Growing Rock Candy Mountain Grasses in Canned Sand, 1992
Installation, Westfalischer Kunstverein, Münster, Germany
Plywood, shower curtain, plastic tray, paper mâché,
plastic, plastic child's chair, three plastic containers
15 x 50 x 32 in
38.1 x 127 x 81.3 cm
Discussion Points for
Some pieces are attached
to the wall, others are free-standing, while others inhabit an entire
gallery or become part of an exterior space. How do Stockholder’s pieces
relate to space? Examine the relationships of her work as she moves
outwards from small to big.
Which elements in
Stockholder’s works are architectural? Sculptural? Painterly? How do
these elements fit together? How do her works blur the boundaries between
How does Stockholder use
ordinary objects in her work? How do they function in her artwork, as
opposed to in real life? What are the sources of her artwork and what
type of objects does she incorporate in it?
How does she use other
elements, such as line, texture, scale, variety of size and shape, to
create her compositions? How does she connect objects in the composition?
Many of Stockholder’s
works seem animated, or poised for action. Which verbs would you use to
characterize these actions? In addition, many of the works contain
evidence of the artist’s working process. How would you describe how an
individual sculpture was made?
How do titles change the
viewer’s understanding of Stockholder’s works? Why do you think so many
works left untitled?
What is the relationship
of Stockholder’s large-scale works and installations, such as Rice
University Art Gallery’s Sam Ran Over Sand or Sand Ran Over Sam to
her smaller, studio work (drawings, collages, photomontages)? How are they
similar and how are they different?
How are some of her
installations similar to stage sets? (Hints: lighting conditions, scale).
Why are her
installations compared to maps? (Hints: Uses familiar objects as
landmarks, invite exploration). How do they portray surfaces and space?
How does the viewer travel through her works?