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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><field label="Title" name="title"><value>Untitled</value></field><field label="Date" name="displayDate"><value>1990s</value></field><field label="Dimensions" name="dimensions"><value>12 × 18 × 28"</value></field><field label="Medium" name="medium"><value>Yarn and fabric with unknown armature</value></field><field label="Credit Line" name="creditline"><value>Gift of Creative Growth Art Center, Oakland, California</value></field><field label="Accession number" name="invno"><value>2002.21.1</value></field><field label="On View" name="onview"><value>0</value></field><field label="Classifications" name="classification"/><field label="Id" name="id"><value>154300</value></field><field label="Source ID" name="sourceId"><value>3057</value></field><field label="Width" name="width"/><field label="Exhibitions" name="exhibitions"><value exhibitionDisplayDate="Wednesday, October 8, 2003 - Friday, October 17, 2003" exhibitionEndISODate="2003-10-17" exhibitionEndDate="2003" exhibitionISOBeginDate="2003-10-08" exhibitionBeginDate="2003" exhibitionTitle="Recent Gifts to the American Folk Art Museum: A Collection Sampler" exhibitionID="202"/><value exhibitionDisplayDate="Tuesday, October 6, 2009 - Sunday, September 5, 2010" exhibitionEndISODate="2010-09-05" exhibitionEndDate="2010" exhibitionISOBeginDate="2009-10-06" exhibitionBeginDate="2009" exhibitionTitle="Approaching Abstraction" exhibitionID="147"/><value exhibitionDisplayDate="Friday, March 17, 2023 - Sunday, October 29, 2023" exhibitionEndISODate="2023-10-29" exhibitionEndDate="2023" exhibitionISOBeginDate="2023-03-17" exhibitionBeginDate="2023" exhibitionTitle="Material Witness" exhibitionID="249"/></field><field label="Height" name="height"/><field label="Alternative Numbers" name="altNums"/><field label="Depth" name="depth"/><field label="Primary Maker" name="primaryMaker"/><field label="Artist / Maker" name="people"><value displayOrder="1" personRole="Artist" personID="651">Judith Scott</value></field><field label="Classification(s)" name="classifications"><value>Sculpture</value></field><field label="Copyright" name="copyright"><value>Copyright for this work is under review.</value></field><field label="Object Type" name="thesconceptsObjecttype"/><field label="Title (descriptive)" name="titlesDescriptive"/><field label="Title (popular)" name="titlesPopular"/><field label="Title (translated)" name="titlesTranslation"/><field label="Place/Region" name="geographyPlaceregion"><value>Oakland</value></field><field name="geographyCity"><value>Oakland</value></field><field name="geographyCountry"><value>United States</value></field><field name="geographyState"><value>California</value></field><field label="Bibliography" name="bibliography"/><field label="Collections" name="collections"><value>Three Dimensional Works</value></field><field label="Department" name="department"/><field label="Flex Fields" name="flexFields"/><field label="Geography" name="geography"><value>Oakland</value></field><field label="Label Text" name="labelText"><value>Working at Creative Growth Art Center, a workshop in Oakland, California, that promotes artistic activity for people with disabilities, Judith Scott (1943–2005) made carefully crafted large-scale sculpture by wrapping yarn and fabric strips around cast-off objects. Scott’s physical and mental realities (she had Down syndrome and was deaf) did not prevent her from building formidable fiber arts with mysterious emotional and expressive power that are absolutely distinctive in form.

Most of Scott’s sculptures have an understructure composed of miscellaneous objects, such as electric fans, foam packaging, and yarn cones. Her commitment to her main material—yarn—and her process—wrapping—was long-standing: she worked in this manner for nearly twenty years. Scott enlisted a wide range of binding techniques—wrapping, stitching, knitting, knotting, tying, lacing, and crocheting—to hide and disguise the core until it developed into an anthropomorphic bundle. Scott declared her materials and process early in her career, but scale, color, and texture varied over the years. Her sculptures are often compared to the figure; however, her penchant for obliterating form rendered them abstract.
</value></field><field label="Object Names" name="names"/><field label="Last Updated" name="recordLastUpdated"/><field label="Text Entries" name="textEntries"><value>Sculpture and Three Dimensional Objects</value><value>Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　

To help improve this record, please email photoservices@folkartmuseum.org</value></field><field label="Terms" name="thesconcepts"/><field label="Titles" name="titles"/><field label="Title (artist's/given)" name="titlesArtists"/><field label="Title (former)" name="titlesFormer"/><field label="Title (inscribed)" name="titlesInscribed"/><field label="Type" name="type"/><field label="Materials" name="thesconceptsMaterials"/><field label="Technique" name="thesconceptsTechnique"/><field label="ArchiveSpace" name="altNumsArchivespace"/><field label="Media" name="media"><value mediaDepartment="Object Photographs" mediaType="Image" mediaURL="https://collection.folkartmuseum.org/internal/media/dispatcher/19095/full" mediaId="19095"/></field><field label="Begin Date" name="beginDate"><value>1990</value></field><field label="End Date" name="endDate"><value>1999</value></field><field label="Sort Number" name="sortNumber"><value>  2002    21    1                                                               </value></field><field name="textEntriesWebsitedisplaytext"><value>Sculpture and Three Dimensional Objects</value><value>Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　

To help improve this record, please email photoservices@folkartmuseum.org</value></field></object>