Joyce J. Scott

Joyce J. Scott (amezaliwa 15 Novemba 1948) ni msanii, mchongaji wa sanamu, mfumaji, msanii wa utendaji, mtengenezaji wa magazeti, mhadhiri na mwalimu mwenye asili ya Kiafrika-Mmarekani. 

Alipewa majina kama McArthur Fellow mnamo 2016, na Smithsonian Visionary Artist mnamo 2019, Scott anajulikana zaidi kwa sanamu zake za mfano na vito vya mapambo, mbinu za kusuka na kufuma, sawa na peyote kushona. Kila kipande hujengwa kwa kutumia maelfu ya shanga za mbegu za glasi au shanga za GPPony, na wakati mwingine vitu vingine vilivyopatikana au vifaa kama glasi, na ngozi. Mnamo mwaka wa 2018, alipongezwa kwa kufanya kazi katika chombo kipya kwa mchanganyiko wa mchanga, udongo, majani, na saruji kwenye sanamu iliyokuwa inaelekea kusambaratika. Scott anavutiwa na tamaduni anuwai, pamoja na mila ya Marekani, asili za Kiafrika, shanga za Mexiko, Ucheki, na Urusi,Sultan, Terrie (September 14 – November 17, 1991). "Joyce Scott: I-con-no-body/I-con-o-graphy". Gallery One. vielelezo na vitabu vya kuchekesha, na utamaduni wa pop.

Scott anasifika kwa ufafanuzi wake wa kijamii juu ya maswala kama vile ubaguzi wa rangi, ujamaa, ujinsia, vurugu, maoni potofu, na mada za uponyaji wa kiroho. Kazi yake ni juu ya jinsi Scott anajiona katika ulimwengu unaobadilika haraka: "Kazi hizi zinahusu ukuaji wa kibinafsi, kiroho na jinsi ya kutokwama katika njia rahisi za maisha juu ya sanaa, mimi siogopi katika maisha ya kila siku."ims, Lowery Stokes (February 23 – April 20, 2007). "Breathe Joyce J. Scott". Goya Contemporary.

 Wasifu 
Joyce Jane Scott alizaliwa huko Baltimore mnamo 1948, akiwa binti wa mfumaji mashuhuri Elizabeth Talford Scott na Charlie Scott Jr. Amejielezea kama "mtoto wa kweli wa Baltimore na msichana wa Sandtown" na ameishi katika nyumba ya jirani katika kitongoji cha Sandtown kwa zaidi ya miongo minne. Mama yake alimtia moyo na kumuhimiza juu ya ubunifu wake na Scott akaanza kuchora katika Shule ya Maonyesho ya Coppin, taasisi ya elimu ya umma, na baadaye akasoma Shule ya Kati ya Lemmel na Shule ya Upili ya Mashariki huko Baltimore.Ciscle, George (2000). Joyce J. Scott Kickin' It with the Old Masters. Baltimore Museum of Art and Maryland Institute, College of Art. ISBN 0-912298-72-3. Alihitimu na Shahada ya Sanaa kutoka Chuo cha Sanaa cha Maryland mnamo 1970 kisha akapata Shahada ya Uzamili ya Sanaa kutoka Instituto Allende huko Mexiko.Stankard, Paul J. (Autumn 2014). "Burning Embers". Glass Quarterly. Baadaye, Scott aliendelea na masomo zaidi katika Taasisi ya Teknolojia ya Rochester huko New York na Shule ya Ufundi ya Haystack Mountain huko Maine.

Mama yake mwenyewe alikuwa msanii ambaye alifundisha mbinu za kufuma na kumuhimiza Scott asomee masomo ya sanaa. Moja ya juhudi zake za kwanza za kisanii ilikuwa kushona nguo za wanasesere. Scott pia amevutiwa na mila ya ufundi katika familia yake pana ya "wafumaji, mafundi mbao, wafuma vikapu, maselemala, wapandaji na wahunzi," ambapo watu walikuza ujuzi katika ufundi zaidi ya mmoja ili waweze kuishi. Upendo wake wa muziki na hisia za kina za kiroho ziliimarishwa katika malezi yake katika imani ya Pentekoste na mila yake tajiri katika muziki wa injili. 

Ushawishi wa Kiafrika wa Scott unadhihirishwa katika matumizi yake ya mapambo ya hali ya juu na ya kufafanua. Kwa kutumia mbinu zinazofanana na taji na mavazi ya Kiyoruba ya Afrika Magharibi, yeye hutengeneza shanga kuwa muundo wa sanamu. Kulingana na msomi Leslie King-Hammond, sanaa na mila za Kiafrika zilifanya kazi kubadilisha vitu vya kila siku kuwa mapambo mazuri.

Mazoezi ya Scott ni pamoja na utendaji pamoja na sanamu. Tabia yake ya kukosoa bila kupenda na ya kuchekesha mara nyingi huajiriwa katika maonyesho yake kukosoa maswala kama vile jinsia, na ubaguzi wa rangi. Kama mapambo yake na ufumaji, utendaji wake pia hushughulikia hadithi za hadithi na kumbukumbu.Smyers, Robyn Minter (2000). "Re-making the past: the black oral tradition in contemporary art". International Review of African American Art. 17: 47–53.

Kazi za Scott zinashikiliwa na Jumba la kumbukumbu la Sanaa la Baltimore, Taasisi ya Sanaa ya Detroit, Jumba la Sanaa la Mildred Lane Kemper huko St.Louis, Missouri, Jumba la Sanaa la Mint huko Charlotte, North Carolina, Jumba la kumbukumbu la Sanaa la Spencer katika Chuo Kikuu cha Kansas, Jumba la kumbukumbu la Sanaa la Smithsonian la Marekani, na Jumba la kumbukumbu la Sanaa, Houston, Texas.

 Maonyesho yaliyoangaziwa 

 I-con-nobody/I-con-o-graphy 
Iliyofanyika kwenye Jumba la sanaa la Corcoran mnamo 1991, hii ilikuwa maonyesho ya kwanza ya Scott akishiriki kama binafsi. "mandhari hiyo ilimaanisha kusemwa kwa ukweli, aina za moja kwa moja na za mfano. Ikoniografia, alama zinazoelezea picha, na, kwa pamoja, jamii, zilitumiwa na Scott kufunua motisha zilizofichwa nyuma ya mwingiliano wa wanadamu." ouglas, Andrea (February 24 – April 22, 2001). "Exploring Identity- Works by Contemporary African American Women". Maier Museum of Art/90th Annual Exhibition. Kwenye maonyesho kuliwa na Kazi 29 za uchongaji zenye shanga na kolagi kadhaa kubwa za ukuta wa nyuzi na kitambaa. pia Jumuishwa zenye chaguzi (sehemu iliyoongozwa na hadithi za mama yake na kufanya kazi kama yaya) kutoka kwa safu ya Scott Mammy / Nanny (1986-1991) ambayo alitumia shanga za glasi na ngozi kuunda ubaguzi wa rangi na thamani.

 Believe I've Been Sanctified 
Hii ilikuwa kazi ya kwanza ya sanaa ya Scott. Mnamo 1991, alichaguliwa pamoja na wasanii wengine kumi na tisa kushiriki katika mradi mpya wa jiji lote ulioandaliwa na Tamasha la Spoleto USA huko Charleston. Maonyesho hayo yaliitwa "Maeneo yenye Zamani: Sanaa Mpya Maalum ya Tovuti huko Charleston" na kila msanii alialikwa kuchagua tovuti ya nje na kuunda kipande ambacho kilitoa maoni yao ya historia ya jamii ya jiji. Scott alichagua nguzo nne za Korintho ambazo zilikuwa mabaki ya mwisho ya Jumba la kumbukumbu la zamani la Charleston. Aliambiwa na watu katika jamii ya kihistoria ya Kiafrika ya Amerika kwamba "hawakuwa wakitutaka huko hata hivyo" na alipewa moyo. Kutumia vitu vilivyopatikana na kupiga shanga, Scott aligeuza nguzo kuwa mierezi ya kulia kuwakilisha machozi. Chini yao aliunda kitanda cha mazishi kutoka kwa magogo 500 na mtu aliyekufa, au Phoenix, kuwakilisha "mwisho wa utumwa au mwanzo wa enzi mpya, Ujenzi upya."

 Images Concealed 
Mnamo 1995 Scott aliitikia Chuo Kikuu cha Yale kwa Jumba la kumbukumbu ya Sanaa ya Afrika Uso wa Mungu: Sanaa na Madhabahu ya Afrika na Waamerekani wa Afrika na ufungaji uliopewa jina la Concealed at the San Francisco Art Institute. Mhifadhi Jean-Edith Weiffenbach alibainisha kuwa Scott, "alipingwa na maonyesho hayo ya maonyesho ya athari za mila za Kiafrika kwa sanaa za Magharibi, mifumo ya imani, na mila ya kijamii ilitengeneza jibu linalotumia mseto wa kisasa wa misamiati ya ufundi kutoka tamaduni kadhaa. katika lugha ya kifumbo ambayo inakabiliana na maoni potofu na pia masuala ya uwakilishi na mtazamo. "

 Kickin' it With the Old Masters 
Kickin 'It with the Old Masters ilikuwa maonyesho ya sanaa yaliyofanyika katika Jumba la kumbukumbu la Sanaa la Baltimore (BMA) mnamo Januari – Mei 2000 kwa kushirikiana na Chuo cha Sanaa cha Maryland (MICA). "Katika mlango wa nafasi ya maonyesho alikuwa ameketi Rodin's Thinker, sanamu ya sanaa ya Magharibi; juu ya kichwa cha sanamu Scott alisimamisha sura yenye shanga iliyoning'inizwa shingoni na minyororo na kufunikwa na sehemu za rangi."  Ujumbe haukutaka kuchochea rangi mashtaka lakini kuanzisha mwingiliano na urembo na ujenzi wa kijamii.

 Harriet Tubman and Other Truths 
Maonyesho yake makubwa zaidi hadi leo yalifunguliwa Oktoba 20, 2017, na yalikuwa yanaonekana hadi Aprili 1, 2018 katika Viwanja vya Uchongaji. Maonyesho ya heshima kwa Harriet Tubman, mkoloni ambaye aliwaongoza watu wengi kuwa watumwa wa uhuru, ilikuwa kabla ya kupangwa na mlezi wa wageni Lowery Stokes Sims kwa maonyesho hayo, ambayo yalionekana kama kichocheo cha kubadilisha nafasi ya umma iliyoundwa na J. Seward Johnson, sanamu ya sanamu na uhisani. Maonyesho haya yalikuwa yanasimamiwa na Lowery Stokes Sims na Patterson Sims.

 Uwekaji wa sanaa kwa umma 

 Dimbwi la Ukumbusho 
Scott alipokea tume mnamo 1996 kuunda mradi wa sanaa ya umma kuadhimisha dimbwi la 2 katika Bustimore's Druid Hill Park. Ilijengwa mnamo 1921, ilitumikia kwa mahitaji ya kuogelea ya burudani na ushindani wa zaidi ya Wamarekani 100,000 wa Kiafrika huko Baltimore. Wakati Bodi ya Hifadhi ya Jiji la Baltimore ilikataa kutenga mabwawa yake licha ya kutangazwa sana katika mto uliokuwa karibu mnamo 1953, NAACP iliwasilisha kesi na mwishowe ilishinda kwa rufaa. Mnamo Juni 1956 mabwawa ya Baltimore yalifunguliwa kama vifaa vya kutengwa kwa mara ya kwanza. Bwawa namba 2 lilifunga mwaka uliofuata, likibaki kutelekezwa hadi 1999 wakati ufungaji wa Scott ulibadilisha.


Katika kubuni mnara huu wa kazi, Scott alikusudia kuunda "hali ya sanaa ambapo watu wanaweza kwenda angani na tumaini kuwa, na kuwa na matumizi anuwai." Eneo la bwawa lenyewe lilijazwa na mchanga na kupandwa na nyasi. Kulikuwa na mipango ya kujumuisha programu katika eneo lenye nyasi, kwamba watu wangetaka kukaa, kutembea au kupumzika tu karibu na nafasi. Kwa kuongezea vifaa vya usanifu na muundo wa majini, usanikishaji wa asili ulijumuisha michoro ya rangi, ya rangi kwenye lami karibu na dimbwi ambalo limepotea kutoka kwenye uso wa saruji na kutoweka kwa sababu ya wakati na hali ya hewa.

 Maonyesho 
Maonyesho ya Scott ni pamoja na:

 2020 Visibilities: Intrepid Women of Artpace, Artpace, San Antonio, TX. Curator: Erin K. Murphy
 2018  Joyce J. Scott: Harriet Tubman and Other Truths, Grounds for Sculpture, Hamilton, N.J. Curators: Lowery Stokes Sims and Patterson Sims
 2016  Generations: Joyce J. Scott | Sonya Clark, Goya Contemporary Gallery, Baltimore, MD. Curator: Amy Eva Raehse
 2016  Joyce J. Scott, Fuller Craft Museum, Brockton, MA. Curator: Bruce Hoffman
 2015  Joyce J. Scott: Truths & Visions, Sarah Moody Gallery, University of Alabama, Tuscaloosa AL(catalog). Curator: Patterson Sims
 2015  Joyce J. Scott: Truths and Visions, Museum of Contemporary Art, Cleveland, OH(Catalogue). Curator: Patterson Sims
 2014  Can’t We All Just Get Along?, Goya Contemporary, Baltimore MD (Catalogue). Curator: Amy Eva Raehse
 2014  Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott, Museum of Arts and Design, New York, NY (catalogue). Curator: Lowery Stokes Sims
 2012  On Kilter, Goya Contemporary, Baltimore, MD (Catalogue). Curator: Amy Eva Raehse
 2012  Joyce J. Scott: A Solo Exhibition of Prints, Film and Performance, The Creative Alliance, Baltimore, MD
 2010-2011   Li’l Lies and Purty Thangs, Goya Contemporary, Baltimore, MD (Catalogue).  Curator: Amy Eva Raehse
 2010  McColl Center for Visual Art, Charlotte, NC
 2010  The Wine Dark Sea, The Mitchell Gallery at St. John's College, Annapolis, MD (Catalogue)
 2010  Love Letters, Mobilia, Cambridge MA
 2008  Joyce J. Scott: PAINFUL DEATH/PAINLESS LIFE, Goya Contemporary, Baltimore, MD (Catalogue) Curator: Amy Eva Raehse
 2008  Joyce J. Scott in Tampa, Scarfone/Hartley Gallery, Tampa University, Tampa, FL
 2007  Kickin’ It with Joyce J. Scott, Houston Center for Contemporary Art, Houston, TX. Curator: George Ciscle/ Exhibits USA
 2007  Kickin’ It with Joyce J. Scott, Polk Art Museum, Lakeland, FL. Curator George Ciscle/ Exhibits USA
 2007  Joyce J. Scott: Breathe, Goya Contemporary, Baltimore, MD (Catalogue) Curator: Amy Eva Raehse
 2005  Joyce J. Scott, Dirtwork, C. Grimaldis Gallery, Baltimore, MD.
 2005  This Hand Washes That Hand Too, Mesa Contemporary Arts at the Mesa Art Center, Mesa, AZ.
 2004  Kickin' It with Joyce J. Scott, California African American Museum, Los Angeles, CA. Curator George Ciscle/ Exhibits USA
 2004  Joyce J. Scott, Snyderman Gallery, Philadelphia, PA
 2004  Joyce J. Scott, Walter Gropius Artist, Huntington Museum of Art, Huntington, WV
 2004  Still Alive in 2004, Ward Center for the Arts, St. Paul Schools, Brooklandville, MD
 2003  Joyce J. Scott, Untethered, George Mason University, Fairfax, VA
 2003  What a Long, Strange, Bumpy Trip it’s Been!, Sculpture & Monoprints by Joyce J. Scott, Center of Contemporary Arts (COCA), St. Louis, MO
 2001  Joyce J. Scott, In Search of Self-Unfathomable, Susan Cummins Gallery, Mill Valley, CA
 2001  Joyce J. Scott, WTC Series, Goya Contemporary, Baltimore, MD
 2000  Joyce J. Scott, Kickin' it With The Old Masters, Baltimore Museum of Art Baltimore, MD (catalogue). Curator: George Ciscle and the students at the Maryland Institute College of Art (MICA)
 2000  Life After Fifty, Noel Gallery, Charlotte, NC
 2000  Treacherous Tickles:  Recent Sculpture & Prints, Main Gallery, University of Texas, El Paso, TX
 2000  Joyce J. Scott, Sybaris Gallery, Royal Oak, MI
 1999   Incognegroism, Richard Anderson Gallery, New York, NY
 1999  Joyce J. Scott, A Muse, American Craft Museum, New York, NY
 1999  Joyce J. Scott, The Radiance of What Is, Contemporary Art Center of  Virginia, Virginia Beach, VA
 1999  Joyce J. Scott: New Lithographs and Monoprints, Goya Contemporary, Baltimore, MD
 1998  Things That Go Bump in the Night II, Gallery 181, Iowa State University, Ames, IA
 1996  Joyce Scott, Mixed Bag, Leedy Voulkos Gallery, Kansas City, MO
 1995  Images Concealed, San Francisco Art Institute, San Francisco, CA (catalogue)
 1995  Joyce J. Scott, The Hand and the Spirit, Scottsdale, AZ
 1994  Hard Choices, Laumeier Sculpture Park, St. Louis, MO (catalogue)
 1992  Joyce J. Scott, Brooklyn College of Art Gallery, Brooklyn, NY (traveling, catalogue)
 1992  Dimensional Objects and Jewelry, Politics of the Body, Esther Saks Fine Art, Ltd, Chicago, Illinois[10]
 1991  I-con-no-body / I-con-o-graphy, Corcoran Gallery of Art, Washington, DC (catalogue)
 1991  Believe I've Been Sanctified, "Places with a Past: New Site-Specific Art in Charleston," Spoleto Festival USA in Charleston, South Carolina
 1988  Thru the Veil-, Textile Center for the Arts, Chicago, Illinois[10]
 1985  Dreamweaver, The Cultural Center, Chicago Public Library, Illinois[10]
 1981  Something Got a Hold on Me, Washington Project for the Arts, Washington, DC[10]
 1981  Something Got a Hold on Me, Washington Project for the Arts, Washington, DC

 Chaguzi za heshima na tuzo 
Chini ni tuzo chache zilizochaguliwa, heshima na ushirika ambao Scott amepokea hadi sasa katika kazi yake:

 Gold Medalist, American Craft Council (2020)
 Smithsonian Visionary Artist (2019) 
 MacArthur Fellow, John D. and Catherine T. MacArthur Foundation, Chicago, IL (2016)
 Masters of the Medium, James Renwick Alliance, Smithsonian American Art Museum, Smithsonian Institution, Washington, DC (2006)
 Governor's Arts Award at Artsalute: Maryland Citizens for the Arts Foundation, Walters Art Museum, Baltimore, MD (2002)
 Fellow, American Craft Council, New York, NY (2001)
 National Living Treasure Award, Maryland Nominee (1996)
 Mid Atlantic Arts Foundation Award (1994)
 Pace Roberts Fellowship (1994)
 National Printing Fellowship (1992)
 Mid Atlantic Consortium Award (1990)
 Maryland State Arts Council Fellowship (1987, 1981)
 Fellowship, National Endowment of the Arts (1980)

 Makusanyo ya Makumbusho 
 Voices, 1993. Museum of Arts and Design 
 Lovers, 2002. Museum of Arts and Design 
 Water Mammy 1, 2012. Museum of Arts and Design 
 Three Graces Oblivious While Los Angeles Burns, 1992. The Corning Museum of Glass 
 Baltimore Museum of Art, Baltimore, Maryland 
 Rodney King's Head Was Squashed Like a Watermelon, 1991. Philadelphia Museum of Art, Philadelphia, Pennsylvania 
 Flaming Skeleton #3, 1993. Detroit Institute of Arts, Detroit, Michigan  
 The Sneak, 1989. The Museum of Fine Arts, Houston, Texas 
 Sixteen Days in His Life, 1997-99. Mildred Lane Kemper Art Museum, St. Louis, Missouri  
 Joyce J. Scott. Mint Museum, Charlotte, North Carolina  
 Necklace, 1994. Smithsonian American Art Museum, Washington D.C. ,
 Africa, ca. 1980. Smithsonian American Art Museum, Washington D.C. 
 Caffeine, 1994-99. Spencer Museum of Art, The University of Kansas, Lawrence, Kansas  
 Beaded Necklace. Racine Art Museum, Racine, Wisconsin  
 American Craft Museum, New York, NY
 Brooklyn Museum of Art, Brooklyn, NY
 Charles A. Waustum Museum, Madison, WI
 Philbrook Museum of Art, Tulsa, OK
 Renwick Gallery, Smithsonian Institution, Washington, DC
 Rhode Island School of Design Museum, Providence, RI
 Ronald Reagan Washington National Airport, Washington, DC
 Sheppard & Enoch Pratt Foundation, Towson, MD
 Speed Museum, Louisville, KY
 Weatherspoon Art Gallery, Greensboro, NC
 None Are Free until All Are Free, 2006. Yale University, New Haven, CT

 Marejeo 

 Soma zaidi 


 Stankard, Paul J. "Burning Embers." Glass Quarterly, no. 136 (Autumn 2014): 26-34.


 Sims, Lowery S, Joyce Scott, Patterson Sims, and Seph Rodney. Joyce J. Scott: Harriet Tubman and Other Truths. , 2018.

 Viungo vya nje 

 Joyce J. Scott: Harriet Tubman and Other Truths, Grounds for Sculpture video. October 27, 2017.
 Oral history interview with Joyce J. Scott, 2009 July 22, from The Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, Archives of American Art.
 Craft in America, Joyce J. Scott PBS Documentary
 Art Alliance for Contemporary Glass, Joyce J. Scott, Artist of the Month July 2010 - 
 Art Alliance for Contemporary Glass, Joyce J. Scott, Short Resume 
 Interview with Curtia James, from Sources: Multicultural Influences on Contemporary African American Sculptors, February 2 - April 11, 1994, The Art Gallery at the University of Maryland at College Park
 Joyce J. Scott Kickin' It with the Old Masters exhibition, Prints, Drawings and Photographs Department Records finding aid , Archives and Manuscripts Collections, The Baltimore Museum of Art
 Joyce J. Scott: Painful Death / Painless Life, November 15, 2008 - January 23, 2009, Goya Contemporary - Goya Girl Press, Baltimore, MD
 Joyce J. Scott: Images Concealed, February 9 - March 19, 1995, San Francisco Art Institute
 Breathe: Joyce J. Scott, February 23 - April 20, 2007, Goya Contemporary - Goya Girl Press, Baltimore, MD
 On Kilter: Joyce J. Scott, September 12 - November 10, 2012, Goya Contemporary - Goya Girl Press, Baltimore, MD
 Talking Shop: Craft + Defiance  November 17, 2015 at Baltimore School for the Arts, The Contemporary, Baltimore, MD
 A woman artist speaks / Joyce J. Scott ; interviewed by Naomi Eftis and Elaine Heffernan, broadcast ca. July 27, 1977 on WPFW, Washington, D.C.

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