Millicent Young

  • Selected Works

    Millicent Young: Cantos for the Anthropocene
     

    predator
    grapevine, horse hair
    90 x 118 x 40″

    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 8-10
    plaster, refired glass with gold leaf and tissue, pigment, nails
    13.5 x 11 x 3″

    cantos 8-10 (detailed view)

    slow violence
    washi paper, ink, pastels, steel
    17 x 96 x 4 inches

    canto 17
    lead, horse hair, steel bolt
    62 x 15 x 5 inches

    ghosts iv
    steel, plaster, pigments, pencil
    22 x 34 x 2″

    in this dream i
    steel, plaster, pigments, pencil
    22 x 34 x 2″

    in this dream (detailed view)
    steel, plaster, pigments, pencil

    temple for grieving ii
    wood, paper, red iron oxide, silk, rope
    45 x 24 x 4″


    red threads
    washi paper, ink, pastel

    red threads (detail)

    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 8-11 (detailed view)

     

    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, stee
    l27 x 49 x 1.5″

     

    depleted uranium (detailed view)

     

    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″

     

    in this dream
    steel, plaster, pigments, pencil
    22 x 34 x 2″ each

     

    in this dream (detailed view)

     

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

     

    transitory ii (detailed view)

     

    temple for grieving ii
    wood, paper, red iron oxide, silk, rope
    45 x 24 x 4″

  • Statement

    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 is a language where the difficulties, mysteries, and paradoxes can be held. It is a language that holds. The idea that imagination begets empathy and is awakened by the senses guides all that I attempt as a citizen artist.

    The Anthropocene is Now. As defined, it is the epoch we are living in: the Sixth Great Extinction. Extinction is a large word and of such a vast scale that we cannot connect. We are a culture in denial of death; extinction is beyond our American imagination.

    To be witness to death is to change the field in which it is occurring. That effect is extraordinary because it is done with open eyes.

    I am compelled to make work as witness to our time, to what is vanishing. To shape a language for what we cannot grasp or utter. To not pretend. To effect the field of perception. To speak my love to the dying. To say I am sorry. To remember. To be in awe.

     

  • Biography

    Millicent Young was born in New York City in 1958 and began studying art at Dalton School. Two years after receiving her Masters of Fine Arts from James Madison University, she received her first of two professional artists fellowships awards from the Virginia Museum of Fine Arts.

    Her work is exhibited widely including Italy and Mexico. It has been recognized by curators from DIA, the International Sculpture Center, and the New, Whitney, Guggenheim and Hirshhorn Museums. 

     

  • Places

     

    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

    Swift Run Farm, Albemarle County, VA a sanctuary of field, wood, and river and a largeness that could hold the paradoxes – the winged losses, the polished bones, the pollened wind.It became my family’s place in the late 1970’s and it became the place where I made my life and grew my language and practice as an artist for two decades. When loss of my family to death and other endings had taken all they could, my own tethers to the home and studio I had made dissolved.

    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

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