Goya Contemporary & Goya-Girl Press

Art Miami

Art Miami

from the still funny series: flutist by joyce j. scott

Joyce J. Scott

From the Still Funny Series: Flutist, 2011

ancestry/progeny by joyce j. scott

Joyce J. Scott

Ancestry/Progeny, 2008

pretty veiled girl by joyce j. scott

Joyce J. Scott

Pretty Veiled Girl, 2012

Dienstag, 4. Dezember 2012Sonntag, 9. Dezember 2012


Baltimore, MD USA

Barcodes: Merging Identity & Technology
mixed media installation with variable scale

An interactive artwork by Soledad Salamé presented by Goya Contemporary (booth A-4)
created in 2012 in collaboration with:
Joyce J Scott, Pablo Cano, Soledad Salamé, Gabriela Morawetz, Fanny Sanin & Michel Varisco

With assistance from:
Michael Koryta, Photography; Amy Raehse, Curator; Mitchell Snow, interviewer & writer; Anna Holcomb, Studio Assistant.

Barcodes: Merging Identity & Technology explores the shifting nature and ever evolving aesthetic of perceived identity, filtered through rapidly revised modern technology in an increasingly globalized world.

PLEASE ACTIVATE THE QR CODES ON THE FLOOR WITH YOUR SMART DEVICE (PHONE, TABLET, COMPUTER)

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On Kilter: Joyce J. Scott will feature several new mixed media works authored by the artist, who recently returned from Venice Projects, Italy.

Arguably the most influential living artist working in Baltimore, Scott is a sculptor, printmaker, installation artist, performer, quilt-maker, storyteller, and educator who pulls from influences as wide-ranging as her media. From early in Scott's career, her American, urban, Black, female identity has seamlessly joined, uniting the intellectualism and the political drive of social critique with the humanized vernacular of well crafted, highly materialized forms.

Of Scott, Goya's Executive Director and exhibition Curator, Amy Eva Raehse, explains: "Scott is a powerful force- and iconic leader--who is disarmingly honest and gregarious, yet kindhearted and approachable. A diplomat as well as an advocate and activist, Scott is thoughtful, hyper-aware of our times, and determined to speak up against injustices. Yet Scott's artwork is not pedantic, and she does not pontificate- rather, the work is like the woman, asking provocative open-ended questions that are ripe with contradiction, igniting the type of dialogue that effects change and recognizes the basic right to human dignity." Raehse continues to say that Scott is "renowned for her meticulous craftsmanship and biting social commentary. The artist's precision and inventive use of materials act as entry points: palatable ways for the viewer to approach, contemplate, and digest the work. Scott's catalytic power for change is supported by her keen application of humor and enticing aesthetics, resulting in complex objects that double as a social mirror."

Of her own work, Scott says "It's important for me to use art in a manner that incites people to look and then carry something home - even if it's subliminal - that might make a change in them... It allows interaction, sometimes masked, even scabrous, in ways polite society finds uncomfortable. ...My work is not meant to be openly offensive. I skirt the borders between comedy, pathos, delight, and horror. I invite the viewer to laugh at our collective selves."

Scott received a BFA degree from the Maryland Institute College of Art in 1970, and the following year, an MFA from the Institute Allende in San Miguel Allende, Mexico. She pursued further study at Rochester Institute of Technology in New York and Haystack Mountain School of Crafts in Maine.

With numerous one-person and group exhibitions, Scott has exhibited, performed, and lectured widely across the country and abroad. The artist is represented in most major public collections including (but not limited to) the Baltimore Museum of Art, Brooklyn Museum of Art, Corning Museum of Glass, Metropolitan Museum of Art in New York, Mint Museum of Art, Yale University, Mobile Museum of Art, Museum of Glass in Tacoma, Museum of Art and Design in New York, Museum of Fine Arts in Houston, National Museum of American Art, Smithsonian Institution in Washington, DC, The Delaware Museum of Art, Phillbrook Museum of Art, Reginald F. Lewis Museum, and the Philadelphia Museum of Art.

Additionally, Scott has been the recipient of myriad commissions, grants, awards, residencies, and prestigious honors from the National Endowment for the Arts, the Louis Comfort Tiffany Foundation, Anonymous Was a Woman, American Craft Council, National Living Treasure Award, Lifetime Achievement Award from the Women's Caucus for the Arts... the list goes on and on.

Recent large scale exhibitions include "Glasstress New York: New Art from the Venice Biennales," "Global Africa," "Material Girls," "Off the Beaten Path: Violence, Women & Art," "Visions of Our 44th President," and "Prospect.2- the USA Biennial."

During 2011, Scott was the featured artist in the PBS special "Craft in America," and among various other documentations of Scott's excellence, she will be the subject of a documentary film slated to screen in Baltimore during Dec. of 2012.

A combination of narrator, historian, object maker and life-force, Scott fearlessly explores everything-- nothing is excluded. She challenges subjects and materials typically off-limits within the public domain for the museum or gallery worlds, simultaneously traversing the ambiguous division between art and craft.