New York

View of “Judith Scott,” 2014–15.

View of “Judith Scott,” 2014–15.

Judith Scott

Brooklyn Museum

View of “Judith Scott,” 2014–15.

The effects of an artist’s biography on his or her reception may be uncertain but they are hardly insignificant, and “Bound and Unbound,” the outstanding survey of the work of the sculptor Judith Scott at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, brings crucial questions about the relation of artmaking to language, affect, and intentionality—the very sort of phenomena that underpin the character of our intersubjectivity—into disorienting focus. Organized by the Sackler’s Catherine Morris and White Columns’ Matthew Higgs, the show comprises several dozen of the wrapped forms that Scott created during the eighteen years she participated in the studio program at Creative Growth Art Center in Oakland, California. Scott was born with Down syndrome, and her profound deafness went undiagnosed into her thirties; developmentally disabled and unable to

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