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|Throughout the past decade, Jessica Stockholder has completed a range of site-specific installations that cross the boundaries of sculpture and painting while responding to architecture.
"The mixture of materials and elements relating to building and to furnishing -- plaster, paint, carpet, electric cords, linoleum, even the excavation that discloses the lath and inner structure of the wall -- proves both consistent with and, arguably, determined by the need to modify the architecture in order to realize a site-specific project. However, these materials and artifacts have not been employed in conventional ways: they playfully make reference to the notion of an in-situ installation while, in fact, operating according to a more autonomous and abstract formal logic."*
"Stockholder's fascination with materials is... obvious; she is a great observer of the innate capacities of ordinary stuff. But the systematic nature of her use of them -- the calculation underlying her whimsy -- only emerges with prolonged consideration. The succession of materials and matrixes in each [monotype] is basically a sequence of simple positives and negatives...but the results of the interactions and interferences among those sequences is complex."**
After studying painting and sculpture at Yale School of Art between 1983 and 1985, Stockholder moved to Brooklyn, New York. She recently returned to Yale where she is Chairman of the Sculpture Department at The Yale School of Art. Upcoming exhibitions in 2002 and 2003 include installations at the Kunstmuseum Nordrhein-Westfalen in Dusseldorf and the Wilhelm Lehmbruck Museum of Sculpture in Duisberg, Germany. She has had numerous solo national and international exhibitions including The Dia Art Museum 1996, Sala Montcada de la Fundación "la Caixa," Barcelona, Spain (1995), Galerie des Arčnes, Carré d'Art, Musée d'Art Contemporain de Nîmes, France (1993), Kunsthalle Zürich, Switzerland (1992), and The Renaissance Society at the University of Chicago, Illinois (1991).
Jessica Stockholder began collaborating with Two Palms in 1998.
*From an essay by Lynne Cooke Jessica Stockholder: Your Skin in this Weather Bourne Eye - Threads & Swollen Perfume for a catalogue accompanying the exhibition of the same name at the Dia Center For The Arts, 1996
**From an essay by Barry Schwabsky, Between Matter and Memory, Reflections on Some Prints from Two Palms Press, 2000.