In a talk on the painter Elizabeth Murray in 2005, Jessica Stockholder remarked that Murray’s pictures, in doing away with flat rectangular canvases while retaining naturalistic representation and illusion, embody “a duality between aggressive challenge to convention and a conservative love of tradition.” As so often when artists discuss artists they admire, Stockholder might almost have been describing herself, responding to something in Murray that she recognized in her own practice. Or so it seems to me, looking at her work’s combination of formal sculptural concerns and found-object spectacle. Stockholder is interested in how objects support themselves and are supported, how they handle weight, their stiffness or softness, the textures of their surfaces, their qualities of color and light. She often realizes these interests, though, through an anomalous array of miscellaneous
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