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Millicent Young
I am so very fortunate to be able to work as an artist for this year, in particular, to be transmitted into my studio, transformed, and returned to the world in a different form.
 
What this year has given me is a way to love bigger, without question; what had felt to become a test of endurance transformed into something infinite, wind like, a cherishing of all this that is vanishing, and casting space for what will be next.
 
A year of concussive losses and astonishing beauty; of polarizing ideologies and also of profound empathy; of scorched earth and the germination of seeds whose time has arrived.

Please continue to read for news about an upcoming exhibition, projects past and future, and my new studio in High Falls, NY. The changed format of my newsletter is a small reflection of a changed way of being in relationship. Thank you for reading on.
Opening 8 January through 3 April
FACING THE UNKNOWN: IMAGINATION IN THE TIME OF PANDEMIC
LIGHTFORMS ART CENTER
743 Columbia St
Hudson, NY 12534


with works by Osi Audu, Martina Angela Müller, Patrick Stolfo, Laura Summer, Richard Neal, Lily Morris, and Millicent Young
In August my studio was the site for filming portions of a new opera Penelope and the Geese by librettist Cheri Magid and composer Milicia Paranosic. Scheduled to have premiered in Mexico City in May, the creative team pivoted to audio and video recording the opera. The opera is a feminist reweaving of The Odyssey's Penelope story, giving voice to Penelope, as well as Circe and Calypso, as they consider sexual agency and fidelity. As the time returns for live performances, I am delighted to become the set designer for the opera joining a team of exceptional women creatives. Above, Hai-Ting Chinn, mezzo-soprano soloist.
Featured on the cover of Sculpture Magazine (March/April), my work was the subject of a 12 page interview with New York City based art writer Jonathan Goodman. The issue coincided with a solo show ELEGIES at Columbia Green Community College, Hudson, NY that opened in mid March and closed days later due to the pandemic. Goodman reviewed the show for WhiteHot Magazine. 
To Enter Into What is There 
February 2019.
Yoke (after George Floyd)
June, 2019
To Enter Into What Is There was made in the weeks before pandemic had entered our consciousness and our lives. I was thinking about the blackness that precedes existence, a blackness that is soft. I was thinking about singularity theory and its intimacy of oneness; about being in the presence of unknowing as a practice. This piece will be included in Facing the Unknown: Imagination in the Time of Pandemic opening 8 January at Lightforms Art Center. It was also included in Elegies.

In only two other instances have I felt such overwhelming grief in the aftermath of completing a piece as I did with Yoke (after George Floyd). One such piece addressed rape through the lens of the rape camps of the Bosnia Hercegovina War; the second addressed the atrocities in apartheid South Africa and the question of healing. Those can be found here: Transforming the Paradigm
After the Birds by filmmakers Meira Blaustein and Megan Sperry, is a short film about my project When There Were Birds. Part documentary, part meditation on death, love, and the story of the first known flutes, it was shot in 2019 in my studio and the gallery. The release of After the Birds has been delayed by the pandemic caused closures of film festivals. It will live on my website in mid January as we look for new ways to bring it to the public. In the film, Sperry and Blaustein also capture the first collaborative moments of musicians Steve Gorn (bansuri flute) and Timothy Hill (harmonic vocals) with the birds and myself. These became the seeds for an improvisational performance that included Iva Bittova (vocals and violin). I hope to continue the development of this piece as we find new ways of collaborating and funding.
Accompaniment is a book of images of my work alongside poems that have accompanied me. Many streams feed the well from which art arises. Poetry for me is one of those many. It has accompanied me from childhood – discovered, studied, spoken aloud, turned to, shared, written. This project is one I have wanted to do for a long time but it could not germinate until now: this pandemic time of such vulnerability and the calling for an intimacy and inter being that we have shunned.
Accompaniment will be available through Lightforms Art Center
In October 2019 I moved into my new home – an evolution of the live/work space I had built in Virginia twenty years earlier. Life moves in spirals; I was home again, uncovering a sanctuary beneath the briar thickets of long abandoned farmland and the ancestral land of the Lenape people. With the promise to return more than I had taken through construction, habitat is now
returning to this once torn land beyond what I imagined could happen in a year. I grow vegetables again and move as breath through the sanctuary. Exhale: studio through living space into garden to the wildness that holds it. Inhale: passing through the membranes of this life giving space on Earth into studio.
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