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One of the more famous pieces done by Judith Scott is named, Judith Scott: Bound and Unbound.

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Judith Scott was apart of the Creative Growth Art Center which helped her start her career as an artist.

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On the Creative Growth Art Center site, Judith Scott has her own page where her life and time at the studio is described in more detail, along with other works that she has created.

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In the book, Art Documentation: Journal of the Art, Judith Scott is the main talking point when referring to the concept, information behaviors. The author talks about how deaf artists, such as Scott, channel what it is like to be apart of the deaf community through their artwork. 

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Contents

 * 1Biography
 * 2Art
 * 2.1Collections
 * 3Filmography
 * 4Exhibitions
 * 4.1Solo exhibitions
 * 4.2Group exhibitions
 * 5References
 * 6Further reading
 * 7External links

Biography[edit]
Judith was born into a middle-class family in Cincinnati, Ohio on May 1, 1943, along with her fraternal twin sister Joyce. Unlike Joyce, Judith was born with Down Syndrome. During her infancy, Judith had Scarlet Fever, which caused her to lose her hearing, a fact that remained unknown until much later on in her life. Because of being faced with having Down Syndrome and being deaf, Scott was unable to join the ASL community, making communication with her peers extremely difficult.

Judith Scott spent her first seven and a half years at home with her parents, twin sister and older brothers. Although the developmental gap between the two girls was apparent, "the parents consciously sought to treat these youngest members of the family alike."

However, when it was time for the girls to start attending school, Judith was found to be "ineducable." There was only one classroom for children with disabilities, and Judith was not able to pass the verbally-based entrance tests, due to her still undiagnosed deafness. Consequently, on medical advice, her parents placed Judith in the Columbus State Institution (formerly the Columbus State School), an institution for mentally disabled people, on October 18, 1950. This separation had a profound effect on both twins.

The records from Judith Scott's first few years at the Institution indicate that she had an IQ of 30 (based upon oral testing before her deafness was recognized). For this reason she was denied any training opportunities. Deprived of her twin, Judith became severely alienated, and behavioral problems soon surfaced. Her Clinical Record states that "She does not seem to be in good contact with her environment. She does not get along well with other children, is restless, eats messily, tears her clothing, and beats other children. Her presence on the ward is a disturbing influence." Soon after, she was moved to a smaller state institution at Gallipolis, Ohio.

In 1985, after 35 years of complete separation and lengthy and difficult negotiations, Joyce Scott became her sister's legal guardian, and brought Judith to live with her in California, a state where all mentally disabled citizens are entitled to an ongoing education. During this time is when Judith's art career began to flourish.

Judith Scott died of natural causes at her sister's home in Dutch Flat, California, a few weeks short of her 62nd birthday. She outlived her life expectancy at birth by almost fifty years.

Art[edit]
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. For almost two years, Judith showed little interest in any artistic activity. She was unexceptional with paint. 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.

It wasn't until Judith casually observed a fiber art class conducted by visiting artist Sylvia Seventy, that she had her artistic breakthrough. Using the materials at hand, Judith spontaneously invented her own unique and radically different form of artistic expression. While other students were stitching, she was sculpting with an unprecedented zeal and concentration. '''It has been said by Brenda Derving, that many deaf artists must overcome a communication gap and need to address it in order to succeed. For Judith Scott, she breached her communication gap through her artwork.'''

Her creative gifts and absolute focus were quickly recognized, and she was given complete freedom to choose her own materials. 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. '''In the first phase of her work, Scott focused mostly on nests and cocoon-like shapes that included hints of the human body. Many of these pieces were even scaled to the size of her own body. In her second phase of work, Scott was most interested in totems along with works that''' featured pairs, reflecting Scott's experience as a twin. The last documented phase of Scott's work was directed towards pieces that resembled reclining figures and head/body forms. Judith worked on her art five days a week for eighteen years, producing over 200 pieces in total. Because of her disability and coming into the art world with disadvantages, Scott was deemed an outsider artist/Art Brut.

Judith had her first exhibition in 1999, which coincided with the publication of John MacGregor's book Metamorphosis: The Fiber Art of Judith Scott. Together, these events helped propel her to worldwide recognition.

Textiles
'''Along with the textile of fiber art, Scott used unconventional combinations of textile to create her art. Her first art created was made out of yarn, fiber, and different fabric pieces, and wood strung together which were later named as "totems."  Following the totems, Scott began to expand her work from wood to other objects that are seen as trapped inside the intertwinement of string. Some of the objects that have been captured in the pieces are random such as pages out of magazines, while others were personal to Scott that eventually became hidden through the intertwinement. These three-dimensional pieces are layered in different types of wrapping in fabrics that are shrouded and teased. With yarn unavailable on certain days, Scott made pieces out of paper towel which was twisted and knotted together. As times goes on, the piece becomes hardened and more impenetrable.'''

Collections[edit]
Scott's work has become immensely popular in the world of outsider art, and her pieces sell for substantial sums. Scott is now hailed as a contemporary artist, no longer just an outsider. Her art is held in the permanent collections of many museums, including: Museum of Modern Art (Manhattan, New York), the American Visionary Art Museum (Baltimore, Maryland), San Francisco Museum of Modern Art, Museum of American Folk Art (Manhattan, New York), Intuit: The Center for Intuitive and Outsider Art (Chicago, Illinois), Irish Museum of Modern Art, Dublin, The Oakland Museum, Oakland, CA. L'Aracine Musee D'Art Brut (Paris, France), Art Brut Connaissance & Diffusion Collection (Paris and Prague), Collection de l'art brut (Lausanne, Switzerland).

Exhibitions[edit]
Below is a list of select notable exhibitions for Judith Scott.

Solo exhibitions[edit]

 * 2018 – Judith Scott: Touchdown, Creative Growth Art Center, Oakland, California
 * 2014-15 – Bound and Unbound, Brooklyn Museum, Brooklyn, New York
 * 2009 – Judith Scott: Retrospective, Ricco Maresca Gallery, New York City, New York
 * 2002 – Cocoon: Judith Scott, Ricco-Maresca Gallery, New York City, New York

Group exhibitions[edit]

 * 2019 – Memory Palaces: Inside the Collection of Audrey B. Heckler, American Folk Art Museum, New York City, New York
 * 2019 – The Doors of Perception, Curated by Javier Téllez in collaboration with the Outsider Art Fair, Frieze Art Fair, New York City, New York
 * 2019 – Flying High: Women Artists of Art Brut, Bank Austria Kunstforum, Vienna
 * 2018 – Outliers and American Vanguard Art, National Gallery of Art, Washington DC
 * 2017 – Forget Me Not: Judith Scott, Zuckerman Museum of Art, Kennesaw, Georgia
 * 2017 – Viva Arte Viva, the 57th Venice Biennale, Venice, Italy
 * 2015 – Collection ABCD, La Maison Rouge, Paris, France
 * 2013 – Create, Creative Growth Art Center, Oakland, California
 * 2013 – Create, Boca Raton Museum of Art, Boca Raton, Florida
 * 2013 – Extreme Art, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut
 * 2012 – Rosemarie Trockel: A Cosmos, New Museum of Contemporary Art, New York City, New York
 * 2011 – World Transformers, Schirn Kunsthalle Frankfurt, Frankfurt, Germany
 * 2000 – Visions, American Visionary Art Museum, Baltimore, Maryland
 * 2005 – Creative Growth, The Ricky Jay Broadside Collection, Yerba Buena Center for the Arts, San Francisco, California

References[edit]

 * 1) ^ Jump up to:a b
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 * 4) ^ Jump up to:a b c d e "Entwined: Sisters and Secrets in the Silent World of Artist Judith Scott" Beacon Press, Boston
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 * 7) ^ Jump up to:a b c d Joyce Wallace Scott: "Entwined:Sisters and Secrets in the Silent World of Artist Judith Scot" Beacon Press, Boston
 * 8) ^ Jump up to:a b c d
 * 9) ^ Artist Emerges With Works in a 'Private Language', by Evelyn Nieves, New York Times, June 25, 2001
 * 10) ^ "Judith Scott - Bound and Unbound" Brooklyn Museum, 2015
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Further reading[edit]

 * MacGregor, John, M. "Metamorphosis: The Fiber Art of Judith Scott"
 * Mullin, Rick, "Sculpture", American Arts Quarterly, Fall 2010
 * Joyce Wallace Scott, "Entwined:Sisters and Secrets in the Silent World of Artist Judith Scott", Beacon Press
 * "Judith Scott - Bound and Unbound" Brooklyn Museum, 2015

External links[edit]
Wikimedia Commons has media related to Judith Scott.


 * Judith Scott profile, Creative Growth Art Center
 * Clip from 'Outsider : The Life and Art of Judith Scott' a film by Betsy Bayha

Categories:


 * 1943 births
 * 2005 deaths
 * Deaf artists
 * Outsider artists
 * Women outsider artists
 * American textile artists
 * 20th-century American women artists
 * 21st-century American women artists
 * People with Down syndrome
 * Artists from the San Francisco Bay Area
 * Women textile artists
 * American deaf people