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Transcript of Judith Scott
sculptor Judith Scott
American Visionary Art Museum, Baltimore, MD
Musee D’Art Brut, Lausanne, Switzerland
Museum of Modern Art, San Francisco, CA
ABCD Collection (Art Brut Connaissance & Diffusion) Paris & Prague
Museum of American Folk Art, New York, NY
Intuit (The Center for Intuitive and Outsider Art), Chicago , IL
L’Aracine Musee D’Art Brut, Paris, France
Irish Museum of Modern Art, Dublin, Ireland
The Museum of Everything, London, UK.
Oakland Museum of California, Oakland, CA. Permanent Museum Collections twins separated
at age 7 Judith & Joyce Bibliography Oakland, CA Creative Growth
Art Center Intuitive, naive, visionary, folk, art brut, self-taught Outsider Art I'm not alone in having a strong response to her work. Those who come in contact with it have the urge to hold it, pat it, or somehow interact with it. The forms are simple, cocoonlike, suggesting the human form
- Barbara Lee Smith "Scott and others in the center's workshop are actively involved in continual, pure art making, producing works that come from deep within."
- Barbara Lee Smith, Fiberarts Magazine, Summer 2001 http://www.judithscottdocumentary.org/clips.htm “ONE OF THE MOST IMPORTANT ARTISTS
OF THE TWENTIETH CENTURY, NOT ONLY IN
ART BRUT, BUT ALSO IN THE CONTEXT
OF CONTEMPORARY ART.”
— Dr Johann Feilacher
Director, Museum Gugging and reunited
35 years later Bayha, B. (Producer, Director). (2006). Outsider: The Life and Art of Judith Scott. [Documentary]. Retrieved from: http://www.judithscottdocumentary.org/clips.htm
Creative Growth Art Center. (2012). Organization website. Retrieved at: http://creativegrowth.org/artists/judith-scott/
Lachman-Chapin, M., Jones, D. L., Sweig, T. L., Cohen, B. M., Semekoski, S. S., & Flemming, M. M. (1998). Connecting with the art world: Expanding beyond the mental health world. Art Therapy: Journal of the American Art Therapy Association, 15(4), 233-244.
MacGregor, J. M. (1999). Metamorphosis: The fiber art of Judith Scott: The outsider artist and the experience of Down’s syndrome. Oakland, CA: Creative Growth Art Center.
Scott, J. (2012). Personal website. Retrieved at http://www.judithandjoyce.com
Smith, B. L. (2001). Judith Scott: Finding a voice. Fiberarts Magazine, Summer, 36-39. "Within the core of each piece might be hidden a special talisman of a significance known to Judith alone. With unflagging intensity, Judith worked five days a week for eighteen years, producing over 200 cocoon-like sculptures which today are found in museums and private collections around the world."
www.judithandjoyce.com This label is generally applied to artwork that is visually powerful and evokes a visceral response...it frequently incorporates non art materials in unexpected ways; and it is produced by isolated individuals outside of the cultural mainstream who are unschooled in art and seemingly free from cultural constraints. Since it is generated from internal necessity by people who rarely define themselves as artists, it has no intended audience....
(Lachman-Chapin, et al., 1998, p. 235) wrapped sheltered late work & human form bandaged tough raw middle work: poles early work: very early works were small in size
responsive to changing direction of planes,
evidenced by use of color
began references to human form
not informed by intention, audience, or subject matter unconscious, guided by internal drives
often the visiting artist would stop Judith when she felt a piece was "finished"
size of work increased dramatically when Judith was no longer forced to stop working process: pole forms began when Richard Elliot came to Creative Growth as a teaching artist
Elliot kept Judith supplied with found objects (stacked spools) and a variety of scrap materials, but didn't interfere with her process or stop her prematurely suggestions of body and head
Judith unaware of accidental forms, imagery
although developmentally, this could be Judith's attempt at a child's schema of human form
she is more concerned with tying, color, keeping objects in place, and process