New York exhibits. Joyce J. Scott’s Recent Glass Sculptures To Be Exhibited With Her Signature Beaded Neckpieces For The First Time.
Maryland to Murano Examines Scott’s Prolific Career, Defined by a Continued Exploration of Techniques and Striking Visual Narratives.
New York exhibits. This fall, the Museum of Arts and Design (MAD) presents Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott, the first exhibition to examine the relationship between Scott’s beaded and constructed neckpieces created in her Baltimore, Maryland studio and her more recent blown glass sculptures crafted in the Berengo Studio on Murano Island in Venice, Italy. On view from September 30, 2014 to March 15, 2015, this exhibition demonstrates the interplay between these two bodies of work and reveals the range of Scott’s technique and skill as well as the complex relationship she has shaped among adornment, content, and methodology.
Organized by Lowery Stokes Sims, MAD’s William and Mildred Lasdon Chief Curator, the exhibition features 34 of Scott’s neckpieces, including a collaboration with noted jeweler Art Smith, 3 beaded wall hangings, and 13 glass sculptures, most of which were created since 2009. A press preview and walkthrough for the exhibition will be held on Monday, October 6, 2014 at 2:00 pm.
“Over the last four decades, Scott has honed her craft and delivered striking visual narratives through masterful technical skill, while demonstrating an ongoing interest in collaborating with craftspeople across the globe,” says Glenn Adamson, MAD’s Nanette L. Laitman Director. “Maryland to Murano indicates the Museum’s commitment to presenting jewelry as an innovative art form and to examining how the medium is continually expanding.”
Born in Baltimore in 1948, Scott has lived, studied, and worked in Maryland all her life. Challenging perceived dichotomies between art and craft, sophistication and naïveté, and politics and adornment, Scott has succeeded in incorporating these elements within a vast and varied body of work including installation, printmaking, apparel, sculpture, and jewelry, the last of which has garnered her the widest audience and recognition. In Scott’s hands, human adornment becomes a vehicle for social commentary and a means for confronting contentious issues affecting contemporary society. Navigating controversial themes including hunger, rape, and racial stereotypes, Scott’s jewelry transcends the typical function of adornment and embellishment.
“Joyce Scott has maneuvered within the most traditional of materials and techniques to create a body of work of great expressive potential,” says Stokes Sims. “She has positioned herself within the context of the art world in such a way that the viability of her materials and the place where she creates is widely recognized and celebrated.”
The exhibition focuses on a range of Scott’s signature neckpieces that reveal the rich diversity of her style and methodology. Indicative of the influences of her global travels to study theater with Japanese masters as well as textile design and beadwork with Native American practitioners, featured works are grounded in the use of ancient bead-weaving techniques including peyote stitching. As a result, Scott’s wearable works maintain a strong sculptural quality while achieving a variety of physical and visual effects within a single neckpiece. Creative legacies passed down to Scott from her family, notably her mother Elizabeth Talford Scott, a well-known quilter and textile artist, are also acknowledged in the neckpieces. Building upon these influences, Scott incorporates memorabilia including charms, ex-votos, and bits of recycled jewelry to evoke personal narratives and aggregated memories.
Seen as a natural evolution from Scott’s constructed neckpieces, the featured glass works are the result of a two-year collaboration with craftspersons in the Berengo Studio on Murano Island in Venice, Italy. Both technical and conceptual in nature, this collaboration with the Murano-based studio, widely celebrated for pushing the medium of glass into the realm of contemporary art, allowed for Scott to further expand and develop skills present throughout her career. These recent works incorporate the intricately beaded elements present within her neckpieces into blown glass, and demonstrate her unique method of constructing three-dimensional, beaded forms without the use of armatures—a skill that allows Scott to create large, freestanding figures, some of which reach the scale of full-size installations.
New York exhibits. http://www.madmuseum.org/