But what makes a work of art compelling is an artist’s unique viewpoint, whether it is informed by abuse, oppression, physical or intellectual disabilities, or banal context. ‘Such a narrow focus can undermine a full understanding of the work’, reads an introductory wall text. In this exhibition of over 60 of her works at the Brooklyn Museum, most of them three-dimensional fabric assemblages, this is largely dissuaded.
One’s immediate impulse when encountering the work of a developmentally disabled artist like Judith Scott – she was born with Down’s syndrome, and was largely deaf and mute until her death in 2005 – is to use her biography to inform criticism.
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