#judithscott

[bm-feminist-art]

Untitled, Judith Scott, 1994, Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art

© Estate of Judith Scott Size: 27 x 23 x 17 in. (68.6 x 58.4 x 43.2 cm) Medium: Fiber and found objects

https://www.brooklynmuseum.org/opencollection/objects/214260

[museutextil]

Judith Scott, American

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Judith Scott era uma escultora de fibras americana de renome internacional. Durante a infância, Judith sofria de Escarlatina, o que a levou a perder de audição. Em 1987, Judith foi matriculada no Creative Growth Art Center, em Oakland, Califórnia, que apoia pessoas com deficiências de desenvolvimento. Lá, Judith descobriu sua paixão e talento pela arte abstrata. Pegando quaisquer objetos que encontrasse, independentemente da propriedade, ela os embrulhava em fios coloridos cuidadosamente selecionados para criar diversas esculturas de diversas formas. Algumas se assemelham a casulos ou partes do corpo, enquanto outros são pólos totêmicos alongados. Muitos de seus trabalhos também se apresentavam em pares, refletindo a experiência de Scott como irmã gêmea. Em 2006, a cineasta de São Francisco Betsy Bayha lançou um documentário “Outsider: The Life and Art of Judith Scott”.  @creativegrowth @betsybayha

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[ Judith Scott was an internationally renowned American fiber sculptor. During her infancy, Judith suffered from Scarlet Fever, which caused her to lose her hearing, a fact that remained unknown until much later on in her life. In 1987 Judith was enrolled at the Creative Growth Art Center in Oakland, California which supports people with developmental disabilities. There, Judith discovered her passion and talent for abstract. Taking whatever objects she found, regardless of ownership, she would wrap them in carefully selected colored yarns to create diverse sculptures of many different shapes. Some resemble cocoons or body parts, while others are elongated totemic poles. Many of her works also feature pairs, reflecting Scott's experience as a twin. In 2006, San Francisco filmmaker Betsy Bayha released the documentary “Outsider: The Life and Art of Judith Scott”. ]

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Para saber mais [ To learn more about ]: https://www.eastbaytimes.com/2006/01/17/art-of-the-outsider/ and https://www.textileartist.org/textile-artist-judith-scott-uncovering-innate-talent @ebtimes @textileartsite

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#museutextil #fiber #design #contemporaryart #textileart #tapestry #artist #fibreart #textileartist #embroideryart #embroideryartist #bordado #judithscott

(em Oakland California)

https://www.instagram.com/p/CClUA2ZD6oz/?igshid=safscy7mjfzk

[textileztextile]

Coiling Inspiration from Artists

Check out some artwork by artists that utilize the coiling process in their art practices in one way or another...

Images from top:

Doug Johnston

Judith Scott

Debora Muhl

Katherine Mavridis

Natalie Miebach

Ed Rossbach

Ferne Jacobs

Kathryn O’Halloran

[whaletalesorg]

Another Year of Incredible Grey Whale Encounters. To read this story (and more!), follow the link in our bio.⁠ Photo by @judithscott photography⁠ #whaletales #greywhales #whalewatching #whales #storytelling #getonaboat #whalesareawesome #whaleblog #whalesofinstagram #whalestory #baja https://www.instagram.com/p/CIJWW3iDOus/?igshid=1xf92se2we97d

[lisablasstudio]

Monday's image: December 11, 2017

Judith Scott, Untitled, Yarn, embroidery floss, trims, cardboard, fabric, and newspaper, 36 x 25 x 16 inches, 2000, San Francisco Museum of Modern Art, California

[thethinginthebag]

And a whole tangle of #JudithScott Congrats again to @Catherinejmorris @Catherinemorris, #sacklercenterforfemisitart and @brooklynmuseum - without their brilliant groundbreaking show of her work I doubt she would be getting the attention she so well deserves #venicebiennale #venicenbiennale2017 #brooklynmuseum (at Biennale d'Arte Contemporanea - Giardini)

[julieamartin]

Always returning to #judithscott 😃✨

[k00242753]

After experimenting with the weave and its interpretation I decided to look further into my own protective layers. My initial response when asking myself what my biggest protective layer was, was my family. I chose to layer images of family members over each other using my generation over the youngest generation. I used photographs, tracing paper and colour cellophane.

Whilst looking at protective layers I came across artist Judith Scott. She works with materials like wool and string and wraps everyday objects in them until they are sometimes unrecognisable anymore. They suggest a form of protection of the object she is covering. This helped me look at protective layers differently in a sense that they don’t have to be exact forms of a protective layer of something/someone but merely a suggestion enables you to create your own ‘protective layer’ idea.

“To wrap something may be an act of protection, an attempt to hide or conceal, like wrapping up in winter clothes, or a baby wrapped up in its mother’s womb. That which has been wrapped is safe, contained, and warm. Looking at Scott’s finished sculptures, one often has to guess what the objects hidden inside actually are. The gesture of wrapping is of primary importance. Like the drip paintings of Jackson Pollock, or the meticulous and meditative grids of Agnes Martin, Scott’s work serves as a portrayal of human action.”  (cordella magazine, 2018)

http://www.cordella.org/judithscott [Accessed 12 Dec. 2018].

[jamest541975]

HOLIDAY-A-THON 2021 Video 83: THE SANTA CLAUSE #holidayathon2021 #thesantaclause #scottcalvin #timallen #neal #judgereinhold #laura #wendycrewson #charlie #ericlloyd #bernard #davidkrumholtz #detectivenunzio #larrybrandenburg #msdaniels #marygross #judy #paigetamada #mrwhittle #peterboyle #susan #judithscott #jayneeastwood #melissaking #bradleywentworth #azurabates #larry #joshuasatok #bobby #zacharymclemore https://www.instagram.com/p/CXhGV0SvehF/?utm_medium=tumblr

[museverything]

OPENING IN LESS THAN 24 HOURS AND RUNNING FOR MORE THAN 240,000 HOURS // THE MUSEUM OF EVERYTHING AT THE MUSEUM OF OLD AND NEW ART IN TASMANIA // #musevery #museumofeverything #art #australia #tasmania #emeryblagdon #alfredwallis #royalrobertson #hectorhyppolite #carlozinelli #billtraylor #nekchand #marybarnes #marcelstorr #karlradler #jessehoward #judithscott #josephyoakum #hawkinsbolden #haroldstoffers #hansjorggeorgi #guofengyi #gertrudemorgan #georgianahoughton #danmiller #sonfordthomas #artbrut #folkart #outsiderart #paullaffoley #tomoyukishinki #richardgreaves #williammortensen #freeyourmind // COURTESY OF THE MUSEUM OF EVERYTHING (at MONA - Museum of Old and New Art)

[bm-feminist-art]

Untitled, Judith Scott, 1994, Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art

© Estate of Judith Scott Size: 27 x 23 x 17 in. (68.6 x 58.4 x 43.2 cm) Medium: Fiber and found objects

https://www.brooklynmuseum.org/opencollection/objects/214260

[criticalsuperbeast-blog]

Judith Scott

September 25 – December 30, 2016 at Oakville Galleries at Centennial Square, Oakville, ON.

By Anthony Easton

Judith Scott, Untitled, fibre and found objects, 1988. Courtesy of Creative Growth Art Center, Oakland

Oakville Galleries at Centennial Square hosts a show of the late Judith Scott’s mixed media works as part of the 2016 World Of Threads Festival, an international show of fibre and textile arts. Judith Scott is an interesting addition to this year-- while not only being a world-renowned fibre artist, she is also known as a figure who is moving from outsider to insider. Outsider here, being the complicated sobriquet to artists who work at oblique angles to the mainstreamed art worlds-- due to economic, racial, or most often, neuroatypical identities. Judith Scott had Down Syndrome, and was nonverbal. She did most of her work at the Creative Growth Art Center in Oakland, who own many of the works in this show.

Most reviews of Scott mention these facts in the first or second paragraph; the large diacritical panel includes it in the second. It becomes a really difficult problem. Part of a critic’s purpose is to contextualize work, and Scott’s biography is part of that. But, to concentrate too much on her mental or physical condition is to exoticize her, sell her as a commodity to a market who likes stories of the abject. If feminist and disability studies teach us that the biography is part of that work, it would be disrespectful not to include it. But, it also teaches us to be suspicious of who is working the angles, especially if those angles aren’t the artist herself.

In a review of her show at the Brooklyn Museum in 2014, Andrea K. Scott, for the New Yorker, began the conversation with a discussion of her formalism within a tradition of sculpture: “the best sculptures are trojan horses, staging sneak attacks on the status quo, from Marcel Duchamp’s readymade snow shovel to Franz West’s ingenuities in plaster and papier-mâché. The American sculptor Judith Scott literally concealed things.” I don’t think that it is the concealing that is interesting, though I think that she belongs in the history of found sculpture, a central tradition in the 20th century. If one can sculpt from building up layers, or by carving layers away, Scott was a master builder.

Installation view of Judith Scott at Oakville Galleries at Centennial Square, September 25 – December 30, 2016. Courtesy of Creative Growth Art Center, Oakland. Photo: Toni Hafkenscheid.

There are maybe 18 sculptures in the Oakville Galleries show, and a few drawings. The instinct at first is to see what armature holds the layers of wrapping-- a chair is visible, or a cone of yarn, or bamboo rods, or what may be a drum. But, by spending time with the work, how they are built up becomes more interesting. Sometimes they seem like concretions, but that is a stony word, too hard for these works. The majesty of these pieces is how they keep the softness, making ironically solid shapes from them. This solidity is especially revealing in how she juxtaposes textures (in one piece an open lattice of wide white ribbon over a thick scrabble of green yarn. In another piece, thick black cord over sharp wooden stakes. In another, whirls of thin cotton thread compete with thicker wool strands). This seems new to me; it's this important material innovation, made even more acute by choices she makes with colour. I could write a thousand words on how she carves this thick green-black orifice out of the dun coloured rope in one piece. The texture would not exist without the colour, but the colour would not work without the texture. Writing about them formally, to take them seriously as a significant gesture, is its own reward.

But it might not solve the problem of Scott’s representation.

I think her work reveals a problem with how we integrate diversity into visual culture. It’s too neat to think of the object in the middle of the pieces as what she truly wants to communicate. It’s too clean a narrative and it avoids the literal building up. The act of hiding is more performatively visible than the object hidden. This tension, between what is being said and what is being hidden, is a useful metaphor for how her work is received in the world.

Scott is thought to be making intuitive work (“intuitive” being one word used by the docent explaining the work), and so the creation of these objects is not considered language. What is considered language is even more vital, because she was nonverbal. Much of the writing about her work gives short shrift to her process. These writings are a series of texts which prioritize a narrative of creativity bubbling out; an excess that we don't hear describing that which comes from more mainstream prolific artists (no one talks about late 80s Warhol’s incontinence as an act of inborn genius).

So my instinct in writing about her is to write about how she makes shapes, how she mummifies objects; a pure aesthetics to avoid these traps. These traps are especially core in a handful of (mostly male) artists who have moved from being outsider artists, due to some oil-slick market determination: the potter George Ohr, the drawings of Martin Ramirez, or the erotic collages of Darger. These artists had their reputations as savants cemented by someone interceding on behalf of the artist. Most of the works in the Judith Scott show are owned by Creative Growth Art Centre, a therapeutic organization. In the same way that Judith’s works are commodified, it can be said that social services have been pawned off onto private/public partnerships. I don't know how to navigate respecting her disabled voice, and being worried about her voice being exploited, and thinking: “this work is so strong, so beautiful, so important, despite all of that discourse (or because of that discourse).” It adds to the continued sexist problem of textile arts and women (why isn't Sheila Hicks at the AGO instead of the Textile Museum of Canada?)... it becomes difficult to work through. But writing a review just concentrating on the formal aspects of the work seems a cop-out. The balance of the work, and the balance of the biography have a mutually reinforcing narrative tension. They work too well as illustrations, which is a shame, because as objects themselves, they have a profound power.

Judith Scott, Untitled, fibre and found objects, 1991. Courtesy of Creative Growth Art Center, Oakland.

Anthony Easton is a writer, artist, and theologian. They are interested in class, sex, gender and the west. They have been published in Spin, The Atlantic, Pitchfork, Globe and Mail, and others. They have presented at conferences throughout North America, and in Europe. Their art has been shown in Toronto, New York, Chicago, and is in the collection of the library of the National Gallery of Canada. They will start a PhD at the University of Aberdeen in 2017.

[antoinedewerd]

Judith Scott (1943 - 2005) was an American fiber artist, born deaf, mute and with a Down syndrome. #JudithScott #art

[julieamartin]

Thinking about #judithscott and her form of communication.

[jmsdev]

The work of Judith Scott, one artist featured in 'The Heart Is a Lonely Hunter,' on view at Fraenkel Gallery until August 22. You can lose yourself looking at Scott's diligently-wrapped sculptures. Learn more about Judith and her gallery, Creative Growth, here. “Untitled (Wrapped figure form),” (1992). ©Judith Scott

[jamest541975]

HOLIDAY-A-THON 2019 VIDEO 18: THE SANTA CLAUSE #holidayathon2019 #thesantaclause #timallen #scottcalvin #ericlloyd #charliecalvin #wendycrewson #judgereinhold #davidkrumholtz #bernardtheelf #peterboyle #johnpasquin #santaclaus #paigetamada #judytheelf #marygross #brianreilly #tinselman #larrybrandenburg #tomwoodruffjr #jayneeastwood #judithscott #stevevinovich #tabithalupien #kennyvadas #zacharymclemore #lachlanmurdoch #joyceguy #michaelcaruana #scottwickware https://www.instagram.com/p/B6RKvuhlJvX/?igshid=1czv20q9uw2c3