The exquisite corpse is a collective assembly of words or images. Surrealists took the parlour game “Consequences”–where the participants would write something on a sheet of paper, conceal the top part of the writing, and pass it on to another person to write the next part–and turned it into composites of poetry, drawing, and collage.
We decided to try a figure: drawing, covering, and mailing back and forth. Unveiling backwards: feet first. Stay tuned.
Skull, bamboo, old dog tag, etcetera.
I start this and wrap.
My matters overlap:
Judith Scott clearly had a rich and singular inner life. She just needed the right key to open it, the right means to express it.
all sculptures discover
opaque, parallel worlds
live beyond and speak
Born with Down syndrome in 1943, Judith was raised by her family, which included her fraternal twin Joyce, until the age of seven. At that time, her deafness unrecognized, she was mistakenly diagnosed with severe retardation. It was recommended that she be institutionalized and she remained in an Ohio state hospital for 35 years.
In 1986 Joyce decided to remove her sister from the hospital and become her legal guardian. Judith was relocated to California, where she first lived with her twin’s family, and then moved to a care home nearby.
The stimulus for her artistic birth came through the Creative Growth Art Center in Oakland. Founded in 1974 by Elias Katz and Florence Ludins-Katz, the Center focuses on giving disable adults the time and space to create.
From colors to play.
How soon it must speculate
out of what. Which is.
Judith began sculpting during a fiberarts class at the Center. She took found objects and wrapped them with yarn or fabric, and continued this work with great concentration for the remaining 18 years of her life.
Seeing these sculptures is a totally different experience from looking at a photo of them. As always, scale. And because they are three-dimensional pieces with a great variation in texture, and often, color, being able to actually walk around each object is an important part of “seeing” them.
Judith Scott’s work speaks to me of something very primal, the urge to layer and embellish, to make totems, amulets, magic from the matter that surrounds us. Some of her wrapped figures were echoed eerily in the Egyptian mummies also exhibited at the Brooklyn Museum.
As the curator points out in one of the notes about the show, it’s impossible to know or reconstruct Judith’s intentions or thought about these works. But they do reflect a vision that encompasses the contradictions and mysteries of existence.
And the story of Judith Scott makes me reconsider the assumptions we make about not only people who don’t communicate in a way we consider “normal”, but about all of the web of the world. Just because we haven’t found a way to see it, hear it, acknowledge it, understand it…doesn’t mean it doesn’t exist.
Don’t old. Leave new. Must
without largely as something
including. And also.
Joyce Scott, Judith’s twin, continues to advocate for people with disabilities.
The Creative Growth Art Center continues to acknowledge in a positive way the insights and visions of disabled adults.
And Judith’s Scott’s work will be on view at the Brooklyn Museum of Art until the end of March.
Poems composed with help from the NY Times arts section and haiku and poem generators.
Wood box, found object, small collages made of cardboard. This isn’t glued down yet because I ran out of hot glue.
I’ve been continually using cardboard and paper along with the rusty junk and skulls. This is a sculpture made of packing material. It looks more like a fifth grade project but the point of art is fun. I may tchotchke this up a little more, or I may move on. I like this idea of ephemera. You can’t take yourself too seriously when you’re making a sculpture out of packing cardboard.
When Nina posted her photo collage, it reminded me of a something I had seen and photographed for future reference on my recent visit to the Metropolitan Museum of Art. I remembered it had a Mexican origin, and a little research online led me to more information.
Photoesculture, or photo sculpture, began in Mexico City in the 1930’s. Photos are mounted on wooden silhouettes, embellished with paint or collage, and elaborately framed under glass, to celebrate significant events, memorialize the dead, or honor individuals.
Formal studio portraits, often taken by traveling photographers, were used as the photographic elements. These were then embellished with hair, jewelry, or clothing details.
Because Mexican culture has fluid borders between the secular and the spiritual, the sculptures were often incorporated in to home altars or shrines.
And so Nina’s work becomes part of a living vernacular photo portrait tradition.
Today is a beautiful day. I went with Chris and a bunch of dogs to the power lines which is a great wide open area with little trails. I found two turtles, one a hollow shell and the other with the animal inside. There was a hawk circling around and the dogs all had a great time. I had some stuff at home, mainly some ripped up tire treads I found by the railroad tracks. I love picking stuff up, I don’t really know why except sometimes I derive inspiration from it. The turtles are especially beautiful. I’ll have to look up on YouTube how to remove a dead turtle from its shell. Anyway, this is a little assemblage. I will do a drawing from it later.