Podcast appearances and mentions of jessica stockholder

This week on The Curatorial Blonde we have Allison Glenn. Allison Glenn is a New York-based curator and writer focusing on the intersection of art and public space, through public art and special projects, biennials, and major new commissions by a wide range of contemporary artists. She is a Visiting Curator in the Department of Film Studies at the University of Tulsa, organizing the Sovereign Futures convening, and Artistic Director of The Shepherd, a three-and-a-half-acre arts campus part of the newly christened Little Village cultural district in Detroit.  Previous roles include Co-Curator of Counterpublic Triennial 2023; Senior Curator at New York's Public Art Fund, where she proposed and developed Fred Eversley: Parabolic Light (2023) and Edra Soto Graft (2024) for Doris C. Freedman Plaza; Guest Curator at the Speed Art Museum, and Associate Curator of Contemporary Art at Crystal Bridges Museum of American Art. In this role, Glenn shaped how outdoor sculpture activates and engages Crystal Bridges 120-acre campus through a series of new commissions, touring group exhibitions, and long-term loans. She also realized site-specific architectural interventions, such as Joanna Keane Lopez, A dance of us (un baile de nosotros), (2020), as part of State of the Art 2020 at The Momentary. She acted as the Curatorial Associate + Publications Manager for Prospect New Orleans' international art triennial Prospect.4: The Lotus in Spite of the Swamp. A Curatorial Fellowship with the City of Chicago's Department of Cultural Affairs and Special Events, culminated with In the beginning, sometimes I left messages in the street (2016), a citywide billboard and performance exhibition. As Program Manager at University of Chicago's Arts Incubator, she worked with a team led by Theaster Gates to develop the emergent space, where she curated exhibitions and commissioned performances such as Amun: The Unseen Legends (2014), a new performance from Terry Adkin's Lone Wolf Recital Corps, that included Kamau Patton. Glenn has been a visiting critic, lecturer, and guest speaker at a number of universities, including The University of Tulsa, University of Pennsylvania, School of the Art Institute of Chicago, Louisiana State University, and Pacific Northwest College of Art. Her writing has been featured in catalogues published by The Los Angeles County Museum of Art, The Neubauer Collegium, Counterpublic Triennial, Prospect New Orleans Triennial, Princeton Architectural Press, Crystal Bridges Museum of American Art, Scottsdale Museum of Contemporary Art, Kemper Museum, Studio Museum in Harlem, and she has contributed to Artforum, ART PAPERS, Brooklyn Rail, Hyperallergic, ART21 Magazine, Pelican Bomb, Ruckus Journal, and Newcity, amongst others. She has curated notable public commissions, group exhibitions, and site specific artist projects by many artists, including Mendi + Keith Obadike, Matthew Angelo Harrison, Maya Stovall, Rashid Johnson, Basel Abbas + Ruanne Abou-Rahme, Lonnie Holley, Ronny Quevedo, Edra Soto, Terry Adkins, Kamau Patton,Shinique Smith, Torkwase Dyson, George Sanchez-Calderon, Hank Willis Thomas, Odili Donald Odita, Martine Syms, Derrick Adams, Lisa Alvarado, Sarah Braman, Spencer Finch, Jessica Stockholder, Joanna Keane-Lopez, Genevieve Gaignard and others. Her 2021 exhibition Promise, Witness, Remembrance was name one of the Best Art Exhibitions of 2021 by The New York Times. Glenn is a member of Madison Square Park Conservancy's Public Art Consortium Collaboration Committee and sits on the Board of Directors for ARCAthens, a curatorial and artist residency program based in Athens, Greece, New Orleans, LA and The Bronx, New York. She received dual Master's degrees from the School of the Art Institute of Chicago in Modern Art History, Theory and Criticism and Arts Administration and Policy, and a Bachelor of Fine Art Photography with a co-major in Urban Studies from Wayne State University in Detroit.

Marc Mitchell holds a M.F.A from Boston University. His work has been included in exhibitions at the Schneider Museum of Art, Southern Oregon University; University of Wisconsin, Madison; University of Alabama, Tuscaloosa; Florida Atlantic University Galleries, Boca Raton; TOPS Gallery, Memphis, TN; GRIN Gallery, Providence, RI; Laconia Gallery, Boston, MA; and others. Mitchell has been featured in publications such as the Boston Globe, Burnaway, and Number Inc; and was selected for New American Paintings in 2014, 2017, 2018, and 2020. Mitchell has been an Artist-in-Residence at the Banff Center for Arts & Creativity, Ucross Foundation, Vermont Studio Center, Hambidge Center for the Arts, Jentel Foundation, and Tides Institute/StudioWorks. In 2021, Mitchell was a Fellow at The American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Tauba Auerbach (Diagonal Press), Mel Bochner, Matt Bollinger, Mark Bradford, Tara Donovan, Chie Fueki, Daniel Gordon, Sara Greenberger-Rafferty, Philip Guston, Josephine Halvorson, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Ellsworth Kelly, Arnold Kemp, Allan McCollum, Kay Rosen, Erin Shirreff, Lorna Simpson, Jered Sprecher, Jessica Stockholder, Jason Stopa, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others. "I am influenced by many things—1980's guitars, VHS tapes, World War I battleships, sunrise/sunset gradients, moiré patterns, and more. Over the past 3 years, ‘notions of cycle' have played an increased role in the development of my paintings; and I'm curious how the avant-garde succeeds and fails within popular culture. Currently, I'm interested in how the landscape has been depicted throughout American culture. Whether it's Thomas Cole and Albert Bierstadt of the Hudson River School, Georgia O'Keeffe's monumental work at the Art Institute of Chicago, or an Instagram post of a sunset—each conveys a romanticized view of our world. The most recent paintings are an amalgamation of experiences that I've had within the American landscape; with each painting flowing freely between representation and abstraction." LINKS:  www.mmitchellpainting.net   www.instagram.com/methan18     Artist Shout Out:    UARK Drawing --- https://www.uarkdrawing.com/ and @uarkdrawing UARK Painting --- https://www.uarkpainting.com/ and @uarkpaintning   I Like Your Work Links: Check out our sponsor for this episode: The Sunlight Podcast: Hannah Cole, the artist/tax pro who sponsors I Like Your Work, has opened her program Money Bootcamp with a special discount for I Like Your Work listeners. Use the code LIKE  to receive $100 off your Money Bootcamp purchase by Sunlight Tax. Join Money Bootcamp now by clicking this link: https://www.sunlighttax.com/moneybootcampsales and use the code LIKE. Chautauqua Visual Arts: https://art.chq.org/school/about-the-program/two-week-artist-residency/ 2-week residency https://art.chq.org/school/about-the-program/ 6-week residency   Apply for Summer Open Call: Deadline May 15 Join the Works Membership ! https://theworksmembership.com/ Watch our Youtube channel: https://www.youtube.com/@ilikeyourworkpodcast Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

Jamie Powell was born in Fairmont, West Virginia 30 miles south of the Mason Dixon Line to a family of farmers and factory workers. Her Appalachian roots encouraged a culture of reuse, repurposing, patching and stitching. She has an interest in exploring the boundaries of what paintings can be through a highly experimental process of dying, braiding, weaving, stitching and staining raw canvas.    Intimate feminine domestic gestures become grand moments in her paintings. Oversized and out of control bows pull away from the stretcher.... the braided canvas falls to the floor. These paintings become physical three-dimensional objects. The scale references the body, the size of a head, the torso, or outstretched arms. Influences range from Robert Rauschenberg to Jessica Stockholder, from Arte Povera to Pattern and Decoration movements, from Formalism to Feminism.    She has exhibited extensively over the last twelve years including: Soil Gallery in Seattle, David & Schweitzer and Fresh Window in Brooklyn, Freight + Volume and Morgan Lehman in New York. She has received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center and Pratt Institute. She is a faculty member at Pratt Institute and a Teaching Artist for the Studio in a School Foundation as well as co-teaches the Lincoln Center Summer Intensive Boot Camp.    In this most recent body of work Jamie has returned to her rural roots exploring landscape with a deepening dive into spirituality, where she is mining the personal while surfing the ethereal.     Currently, she lives and works in Queens, New York.        LINKS:  jamielpowell.com www.instagram.com/jamielinnpowell Shout Outs:  Artist: Laura Mosquera: https://lauramosquera.com/home.html Artist: Barbara Friedman: https://barbarafriedmanpaintings.com/ Artist/Gallerist: Julie Torres: https://artspiel.org/artists-on-coping-julie-torres-labspace/ http://labspaceart.blogspot.com/   I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

We're staying in Los Angeles. Brian Butler's gallery 1301PE will be celebrating it's 30th anniversary this year, so we are covering a lot - from his early beginnings, coming from an artist's family to his studies, travelling the world, working in Germany, founding Brain Multiples and later 1301, which turned into 1301PE, then leaving the US to lead an institution in New Zealand, coming back and lots and lots in between. He talks about how he found the artists he worked with over the years - from Angela Bulloch and Jorge Pardo to Jessica Stockholder and Pae White to Rirkrit Tiravanija - to name just a few (full list on the gallery's website in the shownotes below). Brian always cared about encouraging people to take their time and taking a deeper look at art, to have the patience to let art's impact unfold. In the second half of our conversation Brian reveils a lot about his thoughts on art fairs, the art world in general and his personal way how to stay fluid, creative and in tune with his own compass. Recorded January 14, 2022, 52 Min., Language english The Podcast is available on our website: https://vanhornshowroom.com/viewingroom/podcast/ and on most platforms.  You're welcome to follow #voicesonart on #applepodcasts or #spotify and kindly give us a rating. On #instagram you find us @voicesonart and @van_horn_duesseldorf And here in the #shownotes some more information about #brianbutler and #1301pe Website: https://www.1301pe.com/home/   Interview on Stanford Daily: https://stanforddaily.com/2019/08/06/in-conversation-with-brian-butler-of-la-arts-and-poster-gallery-1301pe/ Wikipedia: https://en.wikipedia.org/wiki/Brian_D._Butler   #danielasteinfeld #talk #storytelling #vanhorngallery #van_horn_duesseldorf

In dieser Folge geht es um Materialien in der Kunst – vom Blattgold bis zum Plastikeimer. Während Yves Klein mit edlen Werkstoffen vor allem das Immaterielle vermitteln wollte, nehmen Gerhard Hoehmes Werke mit Hilfe von Plastikschnüren Kontakt zu den Betrachtenden auf, und Jessica Stockholder baut abstrakte Bilder aus Alltagsgegenständen. Wir stellen ungewöhnliche Kunstwerke der Sammlung Folkwang vor und werfen außerdem einen Blick hinter die Kulissen des Museums: Unsere Restauratorin berichtet von ihrer spannenden Reise nach Paris mit zwei asiatischen Bildrollen im Gepäck und dem Umgang mit einem aufblasbaren Kunstwerk.

Indoor recess persists this week as the Bad at Sports crew talk podcast walks, colorful garbage, toilet paper paintings, and Thomas Kinkade. All in the service of presenting a throwback episode with living legend Jessica Stockholder.

Jessica Stockholder is reticent to be called a living legend, but on this week's episode, Bad@SportsCenter speaks with living legend, JEsSicA sTOckHoLDeR! With an impending sabbatical from University of Chicago, Stockholder will still be doing all of the things, including a year-long residency in Berlin, and upcoming exhibitions at The Contemporary Austin and the Centraal Museum, Utrecht. Our charming discourse addresses her process, materiality, language, and the essentialism of production to existence. Can we get an Amen?!?     https://jessicastockholder.info/ https://www.thecontemporaryaustin.org/ https://centraalmuseum.nl/en/

March 21, 2013 Jessica Stockholder creates site-specific "paintings in space" using everyday objects and materials. In conversation with Phillips Curator at Large Klaus Ottmann. in collaboration with the George Washington University.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Jessica Stockholder, Professor and Chair of the Department of Visual Arts at the University of Chicago, shares images of her work and discusses its relationship to context. Her presentation focuses particularly on the “Color Jam” installation that was on view on the corner of State and Adams this past summer, describing the process of its construction and how its meaning is in part derived from its location. She shares images of other works that relate to this one and gives an overview on how she arrived at this way of working. Jessica Stockholder works at the intersection of painting with sculpture. Her work sometimes incorporates the architecture in which it has been conceived, blanketing the floor, scaling walls and ceiling, even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, idiosyncratic, and formal - tempering chaos with control. She orchestrates an intersection of pictorial and physical experience, probing how meaning derives from physicality.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Jessica Stockholder, Professor and Chair of the Department of Visual Arts at the University of Chicago, shares images of her work and discusses its relationship to context. Her presentation focuses particularly on the “Color Jam” installation that was on view on the corner of State and Adams this past summer, describing the process of its construction and how its meaning is in part derived from its location. She shares images of other works that relate to this one and gives an overview on how she arrived at this way of working. Jessica Stockholder works at the intersection of painting with sculpture. Her work sometimes incorporates the architecture in which it has been conceived, blanketing the floor, scaling walls and ceiling, even spilling out of windows, through doors, and into the surrounding landscape. Her work is energetic, cacophonous, idiosyncratic, and formal - tempering chaos with control. She orchestrates an intersection of pictorial and physical experience, probing how meaning derives from physicality.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Jessica Stockholder, chair of Department of Visual Arts at UChicago, discusses the largest public art project in Chicago history.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Join us in welcoming Jessica Stockholder, as she assumes her new role as Professor and Chair of the Department of Visual Arts (DOVA) at the University of Chicago. The artist, whose work has brought a shared understanding of what sculpture could be, will share insights into her art, reflecting on how her work has evolved and what is currently informing her artistic practice.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Join us in welcoming Jessica Stockholder, as she assumes her new role as Professor and Chair of the Department of Visual Arts (DOVA) at the University of Chicago. The artist, whose work has brought a shared understanding of what sculpture could be, will share insights into her art, reflecting on how her work has evolved and what is currently informing her artistic practice.

Jessica Stockholder, Professor and DGS (Sculpture) at the School of Art, presents a fifteen-minute monologue on teaching art at Yale.