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    Assists

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    mutasis
    The document discusses two types of Assists created by Jessica Stockholder - all-metal versions made outside the studio and bricolage varieties made in the studio. The Assists cannot stand on their own and must be attached to other objects to stand upright. They have a symbiotic relationship with surrounding objects and explore questions of boundary, dependence, and response to human-made things.

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    Assists

    Uploaded by

    mutasis
    5K views4 pages
    The document discusses two types of Assists created by Jessica Stockholder - all-metal versions made outside the studio and bricolage varieties made in the studio. The Assists cannot stand on their own and must be attached to other objects to stand upright. They have a symbiotic relationship with surrounding objects and explore questions of boundary, dependence, and response to human-made things.

    Original Description:

    Jessica Stockholder’s commentary on her ongoing series, Assists.

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    The document discusses two types of Assists created by Jessica Stockholder - all-metal versions made outside the studio and bricolage varieties made in the studio. The Assists cannot stand on their own and must be attached to other objects to stand upright. They have a symbiotic relationship with surrounding objects and explore questions of boundary, dependence, and response to human-made things.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    5K views4 pages

    Assists

    Uploaded by

    mutasis
    The document discusses two types of Assists created by Jessica Stockholder - all-metal versions made outside the studio and bricolage varieties made in the studio. The Assists cannot stand on their own and must be attached to other objects to stand upright. They have a symbiotic relationship with surrounding objects and explore questions of boundary, dependence, and response to human-made things.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    Assists

    As of Spring 2019

    Jessica Stockholder
    © 2019 JESSICA S TOC KHOL DE R
    Assists: As of Spring 2019

    T hus far there exist two kinds of


    Assists —all-metal versions pro-
    duced outside of the studio by
    professional metal workers, and
    the bricolage variety produced in the studio by the artist.

    Many of the all-metal Assists is made up of four parts; two base parts
    and two top parts. The bases and tops are theoretically interchange-
    able amongst the others.

    In all cases the Assists can’t stand up on their own. In order to stand
    upright the assist needs to be attached to something else, to other
    freestanding objects chosen by their owners, curators, or the artist.
    This might be furniture, appliances, or other sculpture. As paintings
    that leave the artist’s studio must be supplied a wall in their new
    venues, the Assists must be supplied a new object that enables them
    to stand.

    In some cases, one upper phalange of the all metal assist will present
    a horizontal surface that can act as a pedestal for another work (a work
    made by the artist, a work by another artist, or an object.)

    The Assist has a symbiotic relationship with everything around it.


    The following words are all evoked by the word symbiotic: Give-and-
    take, teamwork, collaboration, partnership, aid, assistance, alliance,
    coalition, communion, teamwork, and reciprocity.

    The word Symbiosis originates in 1877 as a biological term: "mutually


    beneficial association of two different organisms,” coming from
    Modern Latin. Symbiosis "a living together," from the Greek word sym-
    bioun "live together," from symbios "(one) living together (with
    another), partner," from syn- "together" + bios "life". The word was
    given a wider (non-biological) sense by 1921. An earlier sense of "com-
    munal or social life" is found in 1620s.

    The Assists further explore questions of boundary, dependence, and


    response to the landscape of human made things that have been
    raised by my work for many years.

    The evocative space embodied in paintings communicates something


    of the interiority of human experience chipping away at the essential
    aloneness of human experience. Paintings hang on walls; picture mak-
    ing occurs in relation to surface; architecture provides walls and sur-
    face; and architecture is inserted into landscape. All materials originate
    in nature and at some juncture during the course of human processing
    they move out of the ‘natural’ realm into the realm of human made
    objects. Some of these objects have celebrated authors and people
    who remain anonymous make most.

    The Assists occupy the space between all of these junctures much like
    hinges occupy the space between a door and its jamb.

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