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Jessica Stockholder

Project Los Altos: SFMOMA on the go


Jessica Stockholder, SFMOMA, 2013, site-related installation at the corner of State and 3rd in Los Altos. Materials used: paint on the ground and bleachers.

Project Los Altos: SFMOMA on the go

Date: November 9, 2013 through March 2, 2014
Place: Multiple sites in downtown Los Altos, California

SFMOMA brings national and international artists to the Silicon Valley community of Los Altos in this unique multisite exhibition. Occupying indoor and outdoor locations throughout the downtown area, Project Los Altos features newly commissioned artist projects by Spencer Finch, Christian Jankowski, Chris Johanson, Mike Mills, Kateřina Šedá, Alec Soth, and Jessica Stockholder that respond to the history and culture of this former agricultural area, the local residents, and the sites themselves. These new works are joined by documentation of performances staged by Charles Garoian with his students at Los Altos High School from 1970 to 1983, and Jeremy Blake's opulent Winchester trilogy (2002-2004), from the SFMOMA collection, inspired by the eccentric South Bay mansion built by Sarah Winchester.

External link:
Project Los Altos: SFMOMA in Silicon Valley

Wide Eyes Smeared Here Dear at Musée d’art Moderne

Wide Eyes Smeared Here Dear

Jessica Stockholder, Wide Eyes Smeared Here Dear, 2012. Photo: Jessica Stockholder.

Wide Eyes Smeared Here Dear

Date: June 22 – September 30, 2012
Place: Musee D'art Moderne, Saint-Etienne Metropole, France

This exhibition will include a selection of works from the studio, and a work previously exhibited at the Denver Art Museum in the exhibition "Embrace." in 2010.This work titled Wide Eyes Smeared Here Dear, is 60 feet wide x 50 feet deep and 14 feet high, consisting of a column of plastic parts, a painted chair, rubber mats, photographs, velvet curtains, and a fictional swing set structure. The work points at and is installed against a wall.

External link:
Musée d'Art Moderne

Hollow Places Court in Ash-Tree Wood at FRAC des Pays de la Loire


Jessica Stockholder, Hollow Places Fat and Hollow Places Thin, 2011, sculptures, dimensions variable, American ash wood, paint, plywood. Hollow Places Fat and Hollow Places Thin were made in collaboration with Clifford Moran. All works courtesy of the artist and Mitchell-Innes & Nash, New York. Photo: Jessica Stockholder.

Hollow Places Court in Ash-Tree Wood

Date: June 15 – September 2, 2012
Place: Frac des Pays de la Loire, Nantes, France

This exhibition will include a collection of works traveling from the exhibition at the Aldrich Contemporary Art Museum that ran from June 26 through December 31 2011. In the spring of 2009, The Aldrich cut down an ailing 100-year-old ash tree in the Sculpture Garden. Sculptor Jessica Stockholder collaborated with cabinetmaker Clifford Moran and screenprinter Gary Lichtenstein to make two free standing screens and a collection of leaning boards screen printed boards.

These works will be exhibited in relation to the architecture of the Frac in Nantes and will include a new work made for the occasion.

External link:
Hollow Places Court in Ash-Tree Wood
FRAC des pays de la Loire
Aldrich Contemporary Art Museum
Jessica Stockholder talks about Hollow Places Court in Ash-Tree Wood

Peer Out to See at Palacio de Cristal, Reina Sofía Museum, Madrid


Jessica Stockholder. Peer Out to See, 2010, site-specific installation at Palacio de Cristal, Reina Sofía Museum, Madrid. Photo: Jessica Stockholder.

Peer Out to See

Date: July 14, 2010 - April 25, 2011 
Place: Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Parque del Buen Retiro, Madrid

Visual-verbal puns and rhymes abound in Jessica Stockholder’s vibrant art. As things that once seemed familiar and ordinary take on new life, mirroring, echoing and dialoguing with each other in their unlikely new roles, they become imposing, assertive, cheeky, sly, teasing, alluring, whimsical and much more. Never, however, are they routinely pedestrian. Stockholder’s world is composed more by association than by conventional forms of analysis. Her works propose that, if we want to examine something, we need to scrutinize, probe, and scan carefully in an intent reading than goes beyond mere glancing and glimpsing: by peering out in this fashion we might, of course, see more than we bargained for: we might end up walking the plank, suspended on a platform above the depths, launched into the unknown – on a pier out at sea.