Hollow Places Court in Ash-Tree Wood at FRAC des Pays de la Loire
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- Published on Thursday, 24 May 2012 17:57
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
Hollow Places Court in Ash-Tree Wood at Aldrich Contemporary
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- Published on Monday, 23 May 2011 17:57
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 26 to December 31, 2011
Place: Aldrich Contemporary Art Museum, Connecticut
In the spring of 2009, The Aldrich cut down a 100-year-old ash tree in its sculpture garden. Sculptor Jessica Stockholder, not primarily known for working with natural materials, has collaborated with local cabinetmaker Clifford Moran to utilize the wood from the tree to create a new installation that will be seen in two of The Aldrich’s galleries. Hollow Places Court in Ash-Tree Wood connects her continuing interest in ephemeral abstraction with the solidity, continuity of place, and sense of time that trees represent. The major elements in the exhibition are two large freestanding sculptures that resemble folding screens. Fabricated from boards cut from the wood of the tree, they were conceived by Stockholder as static armatures that she will activate with various types of paint, from auto lacquer to acrylic, visually suggesting walls (or a gallery) filled with pictures. The forms represented reference eyes (among other things), mirroring the viewer’s gaze and suggesting both the accumulated experience of the tree and the fleeting experience of the viewer.
External link:
Hollow Places Court in Ash-Tree Wood
Aldrich Contemporary Art Museum
Jessica Stockholder talks about Hollow Places Court in Ash-Tree Wood
Wide Eyes Smeared Here Dear at Musée d’art Moderne
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- Published on Thursday, 24 May 2012 17:57
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
Peer Out to See at Palacio de Cristal, Reina Sofía Museum, Madrid
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- Published on Wednesday, 14 July 2010 18:00
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.