Watercolor and ink
A black figure stands in a bloodied green hospital gown. Blood is dripping from between her legs and into a pool on the floor. In the blood is the phrase, "I will need you to document on record that you are refusing the treatment I requested and the reason to do so."
The historic racism in medicine often affects Black women of today. There is a notion that Black people, in general, have a higher pain tolerance than other races, and doctors who ignore the concerns of black women have often resulted in their deaths. The words stated in the piece are a recommended safety precaution for Black women whose concerns are ignored, to ensure that when their condition worsens there is documented evidence that they were ignored.
Lillian Young is an MFA Studio Art Graduate at Michigan State University. She was born in Charlotte, North Carolina and moved to Fort Worth Texas at the age of five, and has lived there ever since. Lillian has a passion for history and incorporates it into her works whenever she can. She depicts forgotten or not well known moments for the historical black experience, focusing on lesser-known black leaders, stories, and objects that are commonly known by the black communities, but unknown by the general public. From this, Lillian wants her art to start a dialogue between people about the current issues faced today. The text also plays a large part in Lillian’s work. Growing up with dyslexia would make school difficult at times and incorporating it into her art, allows Lillian to feel like she is able to gain control.
Lillian has interned for the Smithsonian American Art Museum and Renwick Gallery in the summer of 2017, the Smithsonian National Portrait Gallery this upcoming summer 2018, and was awarded the Smithsonian Minority Award Stipend both years. Lillian hopes to pursue a career in museum education so that she can help with the push to diversify museum culture and exhibits.
History is a vast expanse of different perspectives, as the saying goes there are two sides to every story. It is important to recognize that more times than not, the people in power will have their history told or manipulate history to make themselves look better. In my artwork, I try to explore the moment, people, and objects that aren’t well known in mainstream history. More specifically, I explore moments in African American history.
Growing up, my family made sure that I was well educated about the struggles, victories, and heroes in Black history. Learning those stories help feed my love for history, and realize that the history that I know is not necessarily what my peers know. I learned about Emmett Till and the 16th Street bombing from my parents, but in school, they were barely mentioned. My art often incorporates text, preferably handwritten, so that the work can connect viewers to more in-depth information surrounding specific events.
Often history may seem irrelevant but has consequences in how we understand and react to current events. I want my art to be a starting point for people to have those uncomfortable conversations about issues that are considered taboo. The works that I create are, in a fashion, my way of journaling history and creating a cognitive timeline that people with all types of backgrounds can resonate with. As our country changes it is important for us to remember our history so that we can learn from our mistakes.
