judith scott exhibition

(Photo: Benjamin Blackwel)Like Scott’s earliest bundled pieces, this one is a loosely bound construction. Additional generous support has been provided by the Helene Zucker Seeman Memorial Exhibition Fund and Deedie Rose. (Photo: Addison Doty, Brooklyn Museum)Deploying a shopping cart—one of the more difficult-to-disguise found objects Scott incorporated into her work—this is perhaps the most baroque piece the artist made, with its dramatic effect and elaborate woven core. The Smith-Nederpelt Collection. Judith Scott (1943-2005) was a visual artist isolated from outside influences as a result of the impact of deafness and Down’s syndrome. Judith Scott's art is marked by great power. © Creative Growth Art Center. After thirty-five years living within an institutional setting for people with disabilities, she was introduced in 1987 to Creative Growth Art Center—a visionary studio art program founded more than forty years ago in Oakland, California, to foster and serve a community of artists with developmental and physical disabilities.As the first comprehensive U.S. survey of Scott’s work, this retrospective exhibition includes an overview of three-dimensional objects spanning the artist’s career as well as a selection of works on paper.This exhibition is made possible by the Elizabeth A. Sackler Foundation. Creative Growth, Oakland, California. Typical in its repetitive, swirling linear gestures with multiple color variations, this work also includes three collaged faces cut from magazines or newsprint, the largest figure being C. Everett Koop, then Surgeon General of the United States. (Photo: Brooklyn Museum)Judith Scott (American, 1943‒2005). Judith Scott (American, 1943‒2005). Creative Growth, Oakland, California. While in some works the colors are distinct and starkly juxtaposed against each other, others reveal a more subtle mixing and shading of hues.Scott made her work sitting at a large table in the Creative Growth studio, so that the objects were executed in a horizontal position.
(68.6 × 58.4 × 43.2 cm). Untitled, 1989. (111.8 × 25.4 × 25.4 cm).

© Creative Growth Art Center. Untitled, 1994. © Creative Growth Art Center. The Museum of Everything, London. (Photo: Brooklyn Museum)Scott made drawings and collages on paper from her earliest days at Creative Growth, months before starting to make three-dimensional objects. Scott lived in Dutch Flat, California, and continued making art at Creative Growth Art Center until she passed away in 2005. Scott was an avid collector of magazines and other printed materials; she was known to keep magazines on her lap, flipping through them as a break from her work.Judith Scott (American, 1943‒2005).

Fiber and found objects, 28 × 15 × 27 in. Fiber and found objects, 28 × 15 × 27 in. Nonetheless, this ambitious work has been shown as a wall relief. Fiber and found objects, 37 × 34 × 5 in.

Untitled, 2004. (Photo: Benjamin Blackwell)The combination of color and texture in this piece demonstrates Scott’s increasing sophistication in working with her materials. Fiber and found objects, 25 × 12 × 10 in. On April 1, 1987, Judith Scott began attending the Creative Growth Art Center in Oakland, one of the first organizations in the world to provide studio space for artists with disabilities.

Untitled, 2003–4.

Untitled, 1993. She was independent and self-directed. She scribbled loops and circles, but her work contained no representational imagery, and she was so uninterested in creating that the staff was considering ending her involvement with the program. © Creative Growth Art Center. It is the only completely monochromatic work she made (though a work from 2004, also included in this exhibition, has a very similar palette, with the addition of a variegated purple spine).Judith Scott (American, 1943‒2005). Judith Scott—Bound and Unbound is organized by Catherine J. Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Matthew Higgs, artist and Director/Chief Curator of White Columns, New York. Each carries a palpable charge generated by the artist's intense, generative act of wrapping and binding. Born 1943, Columbus, Ohio; died 2005, Oakland, California.Soon after, she joined Oakland's Creative Growth, a seminal arts workshop for the disabled.
The Smith-Nederpelt Collection. It is composed of industrially painted wooden stakes, in primary colors, encased in various yarns and fibers. The scale and intricate mass of materials would have required assistance to turn and move the object as Scott worked. The accompanying catalogue is published by the Brooklyn Museum and Prestel. (71.1 × 38.1 × 68.6 cm). (94 × 86.4 × 12.7 cm). Mixed media on paper, 17 × 11 in.

Fiber and found objects, 27 × 23 × 17 in. In 2014, the Brooklyn Museum held the first comprehensive survey of Scott’s works in an exhibition titled Judith Scott: Bound and Unbound. Creative Growth, Oakland, California.

Creative Growth, Oakland, California. Untitled (detail), 2003–4.

Judith Scott's art is marked by great power. Untitled (detail), 1988. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. (Photo: Benjamin Blackwell)Judith Scott (American, 1943‒2005). Her sculptures made of found objects and materials, wrapped in yarn and textiles, exude a sense of mystery not only through their visual appeal, but through what they conceal. Fiber and found objects, 45 × 47 × 31 in.

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