http://www.lisa-young.com Lisa Young Thu, 13 Dec 2012 09:14:37 +0000 http://www.lisa-young.com en http://www.lisa-young.com/Common-Objects-of-Mystery http://www.lisa-young.com/following/lisa-young.com/Common-Objects-of-Mystery Thu, 13 Dec 2012 09:14:37 +0000 Lisa Young 1856568 <img src="http://payload.cargocollective.com/1/4/131802/1856568/01 photographs from lcd_900.jpg" width="900" height="565" width_o="900" height_o="565" src_o="http://payload.cargocollective.com/1/4/131802/1856568/01 photographs from lcd_o.jpg" data-mid="24494521" border="0" align="left"/> Analog paper negatives. 1 1/2" x 3" each. Ongoing collection. <img src="http://payload.cargocollective.com/1/4/131802/1856568/02 lcd photograph hammer_900.jpg" width="900" height="698" width_o="900" height_o="698" src_o="http://payload.cargocollective.com/1/4/131802/1856568/02 lcd photograph hammer_o.jpg" data-mid="24494730" border="0" align="left"/> Hammer, negative. <img src="http://payload.cargocollective.com/1/4/131802/1856568/05 digital prints in archival box_900.jpg" width="900" height="565" width_o="900" height_o="565" src_o="http://payload.cargocollective.com/1/4/131802/1856568/05 digital prints in archival box_o.jpg" data-mid="24494436" border="0" align="left"/> Halftone digital prints. 5” x 7” paper size. Ongoing collection. <img src="http://payload.cargocollective.com/1/4/131802/1856568/crop mirror resize copy tint_900.jpg" width="900" height="643" width_o="900" height_o="643" src_o="http://payload.cargocollective.com/1/4/131802/1856568/crop mirror resize copy tint_o.jpg" data-mid="24495023" border="0" align="left"/> Mirror, halftone digital print. <img src="http://payload.cargocollective.com/1/4/131802/1856568/09 installation_900.jpg" width="900" height="565" width_o="900" height_o="565" src_o="http://payload.cargocollective.com/1/4/131802/1856568/09 installation_o.jpg" data-mid="24494358" border="0" align="left"/> Xerox installation. 36” x 45” each. <img src="http://payload.cargocollective.com/1/4/131802/1856568/10 installation midrange_900.jpg" width="900" height="565" width_o="900" height_o="565" src_o="http://payload.cargocollective.com/1/4/131802/1856568/10 installation midrange_o.jpg" data-mid="24494377" border="0" align="left"/> Xerox detail. Common Objects of Mystery, 2012 — I believe there is a value in reexamining what we tend to overlook. For the “Common Objects of Mystery Series” I photograph everyday objects in my home and studio with my digital camera. I then expose photo paper directly to the LCD screen on the back of my camera, creating a series of ghostly paper negatives. Next I scan and digitally print each negative with a halftone screen. The last step in the process is to make large scale Xeroxes from the tiny halftone screen prints. My objects are captured from life and translated through multiple cycles of digital and analog technologies. The resulting images push the limits of legibility and suggest surveillance, x-rays, or newspaper photographs – turning the familiar into the beautiful and the strange. The images (for example: an analog wristwatch, a cell phone) are made strange not just through modes of photographic capture and output, but also as a result of the ever-increasing speed of technological obsolescence. Analog paper negatives. 1 1/2" x 3" each. Ongoing collection. Hammer, negative. Halftone digital prints. 5” x 7” paper size. Ongoing collection. ... http://www.lisa-young.com/Gross http://www.lisa-young.com/following/lisa-young.com/Gross Sun, 09 Dec 2012 12:15:10 +0000 Lisa Young 4579432 <img src="http://payload113.cargocollective.com/1/4/131802/4579432/LYoung_Faculyshow3052.2.resize_900.jpg" width="900" height="553" width_o="1000" height_o="615" src_o="http://payload113.cargocollective.com/1/4/131802/4579432/LYoung_Faculyshow3052.2.resize_o.jpg" data-mid="27644949" border="0" align="left"/> <img src="http://payload113.cargocollective.com/1/4/131802/4579432/LYoung_Faculyshow3054.resize_900.jpg" width="900" height="675" width_o="1000" height_o="750" src_o="http://payload113.cargocollective.com/1/4/131802/4579432/LYoung_Faculyshow3054.resize_o.jpg" data-mid="27644952" border="0" align="left"/> <img src="http://payload113.cargocollective.com/1/4/131802/4579432/LYoung_Faculyshow3054.singlepanel.resize.crop_900.jpg" width="900" height="716" width_o="1000" height_o="796" src_o="http://payload113.cargocollective.com/1/4/131802/4579432/LYoung_Faculyshow3054.singlepanel.resize.crop_o.jpg" data-mid="27644957" border="0" align="left"/> Gross, 2013 — Grid of 12 black and white analog prints mounted on aluminum. Each print 8" x 10" Using a digital camera, I photographed a china lamb as I rotated it 360 degrees. Then, in the darkroom, I exposed small pieces of photo paper directly to the LCD screen on the back of my camera, creating a series of 12 ghostly paper negatives. The negatives were placed in a non-sequential grid and 12 unique contact prints were made. With 12 lambs per page, and 12 prints, the combined total number of lambs is 144, or one gross. As individual images the lambs exist as fragments, but as a grid they coalesce to create a field. There is a desire to locate these “lost lambs” in some kind of spatial order. However, any perceived pattern is really the result of chance. Gross is produced through a combination of structure and accident, pushes the limits of legibility, and engages multiple modes of photographic capture and output, creating a post-digital analog photographic project. Gross, 2013 — Grid of 12 black and white analog prints mounted on aluminum. Each print 8" x 10" Using a digital camera, I photographed a china lamb as I... http://www.lisa-young.com/Beloved-Object-Day-and-Night http://www.lisa-young.com/following/lisa-young.com/Beloved-Object-Day-and-Night Mon, 05 Sep 2011 20:57:04 +0000 Lisa Young 1939748 <img src="http://payload.cargocollective.com/1/4/131802/1939748/Beloved Object-Day_900.jpg" width="900" height="745" width_o="900" height_o="745" src_o="http://payload.cargocollective.com/1/4/131802/1939748/Beloved Object-Day_o.jpg" data-mid="10756503" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1939748/Beloved Object Night_900.jpg" width="900" height="738" width_o="1000" height_o="821" src_o="http://payload.cargocollective.com/1/4/131802/1939748/Beloved Object Night_o.jpg" data-mid="9726405" border="0" align="left"/> Beloved Object (day and night) 2002 — 2 photo grids of 20 C-prints. 20” x 24” each. Photographs of discarded Christmas Trees were taken while walking through Soho. The same area of Soho was canvassed again at night. The photographs were positioned in two grids, one for day and one for night. Beloved Object (day and night) 2002 — 2 photo grids of 20 C-prints. 20” x 24” each. Photographs of discarded Christmas Trees were taken while walking... http://www.lisa-young.com/One-Way-Ferry-to-Manhattan http://www.lisa-young.com/following/lisa-young.com/One-Way-Ferry-to-Manhattan Wed, 31 Aug 2011 22:48:19 +0000 Lisa Young 1939793 <img src="http://payload.cargocollective.com/1/4/131802/1939793/One Way Ferry to Manhattan crop_900.jpg" width="900" height="744" width_o="900" height_o="744" src_o="http://payload.cargocollective.com/1/4/131802/1939793/One Way Ferry to Manhattan crop_o.jpg" data-mid="9726700" border="0" align="left"/> One Way Ferry to Manhattan, 2001 — 20 C-prints. 20” x 24” The Staten Island Ferry was photographed during one of its daily transits from Staten Island to Manhattan. The resulting 20 photographs were positioned in a grid that both recorded and repositioned the narrative of the trip. One Way Ferry to Manhattan, 2001 — 20 C-prints. 20” x 24” The Staten Island Ferry was photographed during one of its daily transits from Staten Island... http://www.lisa-young.com/Writing-Projects http://www.lisa-young.com/following/lisa-young.com/Writing-Projects Sun, 28 Aug 2011 17:35:56 +0000 Lisa Young 1922455 ARTISTS’ COOKBOOK Edited by Allison Wiese PROJECT DESRIPTION Developed for an exhibition that explored “crowdsourcing” strategies (Phantom Captain: Art and Crowdsourcing, Apexart, NY, 2006) Allison Wiese’s Artists' Cookbook contains a collection of recipes solicited from contemporary artists with whom she has shared some kind of a community environment – a studio building, a seminar table, or an artists’ residency. The project mirrors the spiral-bound cookbooks that were produced by local church and community organizations during the last century. It simply draws on a “community” that is much more dispersed geographically. Additionally, Artists' Cookbook acts as an expansion of similar cookbooks published by organizations such as SFMoMA and the Arts and Crafts Guild of Bainbridge Island, WA. GUIDELINES Recipes and associated personal food-related statements (describing eating habits; food allergies or phobias; favorite meals; learning to cook; or a personal belief about eating and/or cooking) are paired with images. <img src="http://payload.cargocollective.com/1/4/131802/1922455/hot cocoa crop teacup resize_900.jpg" width="900" height="700" width_o="900" height_o="700" src_o="http://payload.cargocollective.com/1/4/131802/1922455/hot cocoa crop teacup resize_o.jpg" data-mid="9902991" border="0" align="left"/> LISA YOUNG: HOT COCOA FOOD STATEMENT When my mother was in her mid-forties, she began to suffer from many illnesses, including hypertension, migraine headaches, arthritis, obesity, and back pain. This chronic pain, from which she never recovered, made her incapable of doing most household tasks without assistance. She was overwhelmed, lost, especially regarding food preparation. She insisted I “stand by” at dinnertime. Even if she gave me nothing to do, she wanted me near while she frantically heated a can of Campbell’s soup or made grilled Kraft Singles sandwiches for our family of four. At any moment she might reach a point where she would cry out “Lisa, I need you, now! I just can’t cope!” and I would have to instantly come to her aid or she would completely unravel. She could not make dinner on her own. My father refused to help with “women’s work.” My brother, who was younger and also a migraine sufferer, was frequently sick or simply not asked to help because he was younger, and a boy. Confused and angry, I often responded to my mother’s needs with resentment. However, I do remember her making hot cocoa with marshmallows for me as a child. When I played outside in the snow as a little girl, I would come in breathless, exhilarated, my hands stiff with cold. She would have a cup of hot cocoa with marshmallows waiting for me. I felt cared for. It was magic. As an adult, I seldom saw my mother more than once a year, yet her presence in my life remained dominant and problematic. My mother died in 2005. She had long been failing, first moving to an assisted living facility, then the ICU, and finally hospice. She developed dementia. Her moments of lucidity were brief. Completely bedridden and immobilized, she needed to be spoon fed, and had no interest in any food that was not cake, pudding, or Swiss Miss cocoa. This she could only drink through a straw, requiring that the cocoa be lukewarm. At one point, as I was feeding her frosting and cocoa, she asked “Lisa, do you know what I’ve always wondered? “No, mom,” I said, “what have you always wondered?” She went on, “I’ve always wondered what the difference is between chocolate milk and cocoa.” I replied, “well, chocolate milk is cold, and cocoa is hot.” Her face lit up. “That’s right! That’s right! I’ve always wanted to know the answer to that!” She smiled for a moment, and then was silent for some minutes, as she sucked on a bit more lukewarm Swiss Miss. Then she spoke again, “Lisa, do you know what I’ll miss the most about you?” “No, mom” I said, “what will you miss the most about me?” I was breathless again, just as I was as a child after coming in from the cold. She paused thoughtfully, and then slowly said “hot cocoa.” RECIPE Maximum Comfort Hot Cocoa and Marshmallows Heat milk* slowly in pan with burner on low, but do not allow it to boil. Spoon cocoa powder into your favorite mug. I like Droste, because the tin is printed with an endless row of pretty nuns all proffering cups of steaming hot cocoa, but you can use any brand you like. The more you add, the better it will taste. If you like it sweet, add sugar, too. When your milk is steaming hot, pour it carefully into your mug. Reserve part of the milk. Fill the mug only part way to the top. Stir gently. The extra space at the top allows for complete stirring and full absorption of cocoa powder without mug overflow. When the cocoa is fully dissolved, top off your mug with the remaining milk. Give one last stir. Place your spoon in the sink. Delicately set two giant-sized Campfire brand marshmallows (the marshmallows of childhood) onto the surface of your hot cocoa. Carefully lift your mug and gently wipe up any drips or countertop cocoa rings you may have created. Move slowly toward the couch. Sit back and hold your warm mug against your chest. Take a moment to watch the marshmallows partially dissolve. This also gives your cocoa just enough time to cool. The steam from your mug will drift upward, both softly misting your face and conveying the scent of chocolate and sugary marshmallows. Begin to sip slowly. As you drink, try and take in both melted marshmallow foam and cocoa with every swallow. As your mug empties, slide your index finger around the inside of the mug and capture any left over foam. Lick the foam off your finger in between your final sips. While engaging in this activity, your body will begin to relax without your even being aware of it. When you are finished drinking, sink further into the couch and completely relax your body. Keep holding your empty mug against your chest because it’s still warm. Close your eyes. Stay still. No matter how bad things may be, know that you have given yourself a moment of comfort. You have been in the realm of hot cocoa and marshmallows. * Using low fat or skim milk is fine if you’re willing to sacrifice a bit on taste. Of course, if you’re lactose intolerant like me, this drink is indigestible unless you use Silk brand plain soymilk, which I find does the trick nicely. Emergency Drive Thru Hot Cocoa and Marshmallows Use this recipe when in extreme emotional states where “fast-acting comfort” is desired. Enter kitchen in a rush. Quickly fill the teakettle with a little water and put it on to boil. Being stressed, you probably haven’t done dishes, so your favorite mug is likely to be dirty. Grab any mug. Pull the box of Swiss Miss Instant Cocoa with Extra Marshmallows from the back of the shelf where you keep it hidden. Rip open a single-serving pack and dump its contents into the mug. Breathe in the cocoa powder that’s flying in the air because you haven’t shaken down the package to compact its contents and create a “rip end.” Since you’ve only added a bit of water to the kettle it should boil fast. This is the point. Slosh the boiling water into your mug and stir quickly. Your motions may be jerky. Hot cocoa may overflow. Let your spoon fall to the counter or even the floor. Allow it to remain there. Grasp the mug and leave the cocoa ring on the counter as you stumble to the couch. Plop down, possibly spilling a bit of cocoa on yourself. Take a big drink. You will probably burn your tongue and it will have a funny feeling for hours. None of this matters. You are in the realm of hot cocoa and marshmallows. Download PDF   re/spond re/peat Curated by Audra Wolowiec The Soapbox Gallery 636 Dean Street Brooklyn, NY PROJECT DESCRIPTION re/spond re/peat is a group exhibition that brings together artists and artists groups working across disciplines from performance, sound, and print media, all of whom invite dialog through incorporating language in the form of text or speech. The artists will ask the viewer to become an active participant by extending an invitation to respond or repeat to the works on view. From take away projects, audio and live performances, to books and business cards, these experimental actions create an intimate platform for exchange. Works by Adam Overton, Austin Thomas, Caroline Woolard, Elana Mann, Emcee C.M., Doug Barrett, Gary Schultz, Huong Ngo, Las Nermanas, Lisa Young, Man Bartlett, Mary Billyou, Melanie Manos, Mimi Cabell, Naomi Miller, Nina Horisaki-Christens, Sal Randolph, Seth Weiner, Shanti Grumbine, Sophie Barbasch, Steve Roden, Temporary Services.FUNCTIONING EFFECTIVELY IN THE MOMENT During a recent rough patch I considered the gap between my public performance of self and my internal mental state. I decided to make a bright colored sticker that I could "apply as needed" in order to address this disjuncture. “Functioning Effectively in the Moment” stickers mark the contradiction between public pronouncement and private struggle. They can also be seen as a quiet encouragement to the self, a pill to be applied externally instead of swallowed, as often as needed. <img src="http://payload.cargocollective.com/1/4/131802/1922455/functioning effectively WEB baggies_900.jpg" width="900" height="972" width_o="1000" height_o="1080" src_o="http://payload.cargocollective.com/1/4/131802/1922455/functioning effectively WEB baggies_o.jpg" data-mid="19967357" border="0" align="left"/> Download PDF THE ENCYCLOPEDIA PROJECT Co-edited by Tisa Bryant, Miranda F. Mellis, and Kate Schatz,all Brown University, MFA, Literary Arts, ’04. PROJECT DESCRIPTION Encyclopedia is a multi-volume set that presents a variety of approaches to narrative. Part reference book, part literary journal, each volume appropriates the form of the encyclopedia – from general layout to cross-referencing – as a venue for publishing new, innovative literary and visual works. Volume 1 A-E was published in 2006; Volume 2 F-K was published in 2010. Together, the two books contain the prose, essays, photographs, translations, drawings, lists, emails, plays, diagrams, elegies, collages, cut-up sonnets and short stories of more than 250 writers, artists, scholars, activists, educators, and performers. Subsequent volumes will be published over the next several years. Encyclopedia Vol 2 launch events: The Kitchen, New York, NY, Small Press Traffic’s Center for Literature, California College of Arts, San Francisco, CA, Association of Writers and Writing programs (AWP), Washington, DC, Chicago Poetry Calendar Red Rover Series, Chicago, IL. <img src="http://payload.cargocollective.com/1/4/131802/1922455/fortune F0019_900.jpg" width="900" height="209" width_o="1000" height_o="233" src_o="http://payload.cargocollective.com/1/4/131802/1922455/fortune F0019_o.jpg" data-mid="10763563" border="0" align="left"/> LISA YOUNG and SIMON CHARLOW (PhD '13, Linguistics; New York University): HAPPINESS A: Happiness is always present for someone (or so I’ve been told). In other words, the set of happy individuals is presumably never empty. However, I only sometimes find myself in their company. More often, I’m in the complement of that set—that is, the set of unhappy individuals. I want to remedy this. This is a complicated undertaking. I know that I can’t just sit around and wait for happiness to appear—I’m not that lucky. I know I have to take action in the world in order to create circumstances amenable to its inception. Nevertheless, I want some reassurance that at some point it really will arrive, that I really will achieve it. The very personality traits that predispose my membership in the set of unhappy individuals make it difficult for me to put my head down and work towards happiness without second-guessing or otherwise impeding myself. So it’s nice to get a fortune that says happiness is close by. Simultaneously, the fortune reminds me that the flailing about I do “searching” and “working” is precisely what blinds me to the fact that happiness is a state of mind that I can invoke at any time. This, however, is easier said than done.B: Happiness is a word. In linguistics it’s called a noun phrase, a group of expressions traditionally thought to denote entities (abstract or real). This act of referring to some entity is called "securing reference.” However, what happiness points to isn't the experience of a happy state of mind but rather a set of parameters for what this state of mind looks like. When we speak about being happy, there’s indeterminacy as to what it is we’re talking about. The state of mind may be very real but it needs to be made accessible to others so that it can serve as an object of communication. This abstraction produces a public concept, and it’s to this concept that happiness refers. In other words, we can only speak about the abstraction. Happiness is just next to you can only be true if there is some object denoted by happiness and this object has the property of being close by. Yet we’re only in a position to point to the public abstraction, whereby we hope to be pointed towards a private experience. So the fortune has limited explanatory value. It doesn't provide detailed directions or speak to the experience in a precise way. Happiness is a rabbit hole, and to talk about happiness is to place oneself at a distance from it. Insofar as we conflate happiness proper with happiness the object of communication, we subject ourselves to this emotional myopia. Download PDF   ATOPIA JOURNAL ISSUE 3.66 Co-founded and co-directed by Gavin Morrison (writer/curator, Aix-en-Provence, France) and Fraser Stables (artist/Professor, Smith College). PROJECT DESCRIPTION Atopia Projects is an arts organization that initiates interrelated curatorial and publishing projects. Atopia Projects aims to function as a roaming site that explores the methods and means of production and distribution. Initial projects evolved from a thematic inquiry into the nature of place to a consideration of the projects themselves as sites that are informed by the specifics of location and collaboration. LISA YOUNG: "You and I Fortunes" <img src="http://payload.cargocollective.com/1/4/131802/1922455/atopia final_900.jpg" width="900" height="1269" width_o="1000" height_o="1411" src_o="http://payload.cargocollective.com/1/4/131802/1922455/atopia final_o.jpg" data-mid="10763657" border="0" align="left"/> Download PDF   MY MOTHER IS AN ARTIST Curated by Sheila Pepe The Educational Alliance 197 East Broadway, NY, NY 10002 PROJECT DESCRIPTION My Mother’s an Artist features the work of contemporary artists who also have artist-mothers. By pairing works of children/mothers, the exhibition explores the meaning and limits of the word “artist” (Soho professional or Sunday painter?, art school trained or self taught?), and examines aspects of feminism, multi-generational practice, and self-definition. I wrote the following email in response to the “My Mother Is An Artist” call for entries. TO: SheilaPepe@aol.com FROM: LYPuffy@hotmail.com DATE: August 3, 2002 RE: My Mother Is An Artist Hi Sheila, I'm writing in response to your "call for entries" email. While I am not sure that I would be an appropriate candidate for inclusion in the exhibition, I submit for your contemplation a short thesis titled “Is My Mother An Artist?” What social forces relegate the would-be “Sunday painter” to silence? What culturally defines an individual as an "artist" and how do "artists" define themselves? Is being an artist dependent on producing a recognized art form (like painting)? Instead, could “art” be the ability to encourage an open and improvisational mindset in both one’s self and others? Perhaps an “artist” is one who is able to both create and view work without the need for "complete" understanding – that is, to discard the concept of "mastery" both in producing and reading work. You might find this interesting curatorial fodder, if nothing else. IS MY MOTHER AN ARTIST? My father was/is a Sunday painter, with a prolific studio practice, local gallery representation, weekly art fairs every summer, commissions and shopping mall art fairs each winter. Yet my mother, who I regard as having far more natural ability than my father, was relegated to "craft classes" at the local park district. My father the artist has practically no knowledge of or interest in art history, other than the Impressionists. On the other hand, I’ve seen my mother identify a tiny and obscure Paul Klee drawing from across a gallery. In a game we played (write the alphabet down the side of a paper, see if you can name an artist for each letter, the one with the most names wins) mom trumped us all with Praxiteles, even though she "wasn't that serious and just took a couple of basic art history courses in college." Father chose not to play. Father rejects all abstraction, because for him there is no meaning without a subject he can name and recognize. But mom can spend all afternoon in the pre-Columbian gallery parsing the patterns in the pottery and weavings. She says, "I don't know what they mean," but keeps on looking. Is my mother an artist? Once I saw a still life my mother drew in college (my father took no art in college and was resistant to taking any classes as an adult, even after he began his art career.) Mom’s drawing (unfortunately now missing) showed great promise, and was much more lovely and spontaneous than the stilted (albeit commercially successful) efforts of my father. When I asked why dad wouldn’t enroll in classes, my mother would whisper, “he doesn't want to find out the limitations of his knowledge.” When I asked her why she didn't pursue her drawing efforts she said it was "easier to stop and not have any competition with your father." She said, "making art was really important to him and it wasn't that important to her." She said she "just wanted to be a housewife and mother." Is my mother an artist? Do Halloween costumes, prom dresses, Styrofoam snowmen, decoupage, quilling, and hand sewing entire wardrobes for Barbie and Ken count as equal to being a Sunday painter? Does the 3x5 foot rug she hooked in 1974 as she stayed home all day listening to the Watergate hearings count? How about the loom, string art and learning-to-play-the-recorder experiments? Are you an artist if your work is so superior to the other women in craft class that the park district asks you to teach the class? Even if you refuse because it would be "too difficult?" Why does writing this make me feel so conflicted? Mom says she did what she wanted with her life. Why do I question whether she is truly happy with the life she chose? I want my mother to have produced something monumentally worthy of the brilliant woman I know she is (or perhaps this is just a cry for patriarchal "mastery"). What does it mean to have the gift, intelligence and creativity to be an artist but not use it? Can you be an artist based on a single (vanished) drawing and a complex mind? Is that like being a conceptual artist (you knew you could but decided not to?)? Or is my desire to cast my mother in the role of artist my own conceptual art project? I appreciate that my desires and my mother’s desires may never be the same. I acknowledge that my mother may have practiced “art” in ways that I didn’t comprehend and have yet to fully recognize. How many of my memories are in fact projections of my own desires? Similarly, how many of my fears are really the fear that I’ll give up, and stop making art, much like the way I feel mom did? At what point does my frustration over mom's not fighting for what I regard as her own creative powers coincide with my frustration over a patriarchical system that does all it can to stifle women's voices? Clearly, my relationship to the "artist/parent model" is complex and contradictory. I wonder how many other "non-artist" mothers are out there like mine? What made it so easy for my father to declare himself an artist while simultaneously refusing take on any unfamiliar territory or develop any real interest in looking and thinking? So, I have to ask: is my mother an artist? Best, Lisa P.S. If you consider me an appropriate candidate for your exhibition, I can send you slides of recent work. Moreover, although mom’s college drawing has subsequently been lost, I still possess a small book she wrote and illustrated based on a story I dictated to her when I was about 4 years old. Perhaps this might stand in for the missing drawing? <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout trixie a fairy tale_900.jpg" width="900" height="550" width_o="1000" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout trixie a fairy tale_o.jpg" data-mid="10764287" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout 1_900.jpg" width="900" height="550" width_o="1000" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout 1_o.jpg" data-mid="10764292" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout 2_900.jpg" width="900" height="550" width_o="1000" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout 2_o.jpg" data-mid="10764295" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout 3_900.jpg" width="900" height="550" width_o="1000" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout 3_o.jpg" data-mid="10764298" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout 4_900.jpg" width="900" height="550" width_o="1000" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout 4_o.jpg" data-mid="10764299" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout 5_900.jpg" width="900" height="550" width_o="1000" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout 5_o.jpg" data-mid="10764300" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1922455/layout the end crayon_900.jpg" width="900" height="557" width_o="1000" height_o="619" src_o="http://payload.cargocollective.com/1/4/131802/1922455/layout the end crayon_o.jpg" data-mid="10764301" border="0" align="left"/> Jean A. Young / Biography Born in Petoskey, Michigan in 1930. I grew up in several towns in Western Michigan. My father was a teacher and builder of homes. He was also a carpenter and made furniture and smaller items, like spice chests and birdhouses. Growing up, our home was filled with reproductions of prints done by the old masters. There were also watercolor paintings done by my great-aunt Sadie, and many sets of dishes which she painted both for the family and to sell. I graduated from Michigan State University in 1952 with a major in Divisional Social Science. After auditing expense accounts for a year, I went back to school and got a teaching certificate. I first taught in a two room rural school. Then I moved on to a bigger consolidated school. After that, I took a semester out to do “student teaching” and got a permanent teaching certificate in Michigan. Later, I took time off and went to school in England, where I completed a course in Social Studies. After completing the course, I toured France, Italy and Switzerland. The galleries and churches were awesome! I returned to Michigan for a year then applied to teach with the military overseas. I spent a year each in Newfoundland, France and Germany, teaching for the Air Force. After returning to the States, I married my husband Mark, moved to Illinois, and taught there for 3 more years.Altogether I taught for 12 years, each year in a different school or for a different principal. I highly recommend this approach to teaching, as in each school environment I learned new things from working with so many different people from so many diverse backgrounds. After Lisa was born, I stayed home and became a “mom” full time. Later, my son Adam was born and I continued to stay at home. I spent hours working on projects with both children. Lisa and Adam both enjoyed arts and crafts, and Adam especially enjoyed building projects with Tinkertoys and Lego. Mark was the artist and spent much time painting and showing at local art fairs. Also a teacher, Mark had the summer “off”. We would leave Illinois and spend each summer in Northwestern Lower Michigan, living in a cottage built by my father. Mark did art shows from Grand Haven in the South to Mackinac city in the North. For many years I helped out with the fairs while Grandma baby sat with the two children. As they got older, they became the helpers, and I followed my own interests, mostly weaving, and needle work of many kinds. I probably had little direct influence on the children's art but did provide an environment where art was appreciated and a constant part of life. I gave Lisa my set of “University Art Prints” to look at and play with. Maybe my greatest contribution was always having lots of books filled with color plates and lots of art supplies around the house for everyone to work with. Download PDF ARTISTS’ COOKBOOK Edited by Allison Wiese PROJECT DESRIPTION Developed for an exhibition that explored “crowdsourcing” strategies (Phantom Captain: Art and... http://www.lisa-young.com/Exhibition-Views http://www.lisa-young.com/following/lisa-young.com/Exhibition-Views Tue, 16 Aug 2011 17:04:45 +0000 Lisa Young 1871827 <img src="http://payload.cargocollective.com/1/4/131802/1871827/cue install room angle 3_900.jpg" width="900" height="501" width_o="900" height_o="501" src_o="http://payload.cargocollective.com/1/4/131802/1871827/cue install room angle 3_o.jpg" data-mid="9902822" border="0" align="left"/> Lisa Young: Curated by Cabinet Magazine. Cue Art Foundation, New York, NY <img src="http://payload.cargocollective.com/1/4/131802/1871827/cue install room angle 2_900.jpg" width="900" height="501" width_o="900" height_o="501" src_o="http://payload.cargocollective.com/1/4/131802/1871827/cue install room angle 2_o.jpg" data-mid="9902834" border="0" align="left"/> Lisa Young: Curated by Cabinet Magazine. Cue Art Foundation, New York, NY <img src="http://payload.cargocollective.com/1/4/131802/1871827/cue install room angle 4.table_900.jpg" width="900" height="596" width_o="900" height_o="596" src_o="http://payload.cargocollective.com/1/4/131802/1871827/cue install room angle 4.table_o.jpg" data-mid="9902847" border="0" align="left"/> Lisa Young: Curated by Cabinet Magazine. Cue Art Foundation, New York, NY <img src="http://payload.cargocollective.com/1/4/131802/1871827/01 buoy frontal skylight 3 copy_900.jpg" width="900" height="714" width_o="900" height_o="714" src_o="http://payload.cargocollective.com/1/4/131802/1871827/01 buoy frontal skylight 3 copy_o.jpg" data-mid="9902787" border="0" align="left"/> The Memory of Water. Bristol Community College, Bristol, MA <img src="http://payload.cargocollective.com/1/4/131802/1871827/02 buoy angle skylight copy_900.jpg" width="900" height="676" width_o="900" height_o="676" src_o="http://payload.cargocollective.com/1/4/131802/1871827/02 buoy angle skylight copy_o.jpg" data-mid="9902791" border="0" align="left"/> The Memory of Water. Bristol Community College, Bristol, MA <img src="http://payload.cargocollective.com/1/4/131802/1871827/Blueprint installation view FINAL WHITE door 2.2 layout-4_900.jpg" width="900" height="600" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/131802/1871827/Blueprint installation view FINAL WHITE door 2.2 layout-4_o.jpg" data-mid="11505931" border="0" align="left"/> Blueprint. Museum of Fine Arts, Boston, MA. <img src="http://payload.cargocollective.com/1/4/131802/1871827/calendar ica reflection.final_900.jpg" width="900" height="617" width_o="900" height_o="617" src_o="http://payload.cargocollective.com/1/4/131802/1871827/calendar ica reflection.final_o.jpg" data-mid="9902905" border="0" align="left"/> Calendar. ICA/Maine College of Art, Portland, ME <img src="http://payload.cargocollective.com/1/4/131802/1871827/Calendar wave hill(installation view) work_900.jpg" width="900" height="591" width_o="900" height_o="591" src_o="http://payload.cargocollective.com/1/4/131802/1871827/Calendar wave hill(installation view) work_o.jpg" data-mid="9902913" border="0" align="left"/> Calendar. Wave Hill, Bronx, NY <img src="http://payload.cargocollective.com/1/4/131802/1871827/lyra angelica risd_900.jpg" width="900" height="509" width_o="900" height_o="509" src_o="http://payload.cargocollective.com/1/4/131802/1871827/lyra angelica risd_o.jpg" data-mid="9902926" border="0" align="left"/> Lyra Angelica. RISD Museum, Providence, RI <img src="http://payload.cargocollective.com/1/4/131802/1871827/Stroke installation view 1.layout.work_10_900.jpg" width="900" height="599" width_o="900" height_o="599" src_o="http://payload.cargocollective.com/1/4/131802/1871827/Stroke installation view 1.layout.work_10_o.jpg" data-mid="11505832" border="0" align="left"/> Stroke. Hunter College, New York, NY Lisa Young: Curated by Cabinet Magazine. Cue Art Foundation, New York, NY Lisa Young: Curated by Cabinet Magazine. Cue Art Foundation, New York, NY Lisa... http://www.lisa-young.com/Highways-and-Bridges http://www.lisa-young.com/following/lisa-young.com/Highways-and-Bridges Fri, 12 Aug 2011 21:37:56 +0000 Lisa Young 1856637 <img src="http://payload.cargocollective.com/1/4/131802/1856637/bridges final flatten_900.jpg" width="900" height="554" width_o="900" height_o="554" src_o="http://payload.cargocollective.com/1/4/131802/1856637/bridges final flatten_o.jpg" data-mid="9817150" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856637/highways 2_1_900.jpg" width="900" height="554" width_o="900" height_o="554" src_o="http://payload.cargocollective.com/1/4/131802/1856637/highways 2_1_o.jpg" data-mid="9817153" border="0" align="left"/> Highways and Bridges (Postcards), 2004 — Digital postcard grid 12" x 18" each grid This series evolved from my ongoing collection of travel postcards. The postcards, which depict bridges connecting distant shorelines and highways winding toward the horizon, evoke sender and recipient, connection and separation, presence and absence, departure and return. I juxtapose the "snapshot" approach inherent in the postcards with a carefully composed grid that uses formal connections to create a feeling of continuous yet fractured space. Highways and Bridges (Postcards), 2004 — Digital postcard grid 12" x 18" each grid This series evolved from my ongoing collection of travel postcards. The... http://www.lisa-young.com/Bridge http://www.lisa-young.com/following/lisa-young.com/Bridge Fri, 12 Aug 2011 21:31:23 +0000 Lisa Young 1856613 <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge 4_1_900.jpg" width="900" height="612" width_o="900" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge 4_1_o.jpg" data-mid="9756753" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge 9_5_900.jpg" width="900" height="606" width_o="900" height_o="606" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge 9_5_o.jpg" data-mid="9756746" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge 3_2_900.jpg" width="900" height="612" width_o="900" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge 3_2_o.jpg" data-mid="9756767" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge 6_8_900.jpg" width="900" height="612" width_o="900" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge 6_8_o.jpg" data-mid="9756748" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge copy 7_6_900.jpg" width="900" height="606" width_o="900" height_o="606" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge copy 7_6_o.jpg" data-mid="9756756" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge 10_4_900.jpg" width="900" height="606" width_o="900" height_o="606" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge 10_4_o.jpg" data-mid="9756769" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge copy 5_7_900.jpg" width="900" height="612" width_o="900" height_o="612" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge copy 5_7_o.jpg" data-mid="9756757" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856613/bridge 11_3_900.jpg" width="900" height="606" width_o="900" height_o="606" src_o="http://payload.cargocollective.com/1/4/131802/1856613/bridge 11_3_o.jpg" data-mid="9756768" border="0" align="left"/> Bridge, 2006. — Ink jet prints. Each image 4” x 6.” Bridges cut from travel postcards are collaged onto blue backgrounds, scanned, and printed as ink jet prints. The decontextualized bridges act as metaphors for in-between, liminal spaces. Bridge, 2006. — Ink jet prints. Each image 4” x 6.” Bridges cut from travel postcards are collaged onto blue backgrounds, scanned, and... http://www.lisa-young.com/Stroke http://www.lisa-young.com/following/lisa-young.com/Stroke Fri, 12 Aug 2011 20:28:12 +0000 Lisa Young 1856167 <img src="http://payload.cargocollective.com/1/4/131802/1856167/Stroke installation view 1.layout.work_6_900.jpg" width="900" height="599" width_o="900" height_o="599" src_o="http://payload.cargocollective.com/1/4/131802/1856167/Stroke installation view 1.layout.work_6_o.jpg" data-mid="11505011" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856167/Stroke (installation view) 2_900.jpg" width="900" height="599" width_o="900" height_o="599" src_o="http://payload.cargocollective.com/1/4/131802/1856167/Stroke (installation view) 2_o.jpg" data-mid="9902578" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856167/stroke installation view long wall layout.FINAL_6_900.jpg" width="900" height="591" width_o="900" height_o="591" src_o="http://payload.cargocollective.com/1/4/131802/1856167/stroke installation view long wall layout.FINAL_6_o.jpg" data-mid="11505730" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1856167/stroke Single_900.jpg" width="900" height="856" width_o="900" height_o="856" src_o="http://payload.cargocollective.com/1/4/131802/1856167/stroke Single_o.jpg" data-mid="9902429" border="0" align="left"/> Stroke: Single <img src="http://payload.cargocollective.com/1/4/131802/1856167/stroke Double 1.2 layout_900.jpg" width="900" height="450" width_o="900" height_o="450" src_o="http://payload.cargocollective.com/1/4/131802/1856167/stroke Double 1.2 layout_o.jpg" data-mid="12797721" border="0" align="left"/> Stroke: Double <img src="http://payload.cargocollective.com/1/4/131802/1856167/stroke quad.2_900.jpg" width="900" height="221" width_o="900" height_o="221" src_o="http://payload.cargocollective.com/1/4/131802/1856167/stroke quad.2_o.jpg" data-mid="9902432" border="0" align="left"/> Stroke: Quad <img src="http://payload.cargocollective.com/1/4/131802/1856167/stroke Eight (2) 3 layout_900.jpg" width="900" height="109" width_o="900" height_o="109" src_o="http://payload.cargocollective.com/1/4/131802/1856167/stroke Eight (2) 3 layout_o.jpg" data-mid="9902434" border="0" align="left"/> Stroke: Eight Stroke, 1995 — Laser prints, graphite, paint and powder on paper. Dimensions variable. Stroke depicts crew athletes in moments of physical and emotional extremes. A photograph functions as a starting point, to which I apply washes of paint, graphite, and baby powder. These materials leave behind a tangible, seductive patina, yet simultaneously create a barrier between viewer and image. By concentrating just on the heads of the athletes, I remove the specific narrative of victory or defeat that is the subject of the documentary sports photograph and instead invoke a fleeting moment that hovers between pain and ecstasy. The binaries of losing/winning or desire/satiation are no longer clearly evident. Rowing photographs courtesy the Harvard University Crimson and Richard Raslavsky Photographics. Stroke: Single Stroke: Double Stroke: Quad Stroke: Eight Stroke, 1995 — Laser prints, graphite, paint and powder on paper. Dimensions variable. ... http://www.lisa-young.com/Blueprint http://www.lisa-young.com/following/lisa-young.com/Blueprint Fri, 12 Aug 2011 18:11:51 +0000 Lisa Young 1855846 <img src="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint installation view door 2.2 layout-4_900.jpg" width="900" height="600" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint installation view door 2.2 layout-4_o.jpg" data-mid="10955351" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1855846/blueprint with person-4.2_900.jpg" width="900" height="614" width_o="900" height_o="614" src_o="http://payload.cargocollective.com/1/4/131802/1855846/blueprint with person-4.2_o.jpg" data-mid="10955363" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint installation view 3.2 layout_3_900.jpg" width="900" height="600" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint installation view 3.2 layout_3_o.jpg" data-mid="10937978" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint installation view 4_4_900.jpg" width="900" height="606" width_o="900" height_o="606" src_o="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint installation view 4_4_o.jpg" data-mid="10937984" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint detail 1.2 layout FINAL_900.jpg" width="900" height="600" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint detail 1.2 layout FINAL_o.jpg" data-mid="11124160" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint detail 2.layout FINAL_900.jpg" width="900" height="600" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint detail 2.layout FINAL_o.jpg" data-mid="11124172" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint detail 3.2 layout FINAL_900.jpg" width="900" height="600" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/131802/1855846/Blueprint detail 3.2 layout FINAL_o.jpg" data-mid="11124177" border="0" align="left"/> Blueprint, 1998 — Blueprint on paper 30"x600" A blueprint is produced from photographs altered in Photoshop. The resulting work measures 30 inches high by 50 feet in length and circles the walls of a small room. Media images often present athletes in moments of glory. 'Blueprint' uses large scale and sweeping perspective, but is also inscribed with a number of inconsistencies (we do not know the outcome, the rowers are not in synch with each other, there is no one in charge, and therefore the boat is likely to tip over). Blueprint can be seen as heroic and beautiful, but also as an implausible and flawed image of infinite rowers depicted in a moment of perpetual effort. If the viewer chooses to invest in a narrative construct (a blueprint) with obvious flaws, is she complicit in her own seduction? Blueprint, 1998 — Blueprint on paper 30"x600" A blueprint is produced from photographs altered in Photoshop. The resulting work measures 30...