American - Artist | 1959 -
Pictures often sit inside of pictures, but the edges of pictures and objects are rarely subjected to serious challenge; we are presented with distinct, whole pictures and objects.
Jessica Stockholder
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Looking at younger artists, like Varda Caivano and Kerstin Bratsch, I see that their work has something in common that is new to my generation. There's an effort to value the evidence of the hand and the handmade thing while also acknowledging the way in which the making of things with hands has such a complex, alienated place in our culture.
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My idea is to fill an intersection with color. That will include the road and the sidewalk and up the building, so there's a cubic volume of color in the intersection wedged between four corners and four buildings.
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It doesn't matter what I use. It can be anything. What's interesting is how what I'm doing meets with the stuff I use.
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I think what kids do is play.
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My work participates in that really quick and easy and inexpensive material that's part of our culture. In that way, my work engages the means of production that we live with, even while it's classical and embodies some things from a very long time ago.
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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.
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I don't fetishize objects.
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Paint is the skin of a painting: it is fiction. In houses, it disguises the plumbing and wiring and studs and nails.
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