3800 Finnerty Rd, Victoria, BC V8P 5C2, Canada
University of Victoria
New Haven, Connecticut 06520, United States
70 Washington Square South, New York, NY, 10012, United States
New York University
30 Campus Rd, Annandale-On-Hudson, NY 12504, United States
5801 South Ellis Avenue, Chicago, Illinois, 60637, United States
University of Chicago
Jessica Stockholder studied at the University of Victoria in British Columbia, Canada, graduating with Bachelor of Fine Arts degree in 1982. She continued her studies at Yale University and got Master of Fine Arts degree in 1985.
Also, in 2010, Jessica received an honorary Doctorate of Fine Arts degree from the Emily Carr College of Art.
In 1992, Jessica worked as an instructor at Sculpture Department of New York University. The following year, she held the same position at Bard College. Since 1999 to 2011, Stockholder served as a director and professor of graduate studies in Sculpture at Yale University.
Stockholder's works were shown at numerous museums and art institutions, including Whitney Museum of American Art, MoMA PS1, SITE Santa Fe (Santa Fe, New Mexico), Centre Georges Pompidou and others.
Also, throughout her career, Stockholder produced several articles on art techniques and figures, as well as a collection of poems. Some examples of her writings include "Swiss Cheese Field-and Sculpture Mingled", covering the concept of the field in artwork, "Elizabeth Murray at MoMA", speaking on an influential figure in art, and "TV Tipped Toe Nails & the Green Salami", a sample of her poetry.
Currently, Jessica holds a post of a faculty chair of the Department of Visual Arts at the University of Chicago.
"Your hands learn to do things that you could spend a whole day trying to write about and articulate. There's a discomfort associated with trying to put all those different ways the brain works together. I kind of like to avail myself of that discomfort."
"I don't think there's any single finished point for a work. It's done when something's happening with the work that feels like a balanced, coherent disharmony. That's one way to say it. And where if I keep working on it, to discover and struggle with new problems, I'll obliterate the ones I was working on. I could keep working on it, but it'd become something different. And I value what's here, at the moment."
"There's something about materials like copper, woods, stone, trees, shells. You walk outside and these materials are part of the world before we touched anything. There's a feeling of pleasure that many of us have in materials that have some presence before us, like clay and wood and copper."
"I am more interested in asking questions about the edges of things and thoughts. So the objects I use are not initially the subjects of the work; they are its ground."
"Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative."