Jessica Stockholder

If we posit some kind of unlocatable boundary between painting and sculpture, then Pfaff appears to be on the painting side and Jessica Stockholder might be just across the line into sculpture. Or is it the other way around? This illustration might suggest so.

Jessica Stockholder

Jessica Stockholder, Vortex in the Play of Theatre with Real Passion: In Memory of Kay Stockholder 2000

But that kind of judgment is something of a pointless exercise anyway. I don’t think artists generally get hung up on categories—come to think of it, I know many who do, but that must be their problem. In any case, Stockholder’s work triangulates sculpture, painting and poetry, and that last category is what sets her work apart and makes it somewhat special. As I see it, she writes a syntax of objects and colors, with all their associations, never obvious. This second piece, for an awkward space, is very planar. Paintings

Jessica Stockholder, Suite for three oranges,

Jessica Stockholder, Suite for three oranges 1995

and written pages are both planes, and both have backs and insides too.

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