Elizabeth Talford Scott: Difference between revisions

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==Early life==

==Early life==

Elizabeth Caldwell was born near [[Chester, South Carolina]], where her family lived as sharecroppers on the Blackstock Plantation, on the land where her grandparents had been enslaved.<ref>{{Cite book |last=King-Hammond |first=Leslie |author-link=Leslie King-Hammond |url=https://books.google.com/books?id=wgc6Hr2Pg2IC |title=Landscape of Slavery: The Plantation in American Art |publisher=[[University of South Carolina Press]] |year=2008 |isbn=1570037205 |editor-last=Mack |editor-first=Angela D. |pages=[https://books.google.com/books?id=wgc6Hr2Pg2IC&pg=PA72#v=onepage&q&f=false 72] |language=en |chapter=Identifying Spaces of Blackness: The Aesthetics of Resistance and Identity in American Plantation Art |oclc=152559775 |access-date=4 November 2025 |editor-last2=Hoffius |editor-first2=Stephen G. |chapter-url=https://books.google.com/books?id=wgc6Hr2Pg2IC&pg=PA72#v=onepage&q&f=false |via=[[Google Books]]}}</ref><ref name=”:0″>{{Cite book |last1=Sims |first1=Lowery Stokes |title=Joyce J. Scott: Harriet Tubman and other truths |last2=Scott |first2=Joyce |last3=Sims |first3=Patterson |last4=Rodney |first4=Seph |publisher=[[Grounds for Sculpture]] |year=2018 |isbn=978-0-9665644-8-8 |location=Hamilton, New Jersey |pages=15 |language=en |oclc=1026351878}}</ref> She was the sixth of fourteen children (seven brothers and seven sisters) born to Mary Jane and Samuel Caldwell and the third female.<ref name=”:1″>{{Cite book |last1= |first1= |url=https://archive.org/details/externalexhibits-1998-etScott-eyewinkers |title=Eyewinkers, Tumbleturds and Candlebugs: The Art of Elizabeth Talford Scott |publisher=[[Maryland Institute College of Art]] |year=1998 |isbn=9798218337339 |editor-last=Ciscle |editor-first=George |location=Baltimore |pages=[https://archive.org/details/externalexhibits-1998-etScott-eyewinkers/page/4/mode/2up?q=15 15] |language=en |type=Exhibition catalog |oclc=1420205288 |access-date=4 November 2025 |via=[[Internet Archive]]}}</ref> Talford Scott grew up in a family of craftspeople who practiced pottery, metalwork, basketry, quilting and knitting. They were also storytellers. Both her parents made quilts, and Talford Scott learned to quilt by the age of 9.<ref name=”:2″>{{Cite web |title=Joyce J. Scott papers, 1914-2019, bulk 1970s-2000s – Related Materials: Oral history interview with Joyce J. Scott, 2009 July 22. |url=https://www.aaa.si.edu/collections/joyce-j-scott-papers-21713 |url-status=live |archive-url=https://web.archive.org/web/20250328072822/https://www.aaa.si.edu/collections/joyce-j-scott-papers-21713 |archive-date=28 March 2025 |access-date=5 November 2025 |website=[[Archives of American Art]] |publisher=[[Smithsonian Institution]]}}</ref> Her father was a railroad worker who collected fabric scraps in his travels, and he colored the scraps using natural dyes that he made from berries and clay.<ref>{{Cite news |last=Boulware |first=Dorothy S. |date=24 January 1998 |title=The Making of an African-American Quilt |work=Afro-American Red Star |pages=B1 |id={{ProQuest|369684801}}}}</ref> In 1940, during the [[Great Migration (African American)|Great Migration]], Talford Scott moved north to [[Baltimore, Maryland]], to seek greater economic opportunities.<ref name=”The Baltimore Sun”>{{Cite web |url=http://articles.baltimoresun.com/2011–05–03/news/bs-md-ob-elizabeth-scott-20110503_1_quilt–art–school–new-shapes |title=Jacques Kelly, “Elizabeth Scott, Quilt Maker, Died”, ”Baltimore Sun” (May 3, 2011). |access-date=2015-02-10 |archive–date=2015-02-10 |archive-url=https://web.archive.org/web/20150210224605/http://articles.baltimoresun.com/2011-05-03/news/bs-md-ob-elizabeth-scott-20110503_1_quilt-art-school-new-shapes |url–status=dead }}</ref>

Elizabeth Caldwell was born near [[Chester, South Carolina]], where her family lived as sharecroppers on the Blackstock Plantation, on the land where her grandparents had been enslaved.<ref>{{Cite book |last=King-Hammond |first=Leslie |author-link=Leslie King-Hammond |url=https://books.google.com/books?id=wgc6Hr2Pg2IC |title=Landscape of Slavery: The Plantation in American Art |publisher=[[University of South Carolina Press]] |year=2008 |isbn=1570037205 |editor-last=Mack |editor-first=Angela D. |pages=[https://books.google.com/books?id=wgc6Hr2Pg2IC&pg=PA72#v=onepage&q&f=false 72] |language=en |chapter=Identifying Spaces of Blackness: The Aesthetics of Resistance and Identity in American Plantation Art |oclc=152559775 |access-date=4 November 2025 |editor-last2=Hoffius |editor-first2=Stephen G. |chapter-url=https://books.google.com/books?id=wgc6Hr2Pg2IC&pg=PA72#v=onepage&q&f=false |via=[[Google Books]]}}</ref><ref name=”:0″>{{Cite book |last1=Sims |first1=Lowery Stokes |title=Joyce J. Scott: Harriet Tubman and other truths |last2=Scott |first2=Joyce |last3=Sims |first3=Patterson |last4=Rodney |first4=Seph |publisher=[[Grounds for Sculpture]] |year=2018 |isbn=978-0-9665644-8-8 |location=Hamilton, New Jersey |pages=15 |language=en |oclc=1026351878}}</ref> She was the sixth of fourteen children (seven brothers and seven sisters) born to Mary Jane and Samuel Caldwell and the third female.<ref name=”:1″>{{Cite book |last1= |first1= |url=https://archive.org/details/externalexhibits-1998-etScott-eyewinkers |title=Eyewinkers, Tumbleturds and Candlebugs: The Art of Elizabeth Talford Scott |publisher=[[Maryland Institute College of Art]] |year=1998 |isbn=9798218337339 |editor-last=Ciscle |editor-first=George |location=Baltimore |pages=[https://archive.org/details/externalexhibits-1998-etScott-eyewinkers/page/4/mode/2up?q=15 15] |language=en |type=Exhibition catalog |oclc=1420205288 |access-date=4 November 2025 |via=[[Internet Archive]]}}</ref> Talford Scott grew up in a family of craftspeople who practiced pottery, metalwork, basketry, quilting and knitting. They were also storytellers. Both her parents made quilts, and Talford Scott learned to quilt by the age of 9.<ref name=”:2″>{{Cite web |title=Joyce J. Scott papers, 1914-2019, bulk 1970s-2000s – Related Materials: Oral history interview with Joyce J. Scott, 2009 July 22. |url=https://www.aaa.si.edu/collections/joyce-j-scott-papers-21713 |url-status=live |archive-url=https://web.archive.org/web/20250328072822/https://www.aaa.si.edu/collections/joyce-j-scott-papers-21713 |archive-date=28 March 2025 |access-date=5 November 2025 |website=[[Archives of American Art]] |publisher=[[Smithsonian Institution]]}}</ref> Her father was a railroad worker who collected fabric scraps in his travels, and he colored the scraps using natural dyes that he made from berries and clay.<ref>{{Cite news |last=Boulware |first=Dorothy S. |date=24 January 1998 |title=The Making of an African-American Quilt |work=Afro-American Red Star |pages=B1 |id={{ProQuest|369684801}}}}</ref> In 1940, during the [[Great Migration (African American)|Great Migration]], Talford Scott moved north to [[Baltimore, Maryland]], to seek greater economic opportunities.<ref name=”The Baltimore Sun”>{{Cite web |url=://.baltimoresun.com/20110503/elizabeth-scott—- |access= |-= |archive-url=https://web.archive.org/web/20150210224605/http://articles.baltimoresun.com/2011-05-03/news/bs-md-ob-elizabeth-scott-20110503_1_quilt-art-school-new-shapes |-= }}</ref>

==Career==

==Career==

American artist (1916–2011)

Elizabeth Talford Scott (February 8, 1916 – April 25, 2011) was an American artist, known for her quilts.[1][2]

Elizabeth Caldwell was born near Chester, South Carolina, where her family lived as sharecroppers on the Blackstock Plantation, on the land where her grandparents had been enslaved.[3][4] She was the sixth of fourteen children (seven brothers and seven sisters) born to Mary Jane and Samuel Caldwell and the third female.[5] Talford Scott grew up in a family of craftspeople who practiced pottery, metalwork, basketry, quilting and knitting. They were also storytellers. Both her parents made quilts, and Talford Scott learned to quilt by the age of 9.[6] Her father was a railroad worker who collected fabric scraps in his travels, and he colored the scraps using natural dyes that he made from berries and clay.[7] In 1940, during the Great Migration, Talford Scott moved north to Baltimore, Maryland, to seek greater economic opportunities.[8]

In Baltimore, Elizabeth Talford Scott toiled long hours as a domestic worker, a hired caregiver for other people’s children, and a cook, and stopped quilting from around 1940-1970. Upon her retirement, Talford Scott took up quilting again and soon developed her unique style that expanded upon the traditional strip piecing she had learned from her family.[9] In addition to piecework, these new quilts often incorporated embroidery, appliqué, beadwork, sequins, plastic netting, and found objects such as stones, buttons, and shells.[10] Her quilts evolved into dense compositions, often abstract and asymmetrical, with references to family rituals, personal stories, and the rural environment of her childhood.[11] Talford Scott regularly presented workshops and demonstrations and frequently collaborated with her daughter, the artist Dr. Joyce J. Scott, to educate students about her craft.[6] The quilts of Elizabeth Talford Scott were exhibited at the Pennsylvania Academy of Fine Arts,[12] the Walters Art Museum,[13] the Baltimore Museum of Art,[14] and in New York at the Museum of Biblical Art,[15] the Studio Museum of Harlem, the Museum of American Folk Art, and the Metropolitan Museum of Art.[16]

In 1987, Talford Scott received the Women’s Caucus for Art Lifetime Achievement Award. In 1990, Talford Scott and her daughter were featured in the film The Silver Needle: The Legacy of Elizabeth and Joyce Scott.[17] In 1998, the Maryland Institute College of Art held a retrospective of Talford Scott’s work, Eyewinkers, Tumbleturds and Candlebugs: The Art of Elizabeth Talford Scott, which was curated by George Ciscle. That exhibition traveled to the Smithsonian’s Anacostia Community Museum,[18] the Southeastern Center for Contemporary Art,[19] and the New England Quilt Museum.[20]

The work of Elizabeth Talford Scott can be found in several private and museum collections including the Baltimore Museum of Art, the Delaware Art Museum, the Philbrook Museum of Art, and the Museum of Fine Arts, Boston. Since 2019, the Estate of Elizabeth Talford Scott has been managed by Goya Contemporary gallery (www.goyacontemporary.com)in Baltimore, MD, under the direction of Amy Eva Raehse.[21] Goya Contemporary has since mounted numerous shows of Talford Scott’s works including “Both Sides Now: The Spirituality, Resilience, and Innovation of Elizabeth Talford Scott” (2023), and The Armory Show in 2021, noted as one of the top-ten booths by The New York Times.

In 2023, the curator of the Eyewinkers, Tumbleturds, and Candlebugs: The Art of Elizabeth Talford Scott (1998), George Ciscle, curated a retrospective exhibition by the same name at the Baltimore Museum of Art to mark the twenty-five-year anniversary of the exhibition.[22][23] This exhibition is one of nine within No Stone Left Unturned: The Elizabeth Talford Scott Initiative across Baltimore City.[22] No Stone Left Unturned; The Elizabeth Talford Scott Initiative is a collaboration between the Baltimore Museum of Art, Coppin State University, the James E. Lewis Museum for Art at Morgan State University, Johns Hopkins University, Maryland Center for History and Culture, Maryland Institute College of Art, The Peale, Reginald F. Lewis Museum, the Walters Art Museum, and the Estate of Elizabeth Talford Scott at Goya Contemporary Gallery [22] Under the guidance of 2023-24 Exhibition Development Seminar instructor, Deyane Moses, students from the four participating universities have developed curatorial directions for their respective exhibitions to be opened in February 2024.[22]

Personal life and legacy

[edit]

In 1940 upon moving to Baltimore, Elizabeth Caldwell met Charlie Scott, Jr., from Durham, NC.[5] They had one daughter, artist Joyce J. Scott (b. 1948). When Joyce was twelve, Elizabeth and Charlie separated.[4] Charlie Scott, Jr., died in 2005. Talford Scott and her daughter continued to live together in Baltimore until Talford Scott’s death in 2011 at age 95.[8] References

  1. ^ Kelly, Jacques (3 May 2011). “Elizabeth Scott, quilt maker, dies”. The Baltimore Sun. Archived from the original on 25 March 2024. Retrieved 30 March 2021.
  2. ^ Dorsey, John (18 January 1998). “The fabric of memory Elizabeth Talford Scott’s quilts teem with history, emotion and art”. The Baltimore Sun. Archived from the original on 21 June 2021. Retrieved 30 March 2021.
  3. ^ King-Hammond, Leslie (2008). “Identifying Spaces of Blackness: The Aesthetics of Resistance and Identity in American Plantation Art”. In Mack, Angela D.; Hoffius, Stephen G. (eds.). Landscape of Slavery: The Plantation in American Art. University of South Carolina Press. pp. 72. ISBN 1570037205. OCLC 152559775. Retrieved 4 November 2025 – via Google Books.
  4. ^ a b Sims, Lowery Stokes; Scott, Joyce; Sims, Patterson; Rodney, Seph (2018). Joyce J. Scott: Harriet Tubman and other truths. Hamilton, New Jersey: Grounds for Sculpture. p. 15. ISBN 978-0-9665644-8-8. OCLC 1026351878.
  5. ^ a b Ciscle, George, ed. (1998). Eyewinkers, Tumbleturds and Candlebugs: The Art of Elizabeth Talford Scott (Exhibition catalog). Baltimore: Maryland Institute College of Art. pp. 15. ISBN 9798218337339. OCLC 1420205288. Retrieved 4 November 2025 – via Internet Archive.
  6. ^ a b “Joyce J. Scott papers, 1914-2019, bulk 1970s-2000s – Related Materials: Oral history interview with Joyce J. Scott, 2009 July 22”. Archives of American Art. Smithsonian Institution. Archived from the original on 28 March 2025. Retrieved 5 November 2025.
  7. ^ Boulware, Dorothy S. (24 January 1998). “The Making of an African-American Quilt”. Afro-American Red Star. pp. B1. ProQuest 369684801.
  8. ^ a b Kelly, Jacques (3 May 2011). “Elizabeth Scott, Quilt Maker, Died”. The Baltimore Sun. Archived from the original on 2015-02-10. Retrieved 10 February 2015.
  9. ^ Scott, Elizabeth; Ciscle, George (1998). “Curator’s Statement”. Eyewinkers, Tumbleturds and Candlebugs: The Art of Elizabeth Talford Scott. Baltimore: Maryland Institute, College of Art. p. 9.
  10. ^ “John Dorsey, “The Fabric of Memory: Elizabeth Talford Scott’s Quilts Teem with History, Emotion and Art,” Baltimore Sun (January 18, 1998)”. Archived from the original on 2015-02-10. Retrieved 2015-02-10.
  11. ^ Chezia Thompson-Cager, “Folk Realities and Bourgeois Fantasies: Four African-American Maryland Artists,” Link 4(April 30, 2000): 71.
  12. ^ Maria Gallagher, “The Scotts Reap What they Sew: Artists are Influenced by Slavery, African-American Themes,” Daily News (September 8, 1989).
  13. ^ “The Walters Art Museum,” Avenue News (February 7, 2012).
  14. ^ Edward J. Sozanski, “Pieces of the Past in Story Quilts: ‘Stitching Memories,’ a Baltimore Display of the Work of Black Quilters, Celebrates a Distinctive Approach to the Art,” Philadelphia Inquirer (July 29, 1990).
  15. ^ Clarence V. Reynolds, “Ashe to Amen,” Network Journal 20(2)(March/April 2013): 54-55.
  16. ^ Reality, Times Two: Joyce J. Scott & Elizabeth Talford Scott. Baltimore, MD: Goya Contemporary Gallery. 2019.
  17. ^ The Silver Needle: The Legacy of Elizabeth and Joyce Scott, Osiris Productions; broadcast on Maryland Public Television and exhibited in The Definitive Contemporary American Quilt at Steinbaum Krauss Gallery, New York, NY and Baltimore Museum of Art, MD.
  18. ^ “Anacostia Museum,” The Capital, (November 13, 1998): 63. via Newspapers.com
  19. ^ “Carolina Arts”.
  20. ^ Marty Katz, “Going Local, the Baltimore Museum Loosens Up,” New York Times (February 9, 2000): E2.
  21. ^ “Elizabeth Talford Scott [Estate] – Artists – Goya Contemporary”. www.goyacontemporary.com. Retrieved 2023-12-12.
  22. ^ a b c d “Baltimore Museum of Art and Maryland Institute College of Art Announce Elizabeth Talford Scott Exhibition and Community Celebration | Baltimore Museum of Art”. Baltimore Museum of Art and Maryland Institute College of Art Announce Elizabeth Talford Scott Exhibition and Community Celebration | Baltimore Museum of Art. Retrieved 2023-12-12.
  23. ^ “Elizabeth Talford Scott [Estate] – Artists – Goya Contemporary”. www.goyacontemporary.com. Retrieved 2023-12-12.

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