen Komposition verschiedenen Traditionen entsprechen.
Die Besetzung von Orten mit einem Überfluß an Materialien macht die Installationen zu einem Seherlebnis, das in seiner Dimension und Dichte nur allmählich erfaßt werden kann, sukzessiv, wie eine Erzählung mit mehreren dramaturgischen Höhepunkten. Der Betrachter ist mitten im Werk, er ist von allen Seiten davon umgeben und aufgefordert, durchschreitend die Aufführung der Kulissenelemente, der Lichtregie und der Materialhäufungen zu erleben.
Bei den Skulpturen hingegen kann eine ähnliche Dichte simultan erfaßt werden. Die verwendeten Elemente treten nicht seriell auf, sie sind einzeln; sie wurden ausgewählt im Hinblick auf ihre Fähigkeit, Farbe zu verstofflichen, um ein Bild damit zu komponieren.
Die Vorstellung, Grenzen der Malerei zu überschreiten, ist das beide Arbeitsweisen verbindende Moment. Innerhalb der Installationen dient Malerei dazu, Grenzen zu bestimmen, Dimensionen des orthogonalen Raumes sichtbar zu machen, Gegensätze des Materials zu vereinheitlichen. Bei der Gestaltung der Skulpturen ist Malerei die konzeptionelle Maßgabe, die Dimension und Verschiedenheit der verwendeten Materialien als Flächen, Linien, Konturen und Binnenzeichnungen zu verstehen. Es ist Malerei mit anderen Mitteln und deshalb eigentlich von der Tradition der "Combined Paintings" von Robert Rauschenberg weit entfernt und ebensowenig vergleichbar mit den Assemblagen Picassos, die, transformiert in Bronze, sich von jeder Tradition der Malerei abwenden. Wenn in diesem Zusammenhang eine Referenz sinnvoll erscheint, dann der Verweis auf die Reliefs von Wladimir Tatlin, die aus den Vorgaben des Kubismus entstanden und insbesondere auf die Werkgruppe der Kontra-Reliefs, die den Versuch unternehmen, Malerei mit Material vorzutragen.
Zum Schluß bleibt festzuhalten, daß Jessica Stockholder weniger kompliziert, ohne die Belastung dieser Vorbilder sich über die Jahre hinweg das Vermögen erhalten hat, die von ihr gestalteten Räume und die von ihr komponierten Skulpturen mit der Direktheit und jener Unbefangenheit zu entwerfen, die notwendig sind, sie leicht erscheinen zu lassen, schwerelos im doppelten Sinn: Die verwendeten Dinge sind nicht mit Bedeutung überfrachtet, so daß die Werke nahezu immateriell als Farbe und Form erscheinen können. Aus dieser Qualität heraus werden ihre Werke immer zu einem Fest.
In: Fabian Marcaccio – Jessica Stockholder, Ausstellungskatalog Sammlung Goetz, München 1988, S. 65 - 71
Biographie
JESSICA STOCKHOLDER
Born: 1959: Seattle, WA
Citizenship: Dual: United States and Canada
Current: Lives & works in New Haven, CT
Yale University, New Haven, CT;
Director of Graduate Studies in Sculpture
Solo & Two Artist Exhibitions:
2006 Blaffer Art Gallery, University of Houston, Texas, career survey exhibition;
cur. by Terrie Sultan and Nancy Doll (cat.); Weatherspoon Art Gallery
(Jan 2005 – Mar 2005); University of Houston (Sept 2004)
2005 Kunsthallen Brandts Klaedefabrik, Odense, Denmark, survey exhibition
2004 Galleria Civica D’Arte Moderna e Contemporanea di Torino, Italy;
sculpture and prints (December)
GAM Torino, Italy, features new sculpture and Two Palms prints; (December)
Rice University Art Gallery, Houston, Texas, site specific installation; (September)
Sable-Castelli Gallery, Toronto, Canada; new sculpture (June)
2003 Gorney Bravin + Lee, New York, NY; Table Top Sculpture
(10 October – 15 November)
TV Tipped Toe Nail & the Green Salami (13 June – 21 Sept.)
Chelsea Art Museum, New York, NY; Jessica Stockholder Prints
(5 April – 2 May)
Galerie Rolf Ricke, Cologne, Germany; Jessica Stockholder (14 March – 17 April)
CAPC, Musée d’art contemporain de Bordeaux, France; Jessica Stockholder
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany;
On The Spending Money Tenderley (Dec.-Jan. 2003)
Stiftung Wilhelm Lehmbruck Museum, Duisburg, Germany (Dec.2002-Jan. 2003)
2002 Baltic Art Center, Visby, Sweden, curated by Lynne Cooke
Galleria Raffaela Cortese, Milan, Italy (18 Jan. - Feb.)
2001 Galerie Nächst St.Stephan,Vienna, Austria (15 Sept. - 10 Nov.)
Gorney Bravin + Lee, New York, NY; (10 Feb.- 10 March)
Galerie Nathalie Obadia, Paris, France; (13 Jan.- 3 March)
2000 Kunstmuseum St. Gallen, St. Gallen, Switzerland; installation:
Vortex in the Play of Theatre with the Real Passion (for Kay Stockholder) and
installation:Pictures at an Exhibition (17 March - 26 June)
Bucknell Art Gallery, Bucknell University, Lewisburg, PA:
Jessica Stockholder: Photography (17 Jan-18 Feb)
1999 Center for Visual Arts, Cardiff, Wales; installation: With Wanton Heed and Giddy Cunning,
Hedging Red and That’s Not Funny (1 Sept.-7 Nov.)
The Power Plant, Toronto, Canada; installation: First Cousin Once Removed or
Cinema of Brushing Skin (25 June - 6 Sept., cat.)
Galerie Rolf Ricke, Köln, Germany; studio works (spring)
1998 Catriona Jeffries Gallery, Vancouver, Canada; studio works (19 Nov.-)
Galerie Nathalie Obadia, Paris, France; Turning Paper,
monotypes from Two Palms Press (24 Oct.-1 Dec.)
Sammlung Goetz, München, Germany; Fabian Marcaccio & Jessica Stockholder
(12 Oct.-27 Mar.1999, cat.)
Works on Paper, Inc., Los Angeles, CA; Fabian Marcaccio & Jessica Stockholder
(3 Oct.-14 Nov.)
Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerpen, Belgium;
installation: Landscape Linoleum (6 Sept. - 15 Nov., cat.)
Betsy Senior Gallery, New York, NY; Turning Paper,
monotypes from Two Palms Press (30 Apr.-5 June)
White Cube, London, England; installation: Coupling (23 Apr.- 23 May)
Musée Picasso d'Antibes, Antibes, France; Installation:
Torque, Jelly Role, and Goose Bump (16 Jan-22 Mar., cat.)
Musée des Beaux-Arts de Nantes / La Salle Blanche, Nantes, France; installation:
Nit Picking Trumpets of Iced Blue Vagueries (14 Jan.-13 Apr., cat.)
1997 Kunstnernes Hus, Oslo, Norway; installation: Slab of Skinned Water, Cubed Chicken &
White Sauce (25 Oct.-23 Nov., cat.)
Otis Gallery of Otis College of Art & Design, Los Angeles, CA; Jessica Stockholder:
200 Drawings (27 Sept.-25 Oct)
Gallery of Art, Johnson County Community College, Overland Park, KS; The Point of
Departure: Moira Dryer & Jessica Stockholder (21 Sept.-29 Oct., brochure)
Deutscher Akademischer Austauschdienst (D. A. A. D.), Berlin, Germany; drawings
(25 Apr.-end May)
Contemporary Fine Arts, Berlin, Germany; studio works (25 Apr.-24 May)
Jay Gorney Modern Art, New York, NY; studio works (5 Apr.-10 May)
1996 Baxter Gallery, Maine College of Art, Portland, ME; Jessica Stockholder:
200 Drawings (10 Oct.-3 Nov., cat.)
Tom Solomon's Garage, LA, CA; studio works & installation:
Bowtied In the Middle (Apr.-May)
Studio La Città II, Verona, Italy; studio works (21 Jan., cat.)
1995 Galerie Nathalie Obadia, Paris, France; studio works (9 Dec.-27 Jan.)
Dia Center for the Arts, New York, NY; installation: Your Skin in this Weather Bourne
Eye-Threads & Swollen Perfume (5 Oct.-21 June 1996, cat.)
Jay Gorney Modern Art, New York, NY; studio works (Mar.- Apr.)
S. L. Simpson Gallery, Toronto, Canada; studio works (Feb.)
Sala Montcada de la Fundació “la Caixa”, Barcelona, Spain; installation:
Sweet for Three Oranges (18 Jan.-26 Feb., cat.)
1994 Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC;
studio works & installation: Pink Lady (3 Apr.-29 May, cat.)
Jay Gorney Modern Art, New York, NY; Joan Snyder and Jessica Stockholder (Jan.)
1993 Galerie Ludwig, Krefeld, Germany; studio works (Sept.)
Galerie des Arènes, Carré d'Art, Musée d'Art Contemporain de Nîmes, Nîmes, France;
installation: Edge of Hothouse Glass (6 May-26 Sept., cat.)
1992 Kunsthalle Zürich, Zürich, Switzerland; installation:
Sea Floor Movement to Rise of Fire Place Stripping (31 Oct.-3 Jan.1993, cat.)
Galerie Metropol, Wien, Austria; studio works and installation:
SpICE BOXed Project(ion) (Sept.)
American Fine Arts, Co., New York, NY; installation: Flower Dusted Prosies (May)
Westfälischer Kunstverein, Münster, Germany; installation: Growing Rock Candy
Mountain - Grasses in Canned Sand (10 Apr.-31 May, cat.)
1991 The Renaissance Society at the University of Chicago, Chicago, IL; installation:
Skin Toned Garden Mapping (1 Oct.10 Nov., cat.)
Witte de With, Rotterdam, The Netherlands; studio works and two installations:
Near Weather Wall and Making a Clean Edge II (15 June-28 July, cat.)
Daniel Weinberg Gallery, Santa Monica, CA; studio works (May)
Ezra and Cecile Zilkha Gallery, Center for Arts, Wesleyan University, Middletown, CN;
installation: UNTITLED Seepage: Sandwashed, Sundried & Shrinkwrapped, part
three of three-part series: The Broken Mirror, curated by Klaus Ottman (Jan.)
1990 Isabella Kacprzak Galerie, Köln, Germany; Mary Heilmann and Jessica Stockholder;
installation: For Mary Heilmann (Oct.)
American Fine Arts, New York, NY; studio works and installation: Where it Happened (Feb.)
1989 The Mattress Factory, Pittsburgh, PA; installation: Mixing Food with the Bed (Oct., cat.)
1988 Mercer Union, Toronto, Ontario, Canada; installation: Indoor lighting for my father (Sept.)
Contemporary Art Gallery, Vancouver, BC, Canada; installation:
It's not over til the fat lady sings (1-26 Sept., cat.)
1985 Melinda Wyatt Gallery, New York, NY; installation: Wall Sandwich (Aug.)
1984 Art Culture Resource Center, Toronto, Ont., Canada; installation: In-side out (July)
Group exhibitions (which included site installations):
2004 Trespassing: Houses x Artists; Blaffer Gallery, Houston, TX (17 Jan. – 14 March, 2004);
University of South Florida Contemporary Art Museum, Tampa, FL
(29 Aug. – 14 Oct., 2003); MAK Center for Art and Art History, Los Angeles, CA
(Jan. 29 - April 13, 2003); Bellevue Art Museum, Bellevue, WA
(31 Aug. 2002 – 5 Jan., 2003)
2003 FRAC Lille, France; Flower Power ; installation in group show (December)
Tanya Bonakdar Gallery, New York, NY; Painting on Sculpture (20 Nov. – 10 Jan.)
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)
2001 Site Santa Fe, Santa Fe, NM; Beau Monde: Toward a Redeemed Cosmopolitanism,
curated by Dave Hickey; installation: Bird Watching (14 July - 6 January)
2000 Sprengel Museum, Hannover, Germany; In the Beginning was MERZ, installation:
Gelatinous Too Dry (Schwitters homage exhibition traveling to Haus der Kunst,
München, Germany)
Haus der Kunst, München, Germany; Apparent Things: Painting with Things, installation:
Pictures at an Exhibition (2 Sept. - 26 Nov., cat.)
1998 Centre Georges Pompidou, Paris France: Dijon / le Consortium.coll; installations: House
Beautiful, 1994 and Recording Forever Pickled, 1990
Saatchi Gallery, London, England; Young Americans 2; studio works and installation:
Bowtied In the Middle, 1995 (30 Apr.-12 July, cat.)
1997 Halle Tony Garnier, Lyon, France; 4e Biennale de Lyon, curated by Harald Szeemann;
installation: Bowtied In the Middle, 1995 (cat.)
Corderie Building, Venice, Italy; La Biennale di Venezia: XLVII International Art Exhibition,
curated by Germano Celant; installation: Recording Forever Pickled, 1991 (cat.)
1996 Rooseum, Malmö, Sweden (5 Oct.-15 Dec.); Magasin 3, Stockholm, Sweden; Painting
The Extended Field; studio works and installation: Bowtied In the Middle (cat.)
1995 Neue Galerie am Landesmuseum Joanneum, Graz, Austria; Pittura - Immedia: Malerei in
den 90er Jahren, curated by Peter Weibel; installation:
Recording Forever Pickled (Mar., cat.)
1994 Le Consortium, Dijon, France; Country Sculpture; installation: House Beautiful (May)
Hayward Gallery, The South Bank Centre, London, England;
Unbound: Possibilities in Painting, curated by Adrian Searle & Greg Hilty;
installation: Fat Form and Hairy: Sardine Can Peeling, (Feb.,cat.)
1992 Witte de With, Rotterdam, Netherlands; As Long as It Lasts; installation:
Catcher's Hollow (July)
1991 Chateau d'Oiron, Oiron, France; Le Consortium collectionne; installation:
Recording Forever Pickled, July)
Whitney Museum of American Art, New York, NY; 1991 Biennial; installation:
Recording Forever Pickled To (April, cat.)
1990 Consortium, Espace Frac and L'Usine, Dijon, France; Le Choix Des Femmes;
installation (at Le Consortium): Recording Forever Pickled (Nov., cat.)
1989 P. S. 1, Long Island City, NY; Making a Clean Edge
1985 Artists Space, New York, NY; Selections from the Artists File; installation:
The Lion the Witch and the Wardrobe (Sept., cat.)
1982 Open Space Gallery, Victoria, BC, Canada;
Vilio Celli, Laurie Metters, Jessica Stockholder; installation.
Additional Installations and Commissioned Works: (not in exhibition spaces):
2002 Shindler House, Los Angeles (cat., see also: www.housesxartists.com)
Winterthur Insurance and Winterthur Life, 11 Unterstrasse, St-Gallen, Switzerland;
permanent installation.
1999 Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerpen, Belgium;
permanent installation.
1999 Les Champs-Elysés, Paris, France; Les Champs de la Sculpture 2000,
outdoor public installation: Hyphen Grapes in Comma the Road, 1999
(15 Sept. - 14 Nov.)
1998- OpenOffice, Brooklyn, NY; Houses x Artists, architectural collaboration
and group exhibit organized by M.A.K.
1989 The Institute for Contemporary Art, P. S. 1 Museum, Long Island City, NY;
studio installation: Making a Clean Edge (Apr.)
1985 Beinecke Plaza, Yale University, New Haven, CT; two week outdoor collaboration
with Mark Holmes (sculptor) and a permanently installed sculpture
by Isamu Noguchi (May)
Yale University, New Haven, CN; thesis exhibition, installation: Bath (May)
1983 Vancouver, Canada; residential installation:
Installation in my father's back yard (Aug.)
Group exhibitions (which included studio works):
2004 Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria;
Kunst Stoff, 15 Mar – 24 Apr)
2003 The Cooper Union School of Art, New York; Under Pressure:
Prints from Two Palms Press (21 Jan – 21 Feb.)
2002 Wall St Rising, New York, NY; Art Downtown: New Photography
(13 June - 15 Sept.)
Barbara Krakow Gallery, Boston, MA; Print Publisher's Spotlight
Two Palm Press (27 Apr.-5 June)
Neuberger Museum of Art, Purchase, NY; Beyond the Pale:
Material Possibilities (3 Feb.-26 May)
University Gallery, University of Massachusetts, Amherst, MA; Under Pressure:
Prints from Two Palms Press (2 February - 15 March)
2001 Marianne Boesky Gallery, New York, NY; Camera Works (28 June - 10 Aug.)
Rudolfinum, Prague, Czech Republic; American Art from Sammlung Goetz (May)
Senior & Shopmaker Gallery, New York, NY; Prints & Multiples (March)
Yale University Art Gallery, New Haven, CT; Objective Color,
curated by Jennifer Gross (6 Feb- 25 Mar)
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 (6 Dec.- 3 Feb. 2001)
Heimer & Döring Kunstberatung, Berlin, Germany; Gebaude: Donald Judd,
Gerhard Merz, Jessica Stockholder (with OpenOffice) (27 Sept. - 18 Nov.)
Kunsthalle Wilhelmshaven, Wilhelmshaven, Germany; Skulptur 2000,
curated by Ute Riese (cat.,1 Oct-12 Nov)
Hand Workshop Art Center, Richmond, VA; Beyond the Press: Innovations in Print
(21 Jan- 12 Mar)
Blackwood Gallery, University of Toronto at Mississauga, Erindale College,
Mississauga, Ont., Canada; Spilled Edge/Soft Corner (14 Jan. - 13 Feb.)
(traveling)
1999 Educational Alliance Gallery, New York, NY; Geez Louise!: Art After Louise Nevelson
(2 Dec. - 14 Jan. 2000)
Galeria OMR, Mexico City, Mexico; Think Twice: International Sculpture Show
(9 Nov.-9 Jan. 2000)
Aronson & Main Galleries, Parson School of Design, New York, NY;
Drawing in the Present (13 Oct-3 Dec.)
Galerie Nächst St. Stephan / Rosemarie Schwarzwälder, Wien, Austria;
...und wandelt mit bedächtiger Schnelle vom Himmel durch die Welt
zur Hölle, curated by Gunther Umberg (22 Sept. - 31 Oct.)
Betsy Senior Gallery, New York, NY; Recent Prints (17 Apr. - 5 June)
Marcel Sitkoske Gallery, San Francisco, CA; Re: Rauschenberg,
curated by Stuart Horodner (6 May - 3 July)
Kasseler Kunstverein, Kassel, Germany; Special Offer: Eine Ausstellung
des Kölner Galeristen Rolf Ricke (14 March - 11 Apr.)
1998 Susquehanna Art Museum, Harrisburg, PA; Coming Off the Wall,
curated by Jonathan VanDyke
(11 Nov.-5 Mar., cat.)
Museum Ludwig Köln, Köln, Germany; I Love New York: Crossover der
aktuellen Kunst, curated by Dr. Christina Lissmann (6 Nov.-31 Jan., cat.)
Kunsthalle Zürich, Zürich, Switzerland; Auf der Spur: Kunst der 90er Jahre im
Spiegel von Schweizer Sammlungen, organized by Andreas Schweizer
(30 Oct.-27 Dec.)
The Rotunda Gallery, Brooklyn, NY; Interpreting, with curatorial perspectives
by: Lynn Cooke, Lia Gangitano,Robert Storr and Lydia Yee,
curated by Dena Shottenkirk (10 Sept.-17 Oct.)
University of Texas at San Antonio Art Gallery, San Antonio, TX (3 Sept.-16 Oct., cat.);
University Art Gallery, New Mexico State University, Las Cruces, NM (13 June - 12 August);
Santa Barbara Contemporary Arts Forum, Santa Barbara, CA (20 Nov. - 2 Jan. 2000);
Chromaform: Color in, curated by Frances Colpitt
L A Louver Gallery, Los Angeles, CA; Painting Language (5 Aug. - 5 Sept.)
Galerie Georg Kargl, Vienna, Austria; Review (13 June-, cat.)
D'Amelio Terras Gallery, New York, NY; Humble County (11 June -31 July)
Feigen Contemporary, New York, NY; Exploiting the Abstract (2 May-13 June)
Yale University Art Gallery, New Haven, CT; Now and Later, alumni exhibition
curated by Joachim Pissarro & Prof. Thomas Crow (27 Mar.-1 Aug.)
Museum of American Art of the Pennsylvania Academy of the Fine Arts, Philadelphia, PA;
Pop / Abstraction, curated by Sid Sachs (21 Feb.-19 Apr.)
Castle Gallery, College of New Rochelle, New Rochelle, NY; Alternative Measures,
curated by Susan Canning(1 Feb.-5 Apr., cat.)
Jay Gorney Modern Art, New York, NY; Gallery Artists (17 Jan.-7 Feb.)
1997 Contemporary Arts Center, New Orleans, LA; The Prophecy of Pop,
curated by John Good (Nov.-Feb.98)
The Whitney Museum of American Art, New York, NY; Heart, Mind, Body, Soul:
American Art in the 1990s, Selections from the Permanent Collection (3 Dec.-)
Nassauischen Kunstverein, Wiesbaden, Germany; New York - Divergent Models,
curated by Saul Ostrow (7 Sept.-19 Oct.)
Studio La Città, Verona, Italy; Onomatopoeia (5 July-30 Aug.)
Apex Art, New York, NY; Colorflex, curated by Raphael Rubinstein (29 May-28 June,
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 (3-23 Apr.)
Bob van Orsouw Galerie, Zürich, Switzerland; Wandstücke IV: S. Fleury, T. Grünfeld,
I. Knoebel, L. Mantello, O.Metzel, J. Stockholder, R. Tiravanija (17 Jan.-22 Feb.)
1996 Studio La Città, Verona, Italy; L'Ossessione Del Segno (7 Dec.-)
The Fabric Workshop and Museum, Philadelphia, PA; Millennium Eve Dress, curated by
Janet Kardon (6 Dec.-22 Feb.1997)
Schmidt Contemporary Art, St. Louis, MO; Unconditionally Abstraction (23 Nov.-20 Dec.)
Beaver College Art Gallery, Beaver College, Glenside, PA; Patterns of Excess, curated by
Paula Marincola (7 Nov.-20 Dec.)
Rotunda Gallery, Brooklyn, NY; Luminous Bodies, curated by Dara Meyers-Kingsley
(19 Sept.-2 Nov. cat.)
White Columns, New York, NY; What I Did On My Summer Vacation
(benefit photography project) (13 Sept.-20 Oct.)
Galerie Rolf Ricke, Köln, Germany; Form als Ziel mündet immer in Formalismus
(Mies van der Rohe) (7 June -10 Aug.)
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 (Dec.), cat.
Galerie Oddi Baglioni, Rome, Italy; Una Nuova Tradizione Americana (Oct.)
Contemporary Art Museum, University of South Florida, Tampa, FL (30 Oct.- 22 Dec.);
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 (cat.)
Dru Arstark Gallery, New York, NY; Elena Sisto, Lisa Hoke, Jessica Stockholder
1995 Centraal Museum Utrecht, Utrecht, The Netherlands; 1995 Collectie Presentatie
Moderne Kunst (Apr.)
David Winton Bell Gallery, List Art Center, Brown University, Providence, RI;
Color in Space: Pictorialism In Contemporary Sculpture, curated by
George Hofmann (Apr., cat.)
Studiogalerie der Kunstverein Museum Schloá Morsbroich, Leverkusen, Germany;
New York – Positionen Aktueller Malerei (Mar., cat.)
Horodner Romley Gallery, New York, NY; On Target (project: artists alterations on “Target”,
1970 print by Jasper Johns) (Jan.)
1994 TZ'Art & Co., New York, NY; Joe's Garage, curated by Stephanie Theodore (Dec.)
Apex Art, New York, NY; Ethereal Materialism, curated by Susan Harris (Nov.)
Galerie Renos Xippas, Paris, France; Symphonie en Sous-Sol, organized by
Nathalie Obadia (Sept.)
Marc Jancou Gallery, London, England; The Little House on the Prarie (Sept.)
Baumgartner Galleries, Washington, DC; Balkenhol, Dunham, Gilliam, Hirst, McCaslin,
Stockholder, Weinstein July)
Galerie Nordenhake, Stockholm, Sweden; Herr Schleiermachers Sista Dröm:
Föreställningar om Måleriet (May)
N.A.M.E. Gallery, Chicago; John Dunn, Adelheid Mers, Carla Preiss, Jessica Stockholder,
curated by Arturo Herrera (Apr.)
Goethe House, New York, NY; Information Service (Mar.)
Postmasters Gallery, New York, NY; Untitled... (Feb.)
Four Walls, Brooklyn, NY; The Beauty Show, organized by James Siena
(Jan.- with panel discussion)
Bardamu Gallery / Publishing House, New York, NY; Possible Things: A Drawing Show,
curated by Vik Muniz (Jan.)
Thread Waxing Space, New York, NY; Don't Look Now, organized by Joshua Decter (Jan., cat.)
Stux Gallery, New York, NY; Reveillon '94 (Jan.)
1993 TZ'Art & Co., New York, NY; Testwall: Small 3 Dimensional Multiples (Nov.)
Galerie Nathalie Obadia, Paris, France (Nov.)
Tennisport Arts, New York, NY; Jours Tranquilles à Clichy, curated by Alain Kirili (Sept.)
40, Rue de Rochechouart, Paris, France; Jours Tranquilles à Clichy,
curated by Alain Kirili (June)
Lothringer Straße 13, München, Germany; Ordnung und Zerstörung, curated by
Noemi Smolik (May)
Galerie Jousse Seguin, Paris, France; The Good, the Bad, and the Ugly...a modest proposal,
curated by Peter Hopkins (May)
John Good Gallery, New York, NY (May)
Daniel Weinberg Gallery, Santa Monica, CA; Anniversary Exhibition (Apr.)
The Contemporary Arts Center, Cincinnati, OH; Mettlesome & Meddlesome: Selections
from the Collection of Robert J. Schiffler (Feb., book)
American Fine Arts, New York, NY (Jan.)
The Aldrich Museum of Contemporary Art, Ridgefield, CN; Simply made in America,
curated by Barry A. Rosenberg (Jan., cat.)
1992 Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, VT; Transgressions
in the White Cube: Territorial Mappings, organized by Joshua Decter (Nov., cat.)
Pat Hearn Gallery, New York, NY; Mary Heilmann, Jack Pierson, Jessica Stockholder (Sept.)
John Good Gallery, New York, NY; Cultural Fabrication (June)
Kunstlerhaus Stuttgart, Stuttgart, Germany; Women artists not included in Documenta 9 (June)
1991 Christine Burgin Gallery, New York, NY; Jürgen Meyer, Jessica Stockholder, Franz West (Dec.)
Palazzo delle Albere, Museo Provinciale d'Arte, Trento, Italy;
American Artists of the Eighties (Dec., cat.)
Blum Helman Warehouse, New York, NY; Plastic Fantastic Lover (object a), curated by
Catherine Liu (Oct, cat.)
Southeastern Center for Contemporary Art, Winston-Salem, NC; Hirshhorn Museum and
Sculpture Garden, Washington, DC; Albuquerque Museum, Albuquerque, NM;
Toledo Museum of Art, Toledo, OH; Awards in the Visual Arts 10 (June, cat.)
Paula Cooper Gallery, New York, NY; Sculptors' Drawings (May)
Barbara Farber Gallery, Amsterdam, The Netherlands; The Museum of Natural History,
curated by Robert Nickas (Apr., cat.)
The Gallery, New York, NY; Physicality: An Exhibition on Color Dimensionality in Painting,
curated by George Hoffman (Mar., cat.)
Warren Adelson Gallery, New York, NY; Peter Nadin and Jessica Stockholder, organized by
Thea Westreich (10 Apr.-4 May, cat.)
Fay Gold Gallery, Atlanta, GA; Outside America: Going into the 90's, curated by Tricia Collins
and Richard Milazzo (Apr., cat.)
Stux Gallery, New York, NY; Stuttering (Dec.)
1990 Katonah Museum of Art, Katonah, NY; The Technological Muse, curated by
Susan Fillin-Yeh (Nov., cat.)
The Whitney Museum of American Art at Equitable Center, New York, NY;
Contingent Realms, curated by Adam Weinberg (Sept. , cat.)
Jack Tilton Gallery, New York, NY; Detritus, curated by Janine Cirincione (July)
Andrea Rosen Gallery, New York, NY; Stendhal Syndrome: The Cure, curated by
Rhonda Lieberman, Catherine Liu & Lawrence Rickels (June, cat.)
Daniel Weinberg Gallery, Santa Monica, CA (June)
Jack Tilton Gallery, New York, NY (Feb.)
Terrain, San Francisco, CA; Information, fax-art exhibitioncurated by Robert Nickas,
Armando Rascon, and Peter Wright (Jan.)
Postmasters Gallery, New York, NY; Pop 90 (Jan.)
Berkshire Museum, Pittsfield, MA; Berkshire Art Association 1989 Exhibition of Painting
and Sculpture, juried by Lisa Phillips (Sept., cat.)
American Fine Arts, Co., New York, NY (Aug.)
Barbara Farber Gallery, Amsterdam, Netherlands; A Climate of Site, curated by
Robert Nickas (Jan. cat.)
Galerie Xavier Hufkens, Brussels, Belgium (Jan.)
1988 John Gibson Gallery, New York, NY; Artists and Curators (Sept.)
1982 McPherson Library Gallery, University of Victoria, Victoria, Canada;
Graduation Exhibit (May)
Jessica Stockholder: Monographs, Solo Exhibition Catalogues, Brochures, Artist Books:
2002 Jessica Stockholder: exhibition catalogue published by K20 Kunstsammlung
Nordrhein-Westfalen, Dusseldorf and Stiftung Wilhelm Lehmbruck Museum,
Duisburg, Germany
2001 Jessica Stockholder: Vortex in the Play of Theatre with the Real Passion
(for Kay Stockholder), exhibition catalogue published by Verlag für moderne Kunst,
Nürnberg, Germany with Kunstmuseum St. Gallen, St. Gallen, Switzerland
2000 Jessica Stockholder: First Cousin Once Removed or Cinema of Brushing Skin, exhibition
catalogue published by The Power Plant, Toronto, Canada (ISBN: 0-921047-43-6)
Mayer, Marc Interview and Pragmatic Formalism
Stockholder, Jessica. Artist Statement
1999 Jessica Stockholder: With Wanton Heed and Giddy Cunning Hedging Red and
That's Not Funny, exhibition catalogue published by Centre for Visual Arts, Cardiff, Wales
(ISBN: 1-903212-01-4)
Welsh and English
Farquharson, Alex & Medlyn, Sally. Preface
Higgie, Jennifer. With Wanton Heed…
Farquharson, Alex. and Giddy Cunning…
Stockholder, Jessica. With Wanton…Funny: Here I try to describe with words
the thing I made that did not grow from them.
1998 Fabian Marcaccio & Jessica Stockholder, exhibition catalogue published by Sammlung
Goetz, München, Germany (no ISBN) German and English
Marcaccio, F. & Stock- Dialogue between Fabian Marcaccio and Jessica
holder, J. Stockholder, April 15 to May 22, 1998
Meschede, Friedrich. Laocoon or, On the Limits of Sculpture and Installation
by Jessica Stockholder
Meyer-Stoll, Christiane. The World as a Living Organism
Ryan, David. Paradoxical Networks: Interview with Fabian Marcaccio
Schmidt, Eva. Complexity of Boundaries: Interview with Jessica Stockholder
Volk, Gregory. An Integration of Mysterious Connections
1997 Jessica Stockholder: Landscape Linoleum, exhibition catalogue published by
Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerpen, Belgium
(ISBN: 90-76222-03-7) Flemish, French and English
Hilty, Greg. Response to an Invitation: Jessica Stockholder in Middelheim
Meewis, Menno. Foreward
Stockholder, Jessica. Landscape Linoleum
Jessica Stockholder: Nit Picking Trumpets of Iced Blue Vagueries, exhibition catalogue
published by Musée des Beaux-Arts de Nantes, Nantes, France (ISBN: 2-906211-37-0)
French and English
Pélenc, Arielle. Entretien avec Jessica Stockholder
(interview with Jessica Stockholder)
Stockholder, Jessica. Nit Picking Trumpets of Iced Blue Vagueries, 1997 –
Writing to the work sitting
Jessica Stockholder, exhibition catalogue published by Musée Picasso d'Antibes,
Antibes, France
(installation: “Torque, Jelly Role, and Goose Bump”) (no ISBN) French and English
Criqui, Jean-Pierre. Complexité et Contradiction dans la Sculpture de
Jessica Stockholder
Davila, Thierry. Prendre Place
Stockholder, Jessica. Torque, Jelly Role, and Goose Bump
Jessica Stockholder: 9 Installations, artist book published by Edition du
Centre d'art imprimé, Paris, France (Edition of 75, signed / numbered)
Jessica Stockholder: Slab of Skinned Water, Cubed Chicken & White Sauce, exhibition
catalogue published by Kunstnernes Hus, Oslo, Norway; (ISBN: 82-7111-026-8)
Norwegian and English
Stockholder, Jessica. Oslo. Aug. 1997. Writing towards, in advance: Slab of
Skinned Water, Cubed Chicken & White Sauce
Thorkildsen, Åsmund. Turning the Commonplace, sure... A poetic appreciation
of Jessica Stockholder's art, by Åsmund Thorkildsen
Vold, Ståle. Preface
1996 The Point of Departure: Moira Dryer, Jessica Stockholder, exhibition brochure published
by Gallery of Art, Johnson County Community College, Overland, Park, KS; (no ISBN) English
Ostrow, Saul. The Point of Departure: Moira Dryer, Jessica Stockholder
and Abstract Painting
Jessica Stockholder: 200 Drawings, exhibition catalogue published by Baxter Gallery,
Maine College of Art, Portland, ME (Edition of 100, no ISBN) English
Gross, Jennifer. Jessica Stockholder: Color Processing
Jessica Stockholder:Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume;
artist's book published by Dia Center for the Arts, New York, NY (ISBN: 0-944521-33-9)
English
Cooke, Lynne. Fabricating sight / site
Govan, Michael. Preface
Lauterbach, Ann. How Things Bear Their Telling
Stockholder, Jessica. Surveying
Tillman, Lynne. Thrilled to Death
Jessica Stockholder, exhibition catalogue published by Studio La Città, Verona, Italy
(no ISBN) Italian and English
Iannacci, Anthony. Jessica Stockholder
1995 Jessica Stockholder:Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume;
exhibition brochure published by Dia Center for the Arts, New York, NY (no ISBN) English
Cooke, Lynne. Jessica Stockholder:Your Skin in this Weather Bourne
Eye-Threads & Swollen Perfume
Jessica Stockholder; monograph published by Phaidon Press, Ltd., London, England
(ISBN:0-7148-34068)
Cooke, Lynne. A Suite for... 3 Oranges
Nickas, Robert. The State of Things, questions to three object-conscious
artists (excerpted / republished from: Flash Art,
Mar. / Apr., 1990)
Schwabsky, Barry. The Magic of Sobriety
Tillman, Lynne. J. Stockholder / Lynne Tillman: A Conversation in
Three Stages / Locations
Jessica Stockholder: Sweet for Three Oranges; exhibition catalogue published by
Fundació “la Caixa”, Barcelona, Spain (ISBN:84-7664-507-4) Spanish and English
Stockholder, Jessica. Building 'Sweet for Three Oranges'
Swartz, Jeffrey. Vistas
1993 Pink Lady: Jessica Stockholder; exhibition catalogue published by Weatherspoon
Art Gallery, University of North Carolina, Greensboro, NC (no ISBN) English
Richardson, Trevor. Essay
Jessica Stockholder: Edge of Hothouse Glass; exhibition catalogue published by
Carré d'Art Musée d'Art Contemporain de Nîmes, Nîmes, France (ISBN: 2-907650-15-7)
French & English
Stockholder, Jessica. Edge of Hot House Glass
Mosset, Olivier. The Color of Things
Avgikos, Jan. (Sic)
Jessica Stockholder; exhibition catalogue published by Westfälischer Kunstverein,
Münster, Germany and Kunsthalle Zürich, Zürich, Switzerland (ISBN:3-925047-23-9)
German and English.
Meschede, Friedrich. Images after a Journey
Schmidt, Eva. Interview with Jessica Stockholder
von Graevenitz, Antje. Passes across candy-colored mountains...
Jessica Stockholder; exhibition catalogue published by Witte de With, Rotterdam,
The Netherlands & Renaissance Society, University of Chicago, Chicago, IL
(ISBN: 90-773362-12-1) Dutch and English.
Dercon, Chris &Ghez, Suzanne. Forword / Voorwoord
Miller, John. Formalism and It's Other
1991 Peter Nadin / Jessica Stockholder; exhibition catalogue published by Warren
Adelson Gallery, New York, NY (no ISBN) English
Westreich, Thea. PICK-UP
Jessica Stockholder; exhibition catalogue published by The Contemporary Art Gallery,
Vancouver, Canada (ISBN:0-920751-15-6) English
Holmes, Mark. It's Not Over 'Til The Fat Lady Sings
Group Exhibition Catalogues / Brochures, Books:
2003 Trespassing: Houses x Artists, published by: Hatje Cantz, Ostfildern, Germany
(ISBN: 3-77571-261-5)
2000 Dinge in Der Kunst de XX.Jahrhunderts, published by Steidl, Göttingen, Germany
(ISBN: 3-88243-149-0)
Gaßner, Hubertus Die scheinbaren Dinge
Rosenthal, Stephanie Der Dinge neue Kleider
(and other authors)
Skulptur 2000: Kern, Ostermeyer, Pernice, Rentmeister, Stockholder, Tavenne,
published by Kunsthalle Wilhelmshaven & Kerber Verlag, Bielefeld, Germany
(ISBN: 3-933040-59-0)
Riese, Ute Skulptur 2000 & Jessica Stockholder
2000 Modern Art: Painting, Sculpture, Architecture, published by Abrams, New York (ISBN:
Hunter, Sam chapter: The Nineties
Jacobus, John.
1999 Special Offer, exhibition catalogue published by Kasseler Kunstverein, Kassel,
Germany (ISBN: 3-927941-24-7)
Grützmacher, Elke. Mal doch mal was Schönes...
Hartenstein, Silke. Hören Sie mal zu, das ist Kunst:
Rolf Ricke im Gesprach../.
Coming Off the Wall, exhibition catalogue published by Susquehanna Art Museum,
Harrisburg, PA
Krivitsky, Kristy. Conventional Disruptions
McGeary, Clyde. How and Not What
VanDyke, Jonathan. Coming Off the Wall
1998 Young Americans 2, exhibition catalogue published by Saatchi Gallery, London, England
(ISBN:0-9527453-7-2)
Adams, Brooks.
& Liebmann, Lisa. Nothing Left Undone
Alternative Measures, exhibition catalogue published by Castle Gallery, College of
New Rochelle, New Rochelle, NY (no ISSN)
Canning, Susan. Alternative Measures
Sculpture: Contemporary Form and Theory, bi-monthly journal published by Art & Design,
London, No.55 (ISSN: 0267-3991)
Benjamin, Andrew (guest editor) et al.
Ostrow, Saul. Piecing the Pieces Together Again: Phenomenal Objects,
Pictorial Events
1997 Art at the Turn of the Century, book published by Taschen, Cologne, Germany
Grosenick, Uta. editor
Stockholder, Jessica. artist statement
The Everyday and Architecture - Architectural Design, journal published by Academy
Editions, London, England (ISBN:0003-8504)
Till, Jeremy. The Everyday and Architecture
Wigglesworth, Sarah. The Everyday and Architecture
Stockholder, Jessica. Writing towards, in advance: Slab of Skinned Water,
Cubed Chicken & White Sauce
Thorkildsen, Åsmund. Turning the Commonplace, sure... A poetic appreciation
of Jessica Stockholder's Art
and other authors
Colorflex, exhibition brochure published by Apex Art, New York (no ISBN)
Rubenstein, Raphael. Colorflex
1996 20th Century Art Book, book published by Phaidon Press Ltd., London
Painting - The Extended Field, exhibition catalogue published by Rooseum, Malmö,
Sweden and Magasin 3, Stockholm, Sweden
1994 Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting,
exhibition catalogue published by The Corcoran Gallery of Art, Washington, DC (Dec.)
Pagel, David. Jessica Stockholder
Sultan, Terrie. Painting Outside Painting
Color in Space: Pictorialism in Contemporary Sculpture; exhibition catalogue
published by David Winton Bell Gallery, Brown University, Providence, RI (Apr.)
Hofmann, George. (essay)
New York - Positionen Aktueller Malerei; exhibition catalogue published by
Studio-galerie der Kunstverein Museum Schloß Morsbroich, Leverkusen, Germany
Ludwig, Georg (essay)
1993 Pittura - Immedia: Malerei in den 90er Jahren; exhibition catalogue published by
Neue Galerie am Landesmuseum Joanneum, Graz, Austria
Dreher, Thomas. Antiquiertheit der Malerei?
Weibel, Peter. Vorwort, Introduction and Pittura Immedia: Die Malerei
in der 90er Jahren zwischen mediatisierter Visualität und
Visualität in Kontext
1991 The world as we find it; exhibition catalogue published by The Aldrich Museum of
Contemporary Art, Ridgefield, CT
Rosenberg, Barry. essay
Mettlesome & Meddlesome: Selections from the Collection of Robert J. Schiffler;
exhibition catalogue published by The Contemporary Arts Center, Cincinnati, OH
King, Elaine. Foreward
Riley, Jan. Introduction
Schiffler, Robert. Mettlesome & Meddlesome
Stockholder, Jessica. project
Tucker, Marcia. Collecting: The Strategy of Desire
Transgressions in the White Cube: Territorial Mappings; exhibition catalogue published
by Bennington College, Bennington, VT
Decter, Joshua. Transgressions in the White Cube: Territorial Mappings
Le Choix des Femmes; exhibition catalogue published by Le Consortium, l' Usine &
Espace Frac, Dijon, France
Colliard, Eric; le Choix
Denizot, René; le Choix
Douroux, Xavier; le Choix
Gautherot, Franck; le Choix
12
Marcadé, Bernard. le Choix
Plastic Fantastic Lover (object a); exhibition catalogue published by Blum Helman
Warehouse, New York, NY
Liu, Catherine. essay
Le Consortium Collectionne; exhibition catalogue published by Le Consortium, Dijon,
France
Awards in the Visual Arts 10; exhibition catalogue published by Southeastern Center
for Contemporary Art, Winston-Salem, NC
Hixson, Kathryn. essay
The Museum of Natural History; exhibition catalogue published by Barbara Farber Gallery,
Amsterdam, The Netherlands
Nickas, Robert. essay
1991 Biennial; exhibition catalogue published by Whitney Museum of American Art,
New York, NY
Armstrong, Richard; Circa 1991
Marshall, Richard; Introduction
Physicality: An Exhibition on Color Dimensionality in Painting; exhibition catalogue
published by The Gallery, New York
Hofmann, George. essay
1990 Unbound: Possibilities in Painting; exhibition catalogue published by The Hayward Gallery
& The South Bank Centre, London
Searle, Adrian. Unbound and Jessica Stockholder
Don't Look Now; exhibition catalogue published by Thread Waxing Space, New York, NY
Decter, Joshua. untitled essay
Outside America: Going into the '90's; exhibition catalogue published by Fay Gold Gallery,
Atlanta, GA
Collins & Milazzo. essay
Mattress Factory: Installation and Performance, 1982-1989; exhibition catalogue
published by The Mattress Factory, Pittsburgh, PA
Stockholder, Jessica. Mixing Food with the Bed
The Technological Muse; exhibition catalogue published by Katonah Museum of Art,
Katonah, NY
Fillen-Yeh, Susan. essay
Contingent Realms; exhibition catalogue published by The Whitney Museum of
American Art, New York, NY
Weinberg, Adam. essay
1990 Stendhal Syndrome: The Cure; exhibition catalogue published by Andrea Rosen Gallery,
New York, NY
Lieberman, Rhonda. essay
Liu, Catherine. essay
Rickels, Lawrence. essay
1989 Berkshire Art Association 1989 Exhibition of Painting and Sculpture; exhibition catalogue
published by Berkshire Museum, Pittsfield, MA
Phillips, Lisa. juror's introductory essay
A Climate of Site; exhibition catalogue published by Galerie Barbara Farber, Amsterdam,
The Netherlands
Nickas, Robert. essay
1985 Selections from the Artist's File; exhibition catalogue published by Artists Space,
New York, NY
Larson, Kay. essay
Selected Bibliography: Features, Editorials, Interviews, Project pages, etc.:
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.
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, Jan Frieze, 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 im 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
unsigned The 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 für 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)
14
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)
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.)
Stockholder, Jessica. 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
Stockholder, 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)
Lingemann, Suzanne. Art (Hamburg), Jessica Stockholder (feature)
(unknown) Metropolis M (Utrecht), Jessica Stockholder, Apr. (feature)
unsigned. Interview, Wham: Jessica Stockholder, Feb., p.32-33 (feature)
Berkman, Robert. Linewaters' Gazette (Brooklyn), Pulling Matisse Off the Wall,
p.1 (feature)
1995 Kimmelman, Michael. The New York Times, A Wrapped Reichstag: That's the Spirit,
31 Dec. (editorial - end of the year art review)
Rubenstein, Rafael. Art in America, Shapes of Things to Come, Nov. (interview)
Princenthal, Nancy. Art + Text (Australia), Jessica Stockholder: Reinventing the
Real, Oct., No. 52
Feinstein, Roni. Canadian Art (Toronto), Jessica Stockholder: Chaos Theory,
Sept. (feature)
Schwabsky, Barry. Art Press (Paris), Jessica Stockholder, Fall (feature)
Birnbaum, Daniel. Dagens Nyhter (Stockholm), Jessica Stockholder, 16 July
(feature)
van Ulzen, Patricia. Jong Holland, Tijdschrift voor kunst en vormgeving na 1850
(Rotterdam), Jessica Stockholder, June (feature)
St. John, Michael. Here and Now: 13 Artists in the Studio (Mass Productions for
Channel 16), Jessica Stockholder, 21 May (televised interview)
Stockholder, Jessica. Artforum, A Project for Artforum by Jessica Stockholder,
Feb. (project)
15
unsigned. Panorama (newsletter of Fundaci¢ 'la Caixa”), Sweet for Three
Oranges' de Jessica Stockholder, primera exposici¢,
Feb. (feature)
Green, Alison M. Vytvarné Umen¡ (Prague), Cesta k re lnému: nov¡ abstrakcionisté
v Americe, Jan./Feb. (editorial)
1994 Birnbaum, Daniel. Dagens Nyhter (Stockholm), R†het och m†ngfald, Dec. (editorial)
Bouisset, Ma‹ten. Art Press (Paris), Le Consortium: Deux Collections ... l'Université,
Feb. (editorial)
1993 Troncy, Eric. Flash Art, Painting from All Over to All Round: Lauren Szold and
Jessica Stockholder Start Gigging, Jan. / Feb. (feature)
Chamberlain, Patrick. Witte de With - Cahier #1, On an Antidote, Oct. (feature)
Stockholder, Jessica. Witte de With - Cahier #1, Figure Ground Relations, Part 1:
Catchers Hollow & Part 2:Self Portrait, Oct. (artists statements)
Butler, Connie. Art & Text (Sydney), Terrible Beauty and the Enormity of Space,
No.46, Sept.
Stockholder, Jessica. Turn-of-the-Century Magazine, Parallel Parking, Vol. 1, No.1,
Spring (feature)
Liebman, Lisa. Frieze, Junk Cultured, Mar. / Apr. (feature)
Donegan, Cheryl. Tema Celeste, One Portrayal, Four Portraits, Winter (editorial)
1992 Stockholder, Jessica. Tema Celeste, The Question of Gender in Art, Fall (editorial)
Westfall, Stephen. Bomb, Interview with Jessica Stockholder, Sept. (feature)
Jaeckel, Claudia. Art Das Kunstmagazin, May (feature)
Obrist, Hans-Ulrich. Meta 1 Die Kunst und Ihr Oht, The Installation is Coming
Through the Backdoor, Jan. (editorial)
1991 Sichel, Berta. Balcon, Undomesticated Still Lifes: the order and disorder of
Jessica Stockholder, Jan., issue #7 (feature)
Stockholder, Jessica. Bomb, Fall (project)
Ottmann, Klaus. The Journal of Contemporary Art, Interview with Jessica
Stockholder, Vol. 4, #1, Spring/Summer (interview)
Mahoney, Robert. Tema Celeste, Jessica Stockholder, Mar. / Apr. (feature)
Schmidt, Eva. Kunstforum, Jan. / Feb.
1990 Parks, Addison. The Christian Science Monitor, Going it Alone with Sculpture,
Thursday, 29 Nov.
Bankowsky, Jack. Artforum, The Obligatory Bed Piece, Oct. (feature)
Saltz, Jerry. Arts Magazine, Notes on a Sculpture: Mis-appropriation,
Jessica Stockholder's Sculpture with No Name, Apr. (feature)
Nickas, Robert. Flash Art, The State of Things, questions to three object-conscious
artists, Mar. / Apr. (editorial)
Television:
1997 Znaimer, Moses. & Originals in Art: Jessica Stockholder, produced by Sleeping Giant
Gilchrist, Sylvène. Productions, Toronto for Bravo! Network (made for T.V. 30 minute
Documentary w/interview)
1995 St. John, Michael. Here and Now: 13 Artists in the Studio (Mass Productions for Channel 16)
Jessica Stockholder, 21 May (televised interview)
Website:
2000 OpenOffice / Method http://www.housesxartists.com (website for Houses X Artists project)
1995 Stockholder, Jessica. http://www.diacenter.org (project in conjunction with the exhibition
installation: “Your Skin in this Weather Bourne Eye-Threads & Swollen
Perfume” at Dia Center for the Arts, New York)
16
Selected Bibliography: Reviews:
Solo exhibition: Galleria Raffaela Cortese, Milan, Italy (18 Jan. - Feb.)
2002 Perra, Daniele. Tema Celeste, Jessica Stockholder at Galleria Raffaella Cortese,
undated; p. 97
Strati, Maria Cristina. Arte & Critica, Stockholder at Raffaella Cortese, nr. 30/31
Beatrice, Luca. Arte, Stockholder: alla ricerca della casualità, February; p. 65
Moratto, Rossella. Art & Job Magazine, Le Costruzioni di Jessica Stockholder, 27 Feb.
Garbarino, Laura. www.exibart.com, Jessica Stockholder: opere recenti, 20 March
Group exhibition: SITE Santa Fe, Santa Fe, NM; Beau Monde: Toward a Redeemed
Cosmopolitanism, curated by Dave Hickey; installation: Bird Watching (14 July - 6 January)
2001 Mitchell, Charles Dee. Art in America, Making the Case for Pleasure, November; pp.122-129
Schjeldahl, Peter. The New Yorker, Desert Songs: A Maverick biennial in Santa Fe,
13 August.
Rush, Michael. The New York Times, In Santa Fe, Searching for the Meaning
of Beauty, 8 July; p.AR 31
Smith, Roberta. The New York Times, Quick as A Shutter, Group Shows Shatter
Conventional Wisdom, 6 July, p. E32
Solo exhibition: Kunstmuseum St. Gallen, St. Gallen, Switzerland; installation: Vortex in the Play of
Theatre with the Real Passion (for Kay Stockholder) and installation:
Pictures at an Exhibition (17 March - 26 June)
2000 unsigned. St.Galler Nachrichten (Switzerland), Komplexe Farbigkeit,11 May,
p.30
Hoffmann, Gabriele. Tageszeitung(Switzerland), Ytong-Stein in Legoland, 2 May, p.14
Wäspe, Roland. Saiten, New York, New York, April, p.62/63.
unsigned. Schweizer Monatshefte (Switzerland), Ausstellung: Jessica
Stockholder and Mary Heilmann, April, p.55
Engler, Martin. Frankfurter Allgemeine Zeitung (Germany), Materialwirbel mit
Shakespeare, 25 Apr, p. 54
sda. Zürichsee-Zeitung (Switzerland), Zwei Amerikanerinnen in St.Gallen,
22 Apr., p19
unsigned. Vorarlberger Narichten (Switzerland), Lego und Romantisches Theater,
6 Apr., p.D6
Mack, Gerhard. art, Kubismus und Legosteine Tonnenweise, April, p.94
Pichler, Karlheinz. Kultur, Wenn Vorstellungskraft und Material zum Stelldichein bitten,
April, p.30
Schaufelberger,Peter E. Südkurier, Dem Gebrauchswert entrückt, 25 March.
Solo exhibition: Kunstmuseum St. Gallen, St. Gallen, Switzerland; installation: Vortex in the Play
of Theatre with the Real Passion (for Kay Stockholder) and
installation: Pictures at an Exhibition (17 March - 26 June)
2000 Basting, Barbara. Zürcher Tages-Anzeiger (Switzerland), Landschaft mit Parkbank
und Duplosteinen, 25 March,p.55
Badrutt-Schoch, Ursula. St. Galler(Switzerland), Spielen, bauen, sehen, 22 March, p. 22
Mack, Gerhard. Cash, Viele, viele bunte Legosteine-, 17 March, p.52
Mack, Gerhard. St.Galler Tagblatt(Switzerland), Mehr als jung und schön, 17 March,
p.17
unsigned. Praxis(Switzerland), Listing: Kunstmuseum St. Gallen Jessica
Stockholder, 16 March, p. 512
unsigned. Neue Zürcher Zeitung(Switzerland), Schweizer Ausstellungen:
Jessica im Wunderland, March, p. 66
Restoff, Jörg. Kunstzeitung, Seherlebnis: St. Gallen: Jessica Stockholder, March,
p. 9
Solo exhibition: The Power Plant, Toronto, Canada; installation: First Cousin Once Removed or
Cinema of Brushing Skin (25 June - 6 Sept., cat.)
17
1999 Solomon, Deborah. Time (Canadian Edition), Domesticity Is Bliss: Jessica Stockholder’s
deeply cultured installation art offers a zany, profound view of history
as decor, 12 July, p.48-49
Whyte, Murray. National Post (Canada), In an Era Obsessed with Meaning, a Pure
Abstraction, 25 June
Solo Exhibition (studio works) at Galerie Rolf Ricke, Köln, Germany
1999 JPK Kölner Stadt-Anzeiger, Ausstellung Stockholder: Überraschende
Bezüge, 28 May, p.28
Group exhibition: Re: Rauschenberg at Marcel Sitkoske Gallery, San Francisco, CA
1999 Baker, Kenneth. San Francisco Chronicle, Rauschenberg Coup at SFMoMA, 8 May,
p.E1
Solo exhibition: Musée Picasso d'Antibes, Antibes, France; installtion: Torque,Jelly Role, and Goos
Bump
(16 Jan. - 22 Mar., cat.)
1998 unsigned. Critique d'Art, Jessica Stockholder, Spring.
unsigned. Petites Affiches des Alpes Maritimes, Jessica Stockholder, 11 March.
unsigned. Le Var Information, Jessica Stockholder, 11 March.
unsigned. Les Nouvelles Publications, Jessica Stockholder, 11 March.
unsigned. Nice Matin, Stockholder: l'art du bricolage, 1 March.
Lindgaard, Jade. Les Inrockuptibles, Objets trouvés là, 21-27 Jan.
Ménage, Claude. Créations, Chef de chantier, March.
Arkhipoff, Elisabeth. Beaux-Arts Magazine, Artiste du Mois: Stockholder, March
unsigned. Connaissance des Arts, Deux pour Stockholder, March
unsigned. Art Press, Jessica Stockholder, March.
unsigned. Flash Art International, Jessica Stockholder, March.
de Haro, Sarah. Ex Aequo, Bricolages, March.
unsigned. L'Oeil, Un tableau dans l'espace, February.
Gantieé, Jacques. Nice Matin, La peinture dans tous ses états, February.
Ernoult-Gandouet, M. L'Oeil, Stockholder ou le chaos, February.
Gauville, Hervé. Libération, Stockholder vue en double exposition, 27 Jan.
Lebovici, Elisabeth. Libération, Ouverture sur la mer à Antibes, 27 Jan.
unsigned. Le Monde, Jessica Stockholder, 27 Jan.
unsigned. Nice-Matin, L'art jubilatoire et coloré de Jessica Stockholder, 23 Jan.
Régnier, Philippe. Le Journal des Arts, Stockholder, l'après Calder, 16 Jan.
unsigned. Vie Agricole et Coopérative, Jessica Stockholder, 15-21 Jan.
Solo exhibition: Musée des Beaux-Arts de Nantes/La Salle Blanche, Nantes, France; installation:
Nit Picking Trumpets of Iced Blue Vagueries (14 Jan.-13 April, cat.)
1998 Ernould-Gandouet,M Atlantica, Stockholder ou le chaos, April.
de Haro, Sarah. Ex Aequo, Bricolages, March.
unsigned. Flash Art International, Jessica Stockholder, March.
unsigned. Cahiers de la peinture, Jessica Stockholder, March.
unsigned. Connaissance des Arts, Deux pour Stockholder, March.
Ménage, Claude. Créations, Chef de chantier, March.
Arkhipoff, Elisabeth. Beaux-Arts Magazine, Artiste du Mois: Stockholder, March.
Solo exhibition: Musée des Beaux-Arts de Nantes/La Salle Blanche, Nantes, France; installation:
Nit Picking Trumpets of Iced Blue Vagueries (14 Jan.-13 April, cat.)
1998 unsigned. L'Oeil, Un tableau dans l'espace, February.
Lindgaard, Jade. Les Inrockuptibles, Objets trouvés là, 21-27 Jan.
Lebovici, Elisabeth. Libération, Ouverture sur la mer à Antibes, 27 Jan.
Régnier, Philippe. Le Journal des Arts, Stockholder, l'après Calder, 16 Jan.
unsigned. Presse Océan, Le stock de Stockholder au Musée: art comptant
pour rien, 15 Jan.
unsigned. Presse Océan, Jessica Stockholder expose au musée des Beaux-Arts
18
de Nantes, 14 Jan.
unsigned. Nantes Poche, Jessica Stockholder, 14-20 Jan.
Tigoe, Yasmine. Ouest France, Une installation de Jessica Stockholder, 13 Jan.
Foucher, Eliane. Nantes Poche, Jessica Stockholder, Jan.
1997 Bouglé, Frédéric. Zéro deux, Le tableau mis en scène ou l'illusion du tableau, Oct.
Solo exhibition: Openluchtmuseum voor beeldhouwkunst Middleheim, Antwerpen, Belgium; installation:
Landscape
Linoleum (6 Sept. - 15 Nov. 1998, cat.)
1998 Hagoort, Erik. De Volle luzant, Bij Stockholder vecht een badkuip met de verf,
22 Oct.
Vanbelleghem, Kurt. The Bulletin, Jessica Stockholder, 8 Oct.
Elkaim, Kerenn. La Semaine, Défi et Prouesse d'une nature défigurée, 2 Oct.
unsigned. De Witte Raaf, Jessica Stockholder, Sept.- Oct.
Braet, Jan. Knack, Zie ik maak alles nieuw, 16-22 Sept.
Demeester, Ann. De Morgen, Douches, matrassen en tapijten in een nieuwe context,
5 Sept.
Van de Velde, Paola. De Telegraaf, Zwevende autowrakken, 4 Sept.
unsigned. Gazet van Antwerpen, Jessica Stockholder versiert Middleheim met
autowrakken, 2 Sept.
Roelandt, Els. Tyd & Cultur, Kleur bekennen, 2 Sept.
Roelandt, Els. De Financieel-Economische Tijd, Jessica Stockholder in Middleheim,
14-15 Aug.
unsigned. Kunstecho's, Jessica Stockholder, 1 Aug.
Group exhibition: Painting Language at L A Louver Gallery, Los Angeles, CA
1998 Pagel, David. Los Angeles Times, Abstract Views, Fri. 28 Aug., p.F-26
Group exhibition: Humble County at D'Amelio Terras Gallery, New York, NY
1998 Cotter, Holland. The New York Times, Humble County, Fri., 10 July, p.E-27
Group exhibition: Young Americans 2 at Saatchi Gallery, London, England; installation: Bowtied In
the Middle, 1995 and studio works (cat.)
1998 Ferver, Wiiliam. The Observer (London), Jumble Fever, 17 May
unsigned. The Big Issue (London), Young Americans 2 listing, 11 May
1998 unsigned. The Guardian (London), Young Americans 2 listing, 10 Apr.
Jobey, Liz The New Statesman (London), Young Americans, 8 May
unsigned. Ham & High (London), Triumph of the young Americans, 8 May
Kent, Sarah Time Out (London), Wrappers' delight Young Americans flex their
grunge muscle,
6-13 May
Packer, William Financial Times (London), Not so sweet nothings from America,
2-3 May
unsigned. The Independent (London), Young Americans 2, 2 May
unsigned. London in One (London), Young Americans 2, May
unsigned. Artforum (London), Young Americans 2, preview, May
unsigned. The Times (London) EXHIBITION Young Americans 2, 28 Apr.
Solo exhibition: Turning Paper, monotypes from Two Palms Press at Betsy Senior Gallery,
New York, NY
1998 Hirsch, Faye. On Paper, Working Proof: Turning Paper, May/June, p.35-37
(interview about Two Palms' Turning Paper monotypes)
Solo exhibition / installation: Coupling at White Cube, London, England
1998 Ohrt, Robert. Cosmopolitan (Münich), 05.98 Kunst: Extra Pelzig!, May, p.16
(preview)
19
Solo exhibition / installation: Slab of Skinned Water, Cubed Chicken & White Sauce at Kunstnernes
Hus, Oslo, Norway
1997 Pedersen, Per Helge. Observer Norske Argus (Oslo), N† ogs† som kunst, No.15
unsigned. Klassekamper (Oslo), Perspektiv, 3 Nov.
Hedberg, Hans. Svenska Dagbladet (Stockholm), Stockholder kommunicerar med
världen, 8 Nov, p.E
Henmo, Ingvill. Morgenbladet (Oslo), I bildets mage, 31 Oct., p.9+cover
Grogaard, Stian. Morgenbladet (Oslo), Et plutselig mykt trinn, 31 Oct., p.9+cover
Flor, Harald. Dagbladet (Oslo), Glava og glemsel, 30 Oct.
Zarbell-Engh, Bjorn. Drammen Tidende og Buskeruds Blad (Oslo), med Leca og Glava i
Kunstnernes Hus, 30 Oct.
Volle, Wenche. Aftenposten (Oslo), Katedral av Glava, 28 Oct., p.32
Harbo, John. Aftenposten (Oslo), Kunstnerisk dugnad i Oslo, 24 Oct.
unsigned. Dagbladet (Oslo), Lecablokker og video, 24 Oct.
Two-Artist exhibition: The Point of Departure: Moira Dryer & Jessica Stockholder at Gallery of Art,
Johnson County Community College, Overland Park, KS (brochure)
1997 Thorson, Alice. The Kansas City Star, Coping with the Cutting Edge: Stockholder
show is razor-sharp, Sunday, 5 Oct., p.L-1&6
Thorson, Alice. The Kansas City Star, Upcoming Art, Sunday, 7 Sept., p.K1 (preview)
Solo exhibition: Jessica Stockholder: 200 Drawings, Otis Gallery of Otis College of Art & Design,
Los Angeles,CA
1997 Wilson, William. Los Angeles Times, Sketches Whet Appetite for Stockholder's
Final Product, Tuesday, 7 Oct., p.F-6
Group exhibition: New York - Divergent Models at Naussauischen Kunstverein, Wiesbaden, Germany
1997 Schmid, Britta. Frankfurter Allgemeine Zeitung (Frankfurt), Farbige Materialhaufen,
15 Oct.
von Pilar, Ute. Wiesbadener Kurier, Farbdynamik zieht in Bann, 18 Sept.
von Pilar, Ute. Wiesbadener Kurier, Farbenfrohe Atmosphäre, 8 Sept.
unsigned Wiesbadener Tageblatt, Positionen abstrakter Malerei, 5 Sept.
unsigned Frankfurter Allgemeine Zeitung (Frankfurt), Zehn junge Künstler
frisch aus New York, 4 Sept.
Group exhibition: 4e Biennale de Lyon at Halle Tony Garnier, Lyon, France; (install.: “Bowtied In the
Middle, 1995)
1997 Conti, Tiziana. Tema Celeste (Milan), Biennale di Lione, Oct.-Dec., p.61
Solo exhibitions: drawings at D. A. A. D., Berlin, Germany (25 Apr. - end May) and studio works
at Contemporary Fine Arts, Berlin, Germany
1997 Müller, Katrin Bettina. Die Tageszeitung, Schiffbruch im Zimmer: Zweimal Jessica Stockholder
bei
D.A.A.D. und Contemporary Fine Arts, 17 May, p.24
Tietenberg, Annette. Frankfurter Allgemeine Zeitung (Frankfurt), Wenn Jessica
Stockholder Kombiniert, 10 May, p.40
unsigned. Die Tagezeitung, Wie Uwe Johnsons'Jahrestage' in Pillenform...,
3-4 May, p.28
Wiensowski, Ingeborg. Spiegel Extra: Das Kultur-Magazin, Kunst: Jessica Stockholder, May,
p.22
Conrads, Martin. Zitty, Die Einzigartigkeit der Gegenstände, Spring, p.75
Solo exhibition (studio works) at Jay Gorney Modern Art, New York, NY
1997 Ebony, David. Art Net (www.artnet.com), David Ebony's New York Top Ten...
Jessica Stockholder..., Spring - Fall
Arning, Bill. Time Out / New York, Jessica Stockholder, 1-8 May, p.37
unknown www.artseensoho.com, Jessica Stockholder, Apr.
20
Group exhibition: Painting - The Extended Field at Rooseum, Malmö, Sweden; Magasin 3,
Stockholm, Sweden; installation: “Bowtied In the Middle” and studio works (cat.)
1997 Birnbaum, Daniel. Artforum, Painting - The Extended Field, Feb., p.82
Solo exhibition (studio works” & installation) Bowtied In the Middle at Tom Solomon's Garage,
Los Angeles, CA
1996 Knight, Christopher. Art Issues, Jessica Stockholder at Tom Solomon's Garage,
Sept / Oct, p. 38
Frank, Peter. L. A. Weekly, Art Picks of the Week: Jessica Stockholder, Joyce
Lightbody, 3 - 9 May, p.122
Pagel, David. Los Angeles Times, Having and Using..., 25 Apr., p.F-11
Solo exhibition (studio works) at Studio La Citta II, Verona, Italy (cat.)
1996 Panzera, Mauro. Flash Art (Italian edition), Spotlight: Jessica Stockholder, Summer,
#199, p.79
Spada, Sabina. Tema Celeste, Jessica Stockholder, Spring, #56, p.61
Meneghelli, Luigi. L'Arena (Verona), Cultura: Gli oggetti di Jessica, 22 Feb., p.32
Group exhibition: Painting Outside Painting: 44th Biennial Exhibition of Contemporary American
Painting at The Corcoran Gallery of Art, Washington, DC (cat.)
1996 Ostrow, Saul. The New Art Examiner, History is Now, Mar., pp.29-31
Plagens, Peter. Newsweek, Peeling Paint: A Wash. Museum Asks: What's in a Picture?
15 Jan., p.66
Dorsey, John. The Sun (Baltimore), Too much different' makes show uneven,
14 Jan., p.1-2K
Smith, Roberta. The New York Times, Testing Limits at the Corcoran, 6 Jan., p.11
Wallis, Stephen. Art & Antiques, Sketchbook: Shows Not to Miss, Jan.
1995 Shaw-Eagle, Joanna. The Washington Times, Painting Beyond Traditional Limits, 24 Dec.
Lewis, JoAnn The Washington Post, Painting Outside the Lines, 23 Dec., p.B1
Solo exhibition (studio works) at Galerie Nathalie Obadia, Paris, France
1996 Dagen, Phillippe. Le Monde (Paris), Jessica Stockholder, 15 Jan., p.19
1995 Jover, Manuel. Beaux Arts (Paris), Le Bricolage Existentiel de Jessica Stockholder,
Dec., p. 43
Group exhibition: Re:Fab: Painting Abstracted, Fabricated, Contemporary Art Museum, University
of South Florida, Tampa, FL
1995 Milani, Joanne. The Tampa Tribune, “Gallery Glimpses: Re:Fab...”, 15 Dec., p.21
Solo exhibition / Installation: Your Skin in this Weather Bourne Eye-Threads & Swollen Perfume;
Dia Center for the Arts, New York, NY
1996 Grant, Annette. The New York Times, Praising Famous Men, And an Empire or Two,
29 Dec., p.H-37 (arts' year in review)
van de Walle, Mark. Artforum, 1996 Best & Worst of the Year / Exhibitions: Party Flavor
(best exhibiton: J. S. at Dia.), Dec.
Kimmelman, Michael. The New York Times, At Dia, Fresh Wounds and a Fresh Start,
15 Sept., p.36
Mumford, Steve. Review (New York), Art and Objecthood Redux: Jessica Stockholder
at Dia, June, pp.10-11
Jaeger, Jack. Zapp Magazine (Amsterdam), Jessica Stockholder /
Dia Art Foundation, issue #8 (video magazine)
Molesworth, Helen. Frieze, Jessica Stockholder / Dia Art Foundation, May, pp.68-69
Castle, Frederick Ted. Review (New York), A Day at Chelsea's Dia Center for the Arts, May,
pp.17-18
Aukeman, Anastasia. C Magazine (Toronto), Jessica Stockholder / Dia, Spring, p.48
McDonough, Thomas F.Texte zur Kunst, Your Skin... Jessica Stockholder im Dia Cente
for the Arts, Mar.,
pp.185-187
21
Volk, Gregory. Artnews, Jessica Stockholder / Dia Center for the Arts, Jan., p.125
1995 Kimmelman, Michael. The New York Times, A Wrapped Reichstag: That's the Spirit, 31 Dec.
Perl, Jed. The New Republic, The Third Degree; 11 Dec., pp.26-30
(reference within review of Constantin Brancusi
at Philadelphia Museum)
Schjeldahl, Peter. The Village Voice, Puritan and Warlock; 1 Dec., p.71 (reference
within review of Frank Stella at Castelli Gallery)
Buchloh, Benjamin H.D. Artforum, Best & Worst, 1995, excerpt: End Of the Line, Dec.,
pp.54-83
Liebmann, Lisa. Artforum, Best & Worst, 1995, excerpt: From Here to Alterity,
Dec., pp.54-83
Lind, Maria. Svenska Dagbladet, Lustfylld utmaning mot m†leriet, 29 Nov.,
pp.27, 30
Lind, Maria. Svenska Dagbladet, Som att hitta ett outforskat sinnligt n”jesfält,
29 Nov., p.27
Smith, Roberta. The New York Times, Making the Abstract Light, Sunny and
Personal, 3 Nov.
(reference within review of Howard Hodgkin at Metropolitan
Museum)
unsigned. Flash Art (“News” section), Jessica Stockholder at Dia, Nov. / Dec.,
p.43
Levin, Kim. The Village Voice, Art Short List, 31 Nov., p.10
Perrée, Rob. Kunstbeeld (Amsterdam), Jessica Stockholder in New York:
De Schoonheid Achter Het Lelijke Gezicht, Nov., pp.38-40
Schjeldahl, Peter The Village Voice, Out of Nothing, 24 Oct., p. 87
Newhall, Edith. New York Magazine, Installation: Insider Art, 16 Oct., p.84
Kimmelman, Michael The New York Times, Exhuberantly Operatic, In Scale and Emotion,
6 Oct, p.C-28
Solo exhibition / studio works at Jay Gorney Modern Art, New York, NY
1995 Myers, Terry R. New Art Examiner (Chicago), Jessica Stockholder, June
Smith, Roberta The New York Times, Jessica Stockholder, 14 Apr.
Servin, James Associated Press (Worldwide Wire Service), Abstract Artist
Brings Home the Familiar, 14 Apr.
Servetar, Stuart N. Y. Press, Jessica Stockholder, 30 Mar.
Installation: Recording Forever Pickled Too in group exhibition: Pittura - Immedia at Neue
Galerie am Landesmuseum Joanneum, Graz, Austria; (cat.)
1995 Vogel, Sabine B. Frankfurter Allgemeine Zeitung (Frankfurt), In der Satellitenschüssel,
23 Mar.
Group exhibition: New York - Positionen Aktueller Malerei at Studiogalerie der Kunstverein Museum
Schloß Morsbroich, Leverkusen, Germany (cat.)
Schwenke-Runkel, Ingeb. Kölner Stadt-Anzeiger (Leverkusen), Knallbuntes aus New York,
21 Mar.
Klein, Monike. Rheinische Post & Rhein-Wupper-Zeitung, Sieben New Yorker
Maler stellen in der Studiogalerie aus, 21 Mar.
Solo exhibition: studio works at S. L. Simpson Gallery, Toronto, Canada
1995 Taylor, Kate. The Globe and Mail (Toronto), Of green shower curtains and
lavender fuzzy fur, 11 Feb.
Group exhibition: On Target at Horodner Romley Gallery, New York, NY
1995 Levin, Kim. The Village Voice, The Joy of Curating, 29 Feb.
Melrod, George. Art & Antiques, Openings, Feb.
Solo exhibition / Installation: Sweet for Three Oranges at Sala Montcada de la Fundaci¢n “la Caixa”,
Barcelona,
1995 Juncosa, Enrique. El Pais (Barcelona), Abetos y naranjas, 4 Feb.
22
unsigned Avui (Barcelona), La Sala Montcada obre nou cicle d'Exposicions,
22 Jan.
Spiegel, Olga. La Vanguardia (Barcelona), La Norteamericana Jessica Stockholder
abre temporada en la sala Montcada, 21 Jan.
unsigned Regi¢ 7 (Barcelona), La imatge canviant del m¢n, en un cicle
d'exposicions de La Caixa a Barcelona, 21 Jan.
unsigned Avui (Barcelona), La Ilum, el color i el volum, ordenats en un espai
abstracte dins la sala Montcada, 20 Jan.
C. S. El Pais (Barcelona), Una instalaci¢n de la artista estadounidense
Jessica Stockholder transforma el espacio de la sala Montcada, 18 Jan.
unsigned Guia del Ocio (Barcelona), Jessica Stockholder instalacion en l
Sala Montcada, 13-19 Jan.
unsigned Jessica Stockholder y sus plafones, en la Sala Montcada
unsigned. Panorama, Los lugares vol tiles, Jan. (preview)
unsigned. Panorama, Sweet for three oranges - Jessica Stockholder, Jan.
(preview)
Group exhibition: Joe's Garage at TZ'Art, New York
1994 Hess, Elizabeth. Village Voice, Garage Sale, Dec.
Installation: House Beautiful in group exhibition: Country Sculpture at Le Consortium, Dijon, France
1994 Bouley, Nathalie. Le Bien Public, Blancheurs lyriques ou Country Sculptures, 9 June
Installation: Fat Form and Hairy: Sardine Can Peeling in group exhibition: Unbound at Hayward
Gallery, London, UK
1994 Myerson, Clifford. Art Monthly, On Painting 1, Sept.
Dannatt, Adrian. Flash Art, London by Numbers: Three Painting Shows, July
Bachelor, David. Frieze (London), Behind a Painted Smile: ...'Unbound'..., May
Maloney, Martin. Burlington (London), Unbound: Possibilities in Painting, May
Morley, Simon. Art Monthly (London), Unbound: Possibilities in Painting, Apr.
Norman, Geraldine. The Independent (London), Exhibition Highlights New Wave of
Painting 'Unbound' for Success, 14 Mar.
Lillington, David. Time Out (London), Zeitgeist, 9 Mar.
Gayford, Martin. Telegraph (London), 'Nerdism' could become the movement of
the Nineties, 6 Apr.
Cork, Richard. Times (London), Painting is Back in the Picture, 7 Mar.
Hilton, Tim. The Independent (London), Every Which Way But Forwards,6 Mar.
Graham-Dixon, Andrew. The Independent (London), Sort of, almost, in a way, nearly
Solo exhibition / Installation: Pink Lady & studio works at The Weatherspoon Gallery, Greensboro,
NC (cat.)
1994 Patterson, Tom. Winston-Salem Journal, Jessica Stockholder's works hold attention,
test the mind,
Sunday, 1 May
Jonaes, Abe. News & Record (Greensboro), Sculptor's work explores the
material world, Sunday, 27 Mar.
Group exhibition: Untitled at Postmasters Gallery, New York
1994 Smith, Roberta. The New York Times, Group Shows of Every Kind...:, Friday,
25 Feb.
Two artist exhibition: Joan Snyder / Jessica Stockholder at Jay Gorney Modern Art, New York
1994 Slatin, Peter. Artnews, Joan Snyder, Jessica Stockholder, May
Fujimori, Manami. Bijutsu Techo (Tokyo), From Abroad...New York, Apr.
Harris, Susan. Art Press (Paris), Joan Snyder and Jessica Stockholder, Apr.
Kimmelman, Michael. The New York Times, Joan Snyder and Jessica Stockholder,
Friday, 4 Feb.
Levin, Kim. Village Voice, Voice Choice: Joan Snyder / Jessica Stockholder,
1 Feb.
23
Hess, Elizabeth. The Village Voice, Fem Fatale, 25 Jan.
Solo Exhibition / studio works: Galerie Ludwig, Krefeld, Germany
1993 Richter, Horst. Weltkunst, Art Cologne 93, Nov.
Krajewski, Michael. Kunst-Bulletin, Krefeld: Galerienrundschau, Oktober
M. A. R. Rheinische Post, Jessica Stockholder: Graffitis Dreidimensional,
29 Sept.
Traub, Ulrich. Westdeutsche Zeitung, Zerschnittenes Kunststoffobst, 18 Sept.
Traub, Ulrich. Westdeutsche Zeitung, Die Kunstszene wird bereichert, 5 Aug.
(preview)
Group exhibition: As Long as It Lasts at Witte de With, Rotterdam, The Netherlands (installation:
Catcher's Hollow)(cahier)
1993 Pieters, Din. NRC Handelsblad, Schilders geven prikkelende visie op kunst in
ruimte, 2 Aug.
unsigned. De Avantgarde, Euromast als Kunstwerk, Aug.
van den Boogerd, Dominic. Metropolis M, As Long as it Lasts, Aug.
de Coninck, Frits. (various Dutch newspapers), In Beeld: Witte de With, 31 July
Pontzen, Rutger Vrij Nederland, Geschilder in de ruimte, 10 July
unsigned. Flash Art, 'As Long as it Lasts' at Witte de With, July
Jansen, Bert. Het Financieele Dagblad, Zolag als het duurt: negen schilderkunstige
uitspraken in
Witte de With, 26/28 June
Tilroe, Anna. De Volkskrant, Negen schilders en de grote wereld, 25 June
Welling, Dolf. Rotterdams Dagbladet, Kunst als zallsport in Witte de With,
22 June
Solo exhibition / Installation: Edge of Hothouse Glass at Galerie des Arênes, Carre d'Art, Musée
d'Art Contemporain de Nîmes, Nîmes, France (cat.)
1993 unsigned. Marseillaise, Jessica Stockholder, création pour un lieu donné,
6 Aug.
unsigned. Le Provençal, L'Objet dans L'Art, 19 July
Solo Exhibition / Installation: Sea Floor Movement to Rise of Fire Place Stripping at Kunsthalle Zürich,
Zürich, Switzerland (cat.)
1993 Kurjakovic, Daniel. Flash Art, Jan. / Feb.
1992 Polzer, Brita. Kunstbulletin, Zürich: Stockholder in der Kunsthalle, No. 12
Maurer, Simon. Tages-Anzeiger, Das Chaos komponiert, 7 Nov.
Frehner, Matthias. Neue Zürcher Zeitung, Liebesspiel zwischen Object und Raum,
6 Nov.
Oberholzer, Niklaus. Luzerner Zeitung, Skulpturen einer Nomadin, 5 Nov.
Group exhibition: Mary Heilmann, Jack Pierson, Jessica Stockholder at Pat Hearn Gallery,
New York, NY
1992 Myers, Terry R. Flash Art, Heilman, Pierson, Stockholder, Nov / Dec 1992
Solo exhibition / Installation: SpICE BOXed Project(ion) and smaller works at Galerie Metropol,
Wien, Austria
1993 Kravagna, Christian. Artforum, Jessica Stockholder / Galerie Metropol, Jan.
1992 unsigned. Kurier, Poesie im Heiákalten Installationsdschungel, 2 Oct.
K. S. Die Presse, Vakuum und Weiblichkeit, Ausgestellt: Höfer, Spero,
Stockholder, 24 Sept
Kravagna, Christian. Der Standard, Rauschenbergs Enkel, 26/27 Sept.
Moser, Ulli. Kurier, Sie gibt uns kalt-warm, 11 Sept.
Solo exhibition / Installation: Flower Dusted Prosies at American Fine Arts, Co., New York, NY
1992 Tager, Alisa. Tema Celeste, Autumn
24
Solo exhibition / Installation: Growing Rock Candy Mountain - Grasses in Canned Sand at
Westfälischer Kunstverein, Münster, Germany (cat.)
1992 H. M. Ultimo, Extrem Sinnlich: Candy Mountains, Oct.
Grasskamp, Walter. Frankfurter Allgemeine Zeitung, Im Büchsensand, 13 May
Rochol, Hans. Die Glock, Sinnliches Seherlebnis, 15 Apr.
Lettmann, Achim. Soester Anzeiger, Badestoff im Raum, 11/12 Apr.
Weitkamp, Andreas. Münstersche Zeitung, Ein Lob der Farbe Lila, 10 Apr.
Horst, Michael. Westfälische Nachrichten, Ein lila Gebirge aus Stoff und Sandstein,
10 Apr.
Schmidt, Sabine M. Stadtblatt,Portrait: Jessica Stockholder, Eine Amerikanerin in Münster,
No.12/92
Group exhibition: Jürgen Meyer, Jessica Stockholder, Franz West at Christine Burgin Gallery,
New York, NY
1992 Faust, Gretchen. Arts Magazine, Mar.
Solo exhibition / Installation: Skin Toned Garden Mapping at The Renaissance Society,
University of Chicago, Chicago, IL (cat.)
1992 Hixson, Kathryn. Arts Magazine, Jan.
1991 Glatt, Cara. The Herald (Chicago), Installation finds meaning in everyday objects,
Wed., 30 Oct.
Artner, Alan G. Chicago Tribune, Smart Choices in the U. of C. Centennial Shows,
Fri., 25 Oct.
Gillespie, Mary. Chicago Sun-Times, Arts get their day at U. of C., 4 Oct.
Installation: Recording Forever Pickled in group exhibition; Le Consortium collectionne at
Chateau d'Oiron, Oiron, France; (July 1991)
1991 unsigned. Maisons de France, Consortium de Dijon, No.205, Sept.
Berbudeau, Eric. Nouvelle République, Le Consortium s'expose, 26 Aug.
C.-M. P. Le Quotididien de Paris, Mariage ou Divorce?: Art contemporain
au Château d'Oiron, 26 July
R. H. L'Evénement du Jeudi, Jessica Stockholder: Recording Forever
Pickled, 1990, No.351, 25-31 July
Terradillos, J. L. Charente Libre, Oiron ouvert aux cinq sens, 1 July
unsigned. Courrier de L'Ouest, Oiron - Dijon...même combat, 22 June
Solo exhibition / Two installations: Near Weather Wall & Making a Clean Edge II and studio works
at Witte de With, Rotterdam, The Netherlands (June 1991, cat.)
1991 van den Boogerd, Dominic. Arte Factum, Nov. / Dec.
Tilroe, Anna. Volkskrant, Het Verhevene op Krukken, 6 Sept.
Lambrecht, Luk. Forum International, #9, Jessica Stockholder, Sept.
Westen, Mirjam. Hervormd Nederland, De artefacten van de consumptiecultuur,
Jrg.47,#30, 27 July
unsigned. Knack Weekend (Brussels), Merkwaardig, 3 July
von Graevenitz, Antje. Archis, Jessica Stockholder: Making a Clean Edge, July
unsigned. Flash Art, Summer Shows at Witte de With, Summer
Peeters, Mark. NRC, Stockholder bouwt po‰zie uit rotzooi van de nieuwewereld,
24 June
Donia, Jan. DeKrant op Zondag, Twee Controversen in de Beeldhouwkunst,
23 June
unsigned. De Dordtenaar, Cemin / Stockholder in Witte de With, 14 June
unsigned. Punt Uit Agenda, Confrontatie in Witte de With, June
unsigned. Kunst & Museum Journal, Jessica Stockholder - St. Clair Cemin,
jrg.2, #6
Solo exhibition: studio works at Daniel Weinberg Gallery, Los Angeles, CA (May 1991)
1991 Pagel, David. Arts Magazine, Jessica Stockholder, Oct.
Curtis, Cathy. Los Angeles Times, 17 May
25
Installation: Recording Forever Pickled Too in group exhibition 1991 Biennial at Whitney Museum
of American Art, New York, NY (cat.)
1991 De Bruyn, Eric. Forum International, #9, Whitney Biennale, Sept.
Johnson, Ken. Art in America, Generational Saga, June
Solo exhibition / Installation: UNTITLED Seepage: Sandwashed, Sundried & Shrinkwrapped at
The Ezra and Cecile Zilkha Gallery, Center for Arts, Wesleyan University, Middletown, CN;
1991 Decter, Joshua. Arts Magazine, May
Installation: Recording Forever Pickled in group exhibition Le Choix Des Femmes at Le
Consortium, Dijon,France; (cat.)
1991 unsigned. Actuel, Le Coup de Poing de Dijon: C'Etait une Femme!, Jan.
1990 Fernel, HélÊne. Les Depêches, Le choix des Femmes, 25 Nov.
unsigned. Le Bien Public, Nouvelles Scènes '90 et 'Le Choix des Femmes',
21 Nov.
unsigned. Les Depêches, Nouvelles Scènes '90, 7 Nov.
Dupont, Valerie. Galeries Magazine, Le choix des Femmes, Nov. (preview)
unsigned. Le Progrès, Le choix des Femmes, Nov. (preview)
unsigned. Nuit et Jour, Le choix des Femmes, Oct. - Jan. (preview)
Dupont, Valerie. Art en Bourgogne, Le choix des Femmes, Summer (preview)
Group exhibition: Physicality: An Exhibition on Color Dimensionality in Painting at The Gallery,
New York, NY(cat.)
1990 Smith, Roberta. The New York Times, Friday, 2 Mar.
Solo exhibition / Installation: Where it Happened and studio works at American Fine Arts, Co.,
New York, NY
1990 Mahoney, Robert. Sculpture Magazine, Jessica Stockholder: Where it Happened,
Nov. / Dec.
Ruzicka, Joseph. Art in America, Sept.
Schaffner, Ingrid. Sculpture Magazine, July / Aug.
Avgikos, Jan. Artscribe Magazine, Jessica Stockholder, Summer
Spector, Nancy. Contemporanea Magazine, Jessica Stockholder, June
Siegel, Jeanne. Arts Magazine, Jessica Stockholder, June
Installation: Mixing Food with the Bed in group exhibition: “Four Installations: Victor Grauer,
Kathleen Montgomery,
Cady Noland, Jessica Stockholder” at The Mattress Factory, Pittsburgh, PA (cat.)
1989 Lowry, Patricia. Pittsburgh Press, Exhibits range from restrained to stimulating,
11 Nov.
Miller, Donald. Pittsburgh Post / Gazette, Victor Grauer, Kathleen Montgomery,
Cady Noland,
Jessica Stockholder, 21 Oct.
Homisak, Bill. Tribune Review, At 1414 Monterey, art moves 'off the wall', 20 Oct.
Solo exhibit. / Installation: It's not over til the fat lady sings at Contemporary Art Gallery, Vancouver, BC,
Canada (cat.)
1987 Perry, Art. The Provence (Vancouver), Appreciating Creative Fun, 11 Sept.
Installation: no title in group exhibition at Open Space Gallery, Victoria, BC, Canada; (Sept. 1982)
1982 Burnham, Clint & Chan, Katy. The Martlet (Univ. of Victoria), Honest materials, simple
methods, 28 Sept.
26
Grants and Awards:
2001 August Seeling Preis, Freundeskreis Wilhelm Lehmbruck Museum e.V.,
Duisburg, Germany
1996 John Solomon Guggenheim Fellowship Award, Visual Art
Canada Council “A” Grant
1994 Canada Council “B” Grant
1993 Canada Council “B” Grant
1992 Canada Council Project Cost Grant
Canada Council “B” Grant
1990 Canada Council “B” Grant
Award in the Visual Arts
1989 New York Foundation for the Arts Grant in Painting
1988 National Endowment for the Arts Grant in Sculpture
1988 Canada Council “B” Grant
1987 Canada Council “B” Grant
1985 Susan H. Whedon Award, Yale University
First Alternate, Prix de Rome, American Academy of Rome
1984 Canada Council Short Term Grant
Ontario Arts Council Grant
British Columbia Cultural Fund Scholarship
1983 Artists in the Schools Grant, Ontario, Canada
Yale Tuition Scholarship
1981 British Columbia Cultural Fund Grant for Undergraduates
1980 Helen Pitt Fund for Undergraduates
1979 University of British Columbia Tuition Scholarship
Education:
1984-5 Yale University, New Haven, CT; sculpture, MFA-1985 (Studied with: Jake Berthot,
Judy Pfaff, Ursala von Rydingsvard,David von Shlegal & George Trakas)
1983-4 Yale University, New Haven, CT; painting
University of Victoria, Victoria, BC, Canada; BFA-1982 (Studied with: Mowry Baden
& Roland Brenner)
University of British Columbia, Vancouver, BC, Canada; Fine Arts & academic course
work
(Studied with: Judy Williams Jeffrey Smedley)
1978-79 The Camden School of Art, London, England; four month program
University of British Columbia, Vancouver, BC, Canada; Fine Arts & academic course
Work (Studied with: Judith Lodge)
Teaching & Residencies:
Present-
1999 Yale University, New Haven, CT; Director of Graduate Studies in Sculpture
1993 Skowhegan School, Skowhegan, NY; resident artist, Mildred C. Brinn Endowed Chair
(Summer)
1995 New York Univeristy, New York, NY; (Fall)
School of Visual Arts, New York, NY; faculty member M. F. A. fine arts program (Fall)
1994 School of Visual Arts, New York, NY; senior year painting and sculpture
Bard College, Annandale-on-Hudson, NY; multidisciplinary graduate program
(Summer; five weeks)
1993- New York University, New York, NY; foundation sculpture course (Fall-Spring)
New York University, New York, NY; graduate sculpture course (Summer; three weeks)
Bard College, Annandale-on-Hudson, NY; multidisciplinary graduate program (Summer;
five weeks)
27
New York University, New York, NY; foundation sculpture course (Spring)
The Cooper Union, New York, NY; sculpture course (Spring)
1992 New York University, New York, NY; graduate sculpture course (Spring)
School of Visual Arts, New York, NY; second year sculpture course (Spring)
New York University, New York, NY; foundation sculpture course (Fall)
1990 The University of British Columbia, Vancouver, B.C., Canada; “Color and Painting,”
continuing education course (Summer)
1985 Yale University, New Haven, CT; teaching assistant for beginning sculpture (Spring)
Yale University, New Haven, CT; teaching assistant for intermediate and advanced sculpture
Lectures/Visiting Artist Positions:
2003 Dia:Chelsea, New York, NY; “Jessica Stockholder on Jorge Pardo”
1998 The Museum of Modern Art, New York, NY; “Jackson Pollock” (panel discussion)
Whitney Museum of American Art, New York, NY; “Mark Rothko” (panel discussion)
Vancouver presentations
1997 Atelier Calder, Tours, France; resident artist (Summer)
Southern Illinois University at Carbondale, Carbondale, IL; visiting artist in “Another's Beauty”
series, lecture,
studio visits (Fall)
The University of New Mexico, Albuquerque, NM; visiting artist
School of the Art Institute of Chicago, Chicago, IL; visiting artist, lecture, studio visits (Oct.)
Brown University, Providence, RI; panel discussion: “Color in Space: Pictorialism in
Contemporary Sculpture” (with Oliver Herring, George Hoffman and Diana Johnson)
University of California Los Angeles, Los Angeles, CA; visiting artist (May)
Rhode Island School of Design, Providence, RI; lecture (Apr.)
Hunter College, New York, NY; panel discussion: “The Position of Painting Today:
Mary Heilmann, Jessica Stockholder, Terry Winters” (Mar.)
Vancouver Art Gallery, Vancouver, Vancouver, BC, Canada; lecture (Feb.)
University of Victoria, Victoria, BC, Canada; studio visits(Feb.)
University of Texas, Austin, TX; lecture, studio visits (Feb.)
Fundaci¢ “la Caixa”, Barcelona, Spain; lecture (Jan.)
Facultat de Belles Arts, Univ. de Barcelona, Barcelona, Spain; conference (Jan.)
1994 Tyler School of Art, Philadelphia, PA; lecture, studio visits (Oct.)
Cranbrook Academy of Art, Bloomfield Hills, MI; lecture, studio visits (Apr.)
Carnegie Mellon University, Pittsburgh, PA; lecture, studio visits (Feb.)
Columbia University, New York, NY; slide lecture (Jan.)
1993 CalArts, Valencia, CA; lecture, studio visits (Dec.)
Bennington College, Bennington, VT; lecture, studio visits (Dec.)
1993 De Ateliers, Amsterdam, The Netherlands; two days studio teaching (June)
1992 Rhode Island School of Design, Providence, RI; lecture, studio visits (June)
Hunter College, New York, NY; lecture (Mar.)
University of British Columbia, Vancouver, B.C., Canada; slide lecture (Jan.)
1990 Parsons School of Design, New York, NY; visiting critique panelist for first year
architecture class (Dec.)
Tyler School of Art; Philadelphia, PA; lecture, studio visits (Nov.)
Yale University, New Haven, CT; lecture, studio visits (Nov.)
School of Visual Arts, New York, NY; slide lecture (Oct.)
1991 State University of New York, Purchase, NY; lecture, studio visits (Feb.)
Whitney Museum, New York, NY; education program lecture (Feb.)
1988 Brock University, Toronto, Ontario, Canada; visiting artist (Jan.)
