RAVE: Jessica Stockholder

Workshop

2 November 2020 4.45pm - 2 November 2020 6.15pm

Zoom

Add to Calendar 2020-11-02 16:45:00 2020-11-02 18:15:00 RAVE: Jessica Stockholder “Cut a rug a round square.” Professor Jessica Stockholder will host a discussion about her upcoming exhibition in a talk entitled “Cut a rug a round square.” Professor Stockholder’s respondent will be Christine Mehring, the Mary L. Block Professor of Art History and the College. Professor Jessica Stockholder will host a discussion about her upcoming exhibition in a talk entitled “Cut a rug a round square.” Professor Stockholder’s respondent will be Christine Mehring, the Mary L. Block Professor of Art History and the College. Attendants will find a short description of the exhibition here. Please contact RAVE student workshop coordinators Bermet Nishanova and May Peterson for the password. Register here to receive the Zoom link. Jessica Stockholder is a Professor and Director of Graduate Studies at the Department of Visual Arts. Her art works at the intersection of painting and sculpture, often incorporating the architecture in which the works had been conceived. 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. Professor Stockholder received her B.F.A. from the University of Victoria in Canada, her M.F.A. from Yale University, an honorary Doctor of Fine Arts degree from the Emily Carr College of Art, and an honorary Doctor of Fine Arts degree from Columbia College in 2013. She previously served as the Director of the Sculpture Department at the Yale School of Art and as the Chair on DoVA’s faculty between 2011-2018. Stockholder has exhibited widely in North America and Europe at venues such as Dia Art Foundation, NYC; Centre Pompidou in Paris; Open Air Museum in Belgium; The Contemporary Austin; The Power Plant in Toronto, Canada; Whitney Museum of American Art, MoMA PS1, Mitchell-Innes & Nash Gallery, New York; SITE Santa Fe; Venice Biennale; Kunstmuseum St. Gallen; Kavi Gupta Gallery in Chicago, and 1301PE Gallery in Los Angeles. Her work is represented in various collections including the Art Institute of Chicago, Albright-Knox Art Gallery, Art Gallery New South Wales, Sydney; Whitney Museum of American Art, Los Angeles Contemporary Museum of Art, Vancouver Art Gallery, and Stedelijk Museum. She has received numerous grants including the Lucelia Artist Award from the Smithsonian American Art Museum, a Guggenheim Fellowship, and Anonymous Was A Woman in 2012. In 2018, Stockholder was elected to the American Academy of Arts and Sciences. Christine Mehring is the Mary L. Block Professor of Art History and the College and an Adjunct Curator at the Smart Museum of Art. Her research, writing, and teaching focus on abstraction, particularly the ways in which non-mimetic forms, colors, and non-traditional materials come to signify in relation to specific historical contexts. Her work also investigates postwar European art, especially the impact of World War II and the transformation from an international art world to a global one, the cross-overs between art and design, and photography and the relations between old and new media. She recently co-curated the University’s commission of Jenny Holzer’s YOU BE MY ALLY, a text-based public artwork projecting academic discourse into the public sphere by means of an AR app and LED trucks. Between 2013-2016, she directed the project “Material Matters,” which included the research, material investigation, and conservation of Fluxus artist Wolf Vostell’s Concrete Traffic (1970) and the university-wide year-long program "Concrete Happenings." Mehring is now at work with Lisa Zaher on an edited volume concerning Vostell’s use of concrete and the conservation of his work Concrete Traffic. She has spearheaded other public art projects, including the commission of “Nuclear Thresholds” by Ogrydziak Prillinger Architects (OPA), the public program "Dialogo: Virginio Ferrari and Chicago,” and the conservation and resiting of Jene Highstein’s Black Sphere. She is also completing a book with IIT architectural historian Sean Keller on the art and architecture of the Munich Olympics, addressing their multiple significances for West German and North American cultures, for transatlantic exchange and the formation of an international art world, for the dilemmas of postwar national monumentality, and for computational methods of contemporary architectural design. Besides two other book projects, on abstraction and design, and on the materials of modern art, Christine is currently working on Joseph Beuys’ use of fat, Gerhard Richter’s overpainted photographs, and the early work of Walter De Maria. Her work has been supported by the Andy Warhol Foundation, the Canadian Center for Architecture, the Graham Foundation, The Friends of Heritage Preservation, the Reva and David Logan Foundation, and the Terra Foundation for American Art. In 2011, she received the University of Chicago’s Faculty Award for Excellence in Graduate Teaching. Zoom Department of Art History drupal@seastar.uchicago.edu America/Chicago public

“Cut a rug a round square.”

Professor Jessica Stockholder will host a discussion about her upcoming exhibition in a talk entitled “Cut a rug a round square.” Professor Stockholder’s respondent will be Christine Mehring, the Mary L. Block Professor of Art History and the College. Attendants will find a short description of the exhibition here. Please contact RAVE student workshop coordinators Bermet Nishanova and May Peterson for the password. Register here to receive the Zoom link.

Jessica Stockholder is a Professor and Director of Graduate Studies at the Department of Visual Arts. Her art works at the intersection of painting and sculpture, often incorporating the architecture in which the works had been conceived. 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. Professor Stockholder received her B.F.A. from the University of Victoria in Canada, her M.F.A. from Yale University, an honorary Doctor of Fine Arts degree from the Emily Carr College of Art, and an honorary Doctor of Fine Arts degree from Columbia College in 2013. She previously served as the Director of the Sculpture Department at the Yale School of Art and as the Chair on DoVA’s faculty between 2011-2018.

Stockholder has exhibited widely in North America and Europe at venues such as Dia Art Foundation, NYC; Centre Pompidou in Paris; Open Air Museum in Belgium; The Contemporary Austin; The Power Plant in Toronto, Canada; Whitney Museum of American Art, MoMA PS1, Mitchell-Innes & Nash Gallery, New York; SITE Santa Fe; Venice Biennale; Kunstmuseum St. Gallen; Kavi Gupta Gallery in Chicago, and 1301PE Gallery in Los Angeles. Her work is represented in various collections including the Art Institute of Chicago, Albright-Knox Art Gallery, Art Gallery New South Wales, Sydney; Whitney Museum of American Art, Los Angeles Contemporary Museum of Art, Vancouver Art Gallery, and Stedelijk Museum. She has received numerous grants including the Lucelia Artist Award from the Smithsonian American Art Museum, a Guggenheim Fellowship, and Anonymous Was A Woman in 2012. In 2018, Stockholder was elected to the American Academy of Arts and Sciences.

Christine Mehring is the Mary L. Block Professor of Art History and the College and an Adjunct Curator at the Smart Museum of Art. Her research, writing, and teaching focus on abstraction, particularly the ways in which non-mimetic forms, colors, and non-traditional materials come to signify in relation to specific historical contexts. Her work also investigates postwar European art, especially the impact of World War II and the transformation from an international art world to a global one, the cross-overs between art and design, and photography and the relations between old and new media.

She recently co-curated the University’s commission of Jenny Holzer’s YOU BE MY ALLY, a text-based public artwork projecting academic discourse into the public sphere by means of an AR app and LED trucks. Between 2013-2016, she directed the project “Material Matters,” which included the research, material investigation, and conservation of Fluxus artist Wolf Vostell’s Concrete Traffic (1970) and the university-wide year-long program "Concrete Happenings." Mehring is now at work with Lisa Zaher on an edited volume concerning Vostell’s use of concrete and the conservation of his work Concrete Traffic. She has spearheaded other public art projects, including the commission of “Nuclear Thresholds” by Ogrydziak Prillinger Architects (OPA), the public program "Dialogo: Virginio Ferrari and Chicago,” and the conservation and resiting of Jene Highstein’s Black Sphere.

She is also completing a book with IIT architectural historian Sean Keller on the art and architecture of the Munich Olympics, addressing their multiple significances for West German and North American cultures, for transatlantic exchange and the formation of an international art world, for the dilemmas of postwar national monumentality, and for computational methods of contemporary architectural design. Besides two other book projects, on abstraction and design, and on the materials of modern art, Christine is currently working on Joseph Beuys’ use of fat, Gerhard Richter’s overpainted photographs, and the early work of Walter De Maria.

Her work has been supported by the Andy Warhol Foundation, the Canadian Center for Architecture, the Graham Foundation, The Friends of Heritage Preservation, the Reva and David Logan Foundation, and the Terra Foundation for American Art. In 2011, she received the University of Chicago’s Faculty Award for Excellence in Graduate Teaching.