Millicent Young

  • Selected Works

     

    Aleppo
    muslin, plaster, red iron oxide, pencil, pigments, cold wax, horse hair, wood
    112 x 32 x 35″

    Aleppo (second view)
    muslin, plaster, red iron oxide, pencil, pigments, cold wax, horse hair, wood
    112 x 32 x 35″

    An Unfinished Story, 2016
    washi paper, glass, steel, sumi ink, pastel, 116 x 24 x 20″


    cantos 15 – 16
    lead, horse hair, steel bolt; 80 x 15 x 22″

    canto 2
    lead,mixed media on gessoed paper

    cantos 4-7
    washi paper, ink, pencil, plaster; 23 x 39 x 1.5″

    cantos 8-11
    plaster, refired glass with gold leaf and tissue, pigment, nails
    13.5 x 11 x 3″

    cantos 11 – 13
    lead, horsehair, 66 x 30 x 5″

    canto 14
    lead, horse hair, steel bolt; 62 x 15 x 5″


    depleted uranium
    plaster, washi paper, ink, pencil, pigments, steel
    27 x 49 x 1.5″


    white luminous room
    horse hair, thread, cable
    10′ x 7′ x 7′

    murmuration iii
    horse hair, thread, nails
    108 x 46 x 53″

    predator
    grapevine, horse hair, 90 x 118 x 40″

    Still Reach
    horse hair, clay, 117 x 14 x 14″


    transitory
    lead, thread, copper wire
    111 x 72 x 72″

  • Statement

     
    CONTEXT
    Art and Earth define us as human beings. The rupture of connection with either renders us senseless and therefore only brutal. The language of art is sensual. It can stir the heart. It can bypass rational, linear processes. Art can be a transformer. The idea that imagination begets empathy and is awakened by the senses has shaped all that I have attempted as an artist citizen.

    WORK
    Through my work, I am interested in building a vocabulary that will one day tell a new story: a new mythology that restores mystery, beauty, silence, and imagination as central to our co-existence. My language is both archetypal and allusive. Like dreams, it is a code simultaneously familiar and mysterious. The Koan, a Buddhist teaching tool that takes the form of a paradoxical question, is another model for my work. Awakening follows contemplation and the willingness to lose what you know.

    I draw what I do not know yet, what I have not yet seen. Drawing cycles (mixed media on paper) emerge when semi conscious material has built up in my imagination to an internally felt tipping point. As a sculptor, the space of a piece of paper is free of gravity and the rigors of three dimensional construction. It is a plane that captures movement into stillness and idea into form.

    MATERIALS AND PROCESS

    The materials I use are both substance and symbol. As substance they are ordinary, simple, and sometimes found yet within them, there is beauty. As symbols, they do not comfortably stand for one thing. On the scent of something large, they dodge the straight line of equation. The exacting repetitive gestures associated with the crafting of much of my work make the process a meditation; however, the parallel thought flow, or its absence, that accompanies these gestures also infuses the work.

    The record of time is evident though silent in my work. Slowly taking form through accretion, thousands of horsehairs are individually threaded through hundreds of holes drilled in vines or tiny dowels. In the White Luminous Room, each of the 1500 ten foot long strands are made by tying and gluing tiny bundles of hair to a long thread. The liquidity of plaster is recorded in its hard celestial surface. The flow of ink is remembered by the contraction of the washi paper in the drying. Every ring of ink on each of the 80 hammered lead pans is a record of the evaporation of that single pool – concentrated, diluted, rinsed, repeated – until the right mark is made. Hatch marks on the skin of paper, wax, clay, or lead tally another atrocity of our Anthropcene.

  • Biography

    BONES

    Born in 1958 in New York City
    Dalton School, NYC (1962-1976)
    Wesleyan University, CT (1976-1978)
    University of Virginia BA (1982-1984)
    University of Denver (1984-1985)
    James Madison University MFA (1994-1997)

     

    PLACES

    Cedartown, Georgia – summers in a deep south rural town in the early 60’s

    Mexico – 1967, my first foreign travel, mesmerized every moment – the shape of the clouds, the weight of the heat, the cool of tile on bare skin, the colossal scale of the Mayan ruins alive with iguanas and story, the pungent salt of the Gulf waters, the sparkling colored light in the glass shops in Mexico City, the shop keeper who gave me 3 amethyst crystals in a turquoise velveteen pouch and a pair of wooden castanets, the taste of sangria at a taberna that was painted red inside

    Truro, Mass – a refuge from the grittiness of growing up in New York City… winters, springs and summers in the solace of Nature

    Biabou, St. Vincent, West Indies – my first semester of high school accompanying my mother on her fieldwork, not attending school and instead, seeing the first world through the lens of the third world and becoming a member of the larger human ecosystem

    Warwick, New York – knowing Luther Barrett: farrier, dairy farmer, a wise man of few words, rooting my growing interest in the back to the land movement of the mid 70’s

    Beginning in Istanbul, Turkey instead of going to my college graduation, and heading south along the coast, riding the night bus to Ephesus and beyond. Crossing the Aegean to Chania, Crete. A flight from Athens to London then on to Wales and finding St. David’s. Overland across England to the Scottish Highlands by train and on up to Orkney Island. West to Glasgow and over to Northern Ireland coming into Larne, hitch hiking north to Bally Gally and beyond for the last weeks of this solo sojourn. Mostly given a place to stay and the warmth and kinship of others, giving in return garden work or other labor or child care or simply friendship and stories, staying for days or weeks immersed in place and relationship before moving on

    South Africa, Botswana, Zimbabwe – in the bush with a group of naturalists near the end of the second millennium, considering several endangered species, the loss of wilderness, and the troubled interface between nature and culture… this became the lens through which I also observed the artifact of my failing marriage. The carmine bee eaters and the marula blossoms in the Okavango Delta, the tall endless sky at Umfolozi, the massive acacias at Hwange became my measure

    Florence, Italy – the juxtaposition of the international contemporary art scene with the oldness of place and people. Staying at Podere La Casellina, Sylvia and Michaelangelo’s agriturismo with babies, cats, and friends around the kitchen hearth in December

    Ireland – exploring the west coast from the Bearra Pennisula of Co. Cork northward to Donegal in September. Learning the colors of the place – silver, green, ochre, wine – and the texture of the rain and the ancient stones

    Tuscany, Italy – returning four years later for an exhibition and the grape harvest at Michaelangelo and Sylvia’s again, crushing the grapes by foot, and exploring the hill towns

     

  • Bibliography

    MILLICENT YOUNG

    INTERNATIONAL EXHIBITIONS

    2009 Art Museum of Chianciano, Tuscany, ITALY
    2005 Museum of Contemporary Art “Hermandades Escultoricas: Mexico – USA”
    Merida, Yucatan MEXICO
    Biennale Internazionale dell’Arte Contemporanea Florence ITALY

    SOLO EXHIBITIONS

    2018 Les Yeux du Monde VA
    2016 Sweet Briar College VA “Forms for a New Mythology”
    2015 Beverly Street Gallery VA “Contemplating Koans: a Collection of Sculptures”
    2014 Hillyer Art Space DC “Known/Not Known, part 2”
    2013 Chroma Projects: Art Laboratory VA “Known/Not Known”
    2011 Greater Reston Arts Center VA “Vehicles and Vessels”
    2007 Northern Virginia Community College VA “Epilogue”
    2004 Delaware Center for the Contemporary Arts “Trans-“
    McLean Project for the Arts VA “Between Within”
    2000 1708 Gallery Richmond, VA “Recent Work”
    1999 Eastern Mennonite University, VA “Recent Work”
    1997 M.F.A. Exhibition: “Possibilities of Transforming the Paradigm”

    CURATED GROUP EXHIBITIONS
    2016 Les Yeux du Monde “Summer Light” VA
    Bower Center for the Arts Sculpture Invitational VA
    2015 Joan Hisaoka Gallery “Sanctuary” DC
    Greater Reston Art Center “Ephemeral” VA
    2014 Rawls Museum “Virginia Curated: Inaugural Exhibition” VA
    Portsmouth Art Center “Changing Appalachia: Custom to Cutting Edge” VA
    2013 Greater Reston Arts Center “Forty for Forty:Celebrating Four Decades of GRAC” VA
    Washington Project for the Arts “Options” DC
    Joan Hisaoka Gallery “Alchemical Vessels” DC
    2012 University of Maryland “Wood, Paper, and Fibers” MD
    McLean Project for the Arts “50th Anniversary Exhibition” VA
    2011 Grand Rapids Art Museum / ArtPrize MI
    Washington Project for the Arts
    Joan Hisaoka Gallery “Vessel”
    Chroma Projects “Farm Use”
    The Textile Museum “Green”
    Chroma Projects “Anthology: A Thousand Words x Four” VA Civilian Arts Project “climate, control” DC
    2009 Art Museum of Chianciano
    2005 Museum of Contemporary Art “Hermandades Escultoricas: Mexico – USA”
    Tuscany Merida, Yucatan MEXICO
    Biennale Internazionale dell’Arte Contemporanea Florence ITALY
    “Art Night” DC DC
    2010 Area 405 “41 Miles North” MD
    Chroma Projects “In the Beginning” VA
    Greater Reston Arts Center “Pop-Up @ SOMA” VA
    2009 Art Museum of the Americas “Bilateral Engagement” DC
    National Museum of Women in the Arts “Hard Copy” DC
    2008 Jonathan Ferrara Gallery 2007 Brattleboro Art Museum
    Suffolk Museum of Art
    2006 Zenith Gallery “Dimensions” DC
    Spheris Gallery VT
    Reeves Contemporary / Works on Paper at the Armory NYC
    2006 Kim Foster Gallery NYC
    2005 Kim Foster Gallery NYC Kingston Sculpture Biennial NY
    Area 405 “American Clay: Contemporary Sculpture” MD
    2004 Sculpture Hill Project DC
    2002 NY Arts Magazine / Maryland Art Place NYC / MD
    Kennedy Center for the Performing Arts DC (exhibition canceled)
    2001 Delaware Center for the Contemporary Arts DE
    2000 Grounds for Sculpture / International Sculpture Center NJ
    Montpelier Cultural Arts Center “20th Anniversary of Sculpture” MD 1999 Montpelier Cultural Arts Center “Clay in Sculpture” MD
    1998 Towson University “Emerging Talents in Contemporary Sculpture” MD

    SELECTED JURIED EXHIBITIONS
    2017 “Homeward Bound” Taubman Museum of Art VA Bradley Sumrall Ogden Museum
    of Southern Art
    2013 “This Is Labor” VisArt MD Jurors: Anne Reeve, Claire D’Alba
    2011 New York Art Marathon semi finalist (on line) Juror: David Gibson,
    NYC critic
    2010 “Spiritual Visions” Hermitage Museum VA Juror: D. McLeod, Chroma Projects, VA
    “gaps” Greater Reston Arts Center VA Juror: Vesela Stretenovic, Philips Collection, DC
    “National Juried Sculpture Exhibition” Marlboro Gallery MD Juror: Molly Donovan, curator National Gallery of Art, DC
    2009 “Flora” United States Botanic Garden DC Juror: Lillian Fitzgerald, Independent Curator, DC
    “Reform” Workhouse Art Center Juror: Claire Huschle, Arlington Arts Center, VA
    2008 “Aquifer” Edison Gallery DC Juror: D. McLeod, Independent Curator, VA
    “The Healing Power of Art” (on line exhibition) Manhattan Arts International
    2007 “Equinox” Arlington Arts Center VA Juror: Lorie Mertes, director Fabric Museum, Philadelphia, PA
    2006 “Inside/Out” Pittsburgh Center for the Arts Juror: Jeff Nathanson, former director International Sculpture Center, NJ
    “Sculpture 2006″ Portsmouth Museum VA Juror: Cameron Kitchin, director Contemporary Art Center of VA
    “Sculpture Unbound” DC Juror: Glenn Harper, editor ‘Sculpture’ magazine
    2002 Delaware Center for Contemporary Arts Juror: Ann Landi, independent critic, NYC
    “National Prize Show” Cambridge Art Assoc. Juror: Lisa Dennison, curator Guggenheim Museum, NYC
    “Material” LA
    “Four Sculptors” VT
    “Women of Steel; Men of Cloth” VA
    2001 “National Prize Show” Cambridge Art Assoc. Juror: Maxwell Anderson, director Whitney Museum, NYC
    “Images 2001″ Penn State Univ. Juror: Frederick Brandt, curator Virginia Museum of Fine Art
    2000 Maryland Art Place Jurors: Claudia Gould, director Institute of Cont. Art, PA; Helen Molesworth, curator Baltimore Museum of Art; Lorna Simpson, artist NYC
    1999 “Sculpture ‘99″ Washington, DC Juror: Willem de Looper, former curator Phillips Collection, DC
    1998 “Select: A Regional Juried Exhibition” VA Juror: Ashley Kistler, curator Virginia Museum of Fine Arts
    “Ceramics International Biennial” Zanesville Fine Arts Center OH Jurors: D. MacDonald, H. Gernhardt, D. Prince
    1997 “27th Annual National Juried Ceramics Competition” CA Juror: Phillip Cornelius, Peninsula Fine Arts Center VA Juror: Jack Cowart, Corcoran Gallery
    1996 “Sculpture ‘96″ DC Juror: Olga Viso

    AWARDS
    2017 Taubman Museum of Art: Homeward Bound second place by Bradley Sumrall (Ogden Museum of Southern Art)
    2016 Dave Bown Projects (on line) Award of Excellence by Kelly Kivland (DIA) and Helga Christoffersen (New Museum)
    Manifest Prize: One 6 semi finalist Manifest Gallery, OH
    2010 Kari Beims 1st Place Award by Molly Donovan, curator of Cont. Art National Gallery of Art, DC
    First Place Hermitage Museum by D. McLeod, director owner Chroma Projects: Art Laboratory, VA
    2009 Honorable Mention in Sculpture Chianciano Biennale; International Jury
    2006 First Place Award by Jeff Nathanson former director International Sculpture Center, NJ
    People’s Choice Award Portsmouth Museum
    2005 Sculpture Prize (4th) Florence Biennale; International Jury
    2005 Semi Finalist The Trawick Prize. Jurors: Thom Collins, Director, Contemporary Museum, Baltimore, MD; Andrea Pollan, Independent Curator and Art Consultant, Washington, DC; Olga Viso, Director, Hirshhorn Museum, Washington, DC.
    2002 First Place Juror Award by Ann Landi, independent critic, NYC
    2001 First Place Sculpture Award by Maxwell Anderson, director Whitney Museum, NYC
    First Place Sculpture Award by Frederick Brandt, curator of 20th Cent. Art, Virginia Museum of Fine Art
    1998 Award of Merit by Ashley Kistler, curator Virginia Museum of Fine Arts 1997 Award of Merit by Jack Cowart, Corcoran Gallery

    FELLOWSHIPS, GRANTS & RESIDENCIES

    2014 Virginia Museum of Fine Arts Professional Artist Fellowship Award 2003 Virginia Center for the Creative Arts (fully funded but unable to attend) 2001 Vermont Studio Center residency
    1999 Virginia Museum of Fine Arts Professional Artist Fellowship Award 1994-97 Graduate Teaching Fellowship James Madison University

    PUBLIC COLLECTIONS

    National Museum for Women in the Arts
    James Madison University

    STUDIO ASSISTANTSHIPS

    1992 Bruno LaVerdiere Haystack Mountain School of Crafts, ME

    EDUCATION

    1997 M.F.A. James Madison University, VA
    1984 B.A. University of Virginia, Charlottesville, VA 1976-78 Wesleyan University, CT
    1962-76 Dalton School, NYC

    ART INSTRUCTION
    2016 Visiting Artist University of Virginia Sculpture Department
    1997-2003 Instructor: Ceramics I, Ceramics II, Ceramics III
    Eastern Mennonite University Harrisonburg, VA
    1998 Instructor: Sculpture, Randolph-Macon Woman’s College Lynchburg, VA 1994-98 Instructor: 3D Design, 2D Design, Art in General Culture
    James Madison University Harrisonburg, VA
    1993-94 Instructor: Advanced Ceramics and Sculpture,Mary Baldwin College Staunton, VA
    1992-94 Instructor: Ceramics I & II; Sculptural Ceramics
    Piedmont Virginia Community College Charlottesville, VA
    1988-89 Instructor: Ceramics I & II, Piedmont Virginia Community College Charlottesville, VA
    1987-93 Instructor, Departmental Coordinator, and Curriculum Development
    St. Anne’s-Belfield School Charlottesville, VA

  • Articles & Reviews