Signs: Journal of Women in Culture and Society
  • Facebook
  • Twitter
  • Home Page
  • The Journal
    • Current Issue
    • Forthcoming in Signs
    • Recently Published Issues
    • Virtual Issues
      • Feminist Resources for #TheResistance
      • Signs@40: Feminist Scholarship through Four Decades
      • Visibility and Visuality: Reframing Gender in the Middle East, North Africa, and Their Diasporas
    • Art
      • Featured Artist
      • Cover Art Gallery
      • Visibility and Visuality Artists
    • Calls for Papers
    • For the Classroom
      • Signs on the Syllabus
        • WGSS Teaching Resources
        • Feminist Practices
      • Films for the Feminist Classroom
  • Feminist Public Intellectuals Project
    • Short Takes
      • The Right to Sex
      • Believing
      • Against White Feminism
      • Still Mad
      • Controlling Women
      • Period. End of Sentence.
      • Tomorrow Sex Will Be Good Again
      • Mediocre
      • Entitled
      • Boys and Sex
      • Seven Necessary Sins for Women and Girls
      • Reckoning
      • No Visible Bruises
      • Maid
      • Unapologetic
      • Rage Becomes Her
      • In a Day’s Work
      • Eloquent Rage
      • Crash Override
      • What Happened
      • Destruction of Hillary Clinton
      • Unwanted Advances
      • Feminist Fight Club
      • In the Darkroom
      • We Were Feminists Once
      • All the Single Ladies
      • My Life on the Road and Notorious RBG
      • Unfinished Business
      • Pro
      • Bad Feminist
    • Feminist Frictions
      • Title IX
      • Sex Work
      • Identity Politics
      • Celebrity Feminism
      • Trigger Warnings
      • Affirmative Consent
    • Ask a Feminist
      • Patricia Williams Discusses Rage and Humor as an Act of Disobedience with Carla Kaplan and Durba Mitra
      • Eesha Pandit and Paula Moya Discuss Activism and the Academy with Carla Kaplan and Suzanna Walters
      • Byllye Avery Discusses the Past and Future of Reproductive Justice with Susan Reverby
      • Deborah Anker Discusses Gender and US Asylum Law with Aziza Ahmed
      • Soraya Chemaly Discusses Feminist Rage with Carla Kaplan and Durba Mitra
      • Cynthia Enloe, Agnieszka Graff, Ratna Kapur, and Suzanna Danuta Walters on Gender and the Rise of the Global Right
      • Catharine A. MacKinnon and Durba Mitra on Sexual Harassment in the Age of #MeToo
      • Dolores Huerta and Rachel Rosenbloom on Gender and Immigrant Rights
      • Michael Kimmel and Lisa Wade on Toxic Masculinity
      • Angela P. Harris on Gender and Gun Violence
      • Susan J. Carroll on Gender and Electoral Politics
      • Cathy Cohen and Sarah Jackson on Black Lives Matter
  • About & Guidelines
    • About
    • Masthead
    • History
    • For Authors
      • Author Guidelines
      • Submitting a Manuscript
      • Reprints and Permissions
      • Calls for Papers
  • #FeministResistance
  • News & CfPs

Judith Scott – Untitled (2003-4)

Tweet
Share
Judith Scott, Untitled (2003-4)

Judith Scott, Untitled (2003-4). Fiber and found objects, 45 × 47 × 31 in. Private collection. © Creative Growth Art Center. Photo: Addison Doty, Brooklyn Museum. This work appears on the winter 2016 issue of Signs.

 

Statement
Using a shopping cart as a base, this sculpture is the largest and most complex in Scott’s body of work. The cart is used as a container for several smaller, unfinished sculptures, yet is presented as a larger baroque work on its own terms.  The missing front wheels of the cart keep the sculpture stable, and allow it to rest on an incline that gives it a sense of movement.

Artist Biography
Judith Scott was a visual artist isolated from outside influences as a result of the impact of institutionalization, deafness, and Down’s syndrome.  Against all odds, she became an independent and self-directed artist. During the eighteen years Judith made her work at Creative Growth Art Center in Oakland, California, she never repeated a form or color scheme. Crafting armatures of wood, cardboard, found materials, and discarded objects; Judith diligently wrapped each work with lengths of knotted cloth, fabric, or yarn. After years of life in an institution, the artist made her first sculpture art 1987 and went on to produce a remarkable, breathtaking body of mixed media sculptures. Considered by many to be an “outsider artist” her sculptures reflect little cultural input and are highly individualistic, reflecting her own unique personal vision. Her work is in the collections of the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; Collection de l’Art Brut, Switzerland; the American Folk Art Museum, New York; and the Museum of Everything, London, and was most recently subject of a solo exhibition at the Sackler Center for Feminist Art at the Brooklyn Museum.

Tweet
Share

Search the site:

Key Links

  • Submit a Manuscript
  • Guidelines for Authors
  • Signs Archives on University of Chicago Press
  • Subscribe to Signs
  • Library Recommendation Form
  • Sitemap

Contact Signs

  • (617) 373-5837
  • signs@northeastern.edu
  • Contact Us

(c) 2012 Signs: Journal of Women in Culture and Society

 

Loading Comments...