Where Do We Go From Here?

Contemporary Arts Museum Houston

13th Biennial Teen Council-organized Exhibition

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Teen Council

Composed of young arts enthusiasts, Teen Council serves as the Museum’s vehicle for attracting the city’s teen population to Contemporary Arts Museum Houston and exposing them to the vibrant field of contemporary art. For council members, the group serves as a highly collaborative creative incubator that opens up opportunities for leadership, visual literacy, and life skill development. During weekly meetings, the council is introduced to the inner workings of museums and to the dynamic Houston arts community.

Activities are decided upon by its members and can change from year to year, but past programs developed by the group include art markets, exhibitions, fashion shows, film screenings, listening parties, music festivals, and poetry slams.

2022–23 Teen Council Members

Holden Aramburu, Elisabeth Bell, Alexandra Davis Donaldson, Sarah

Jones, Lucy Katz, Jones Mays, Matthew Messinger, Kaviya

Ravikumar, Max Scholl, Elliot

Stravato, Camille Siptak, Katelyn Ta, and Julia Wykoff

elice Cleveland

Director of Learning and Engagement

As a teenager growing up in a place without an art museum, let alone a contemporary art museum, I think often of how I didn’t even know that my current job existed. I soaked up everything I could from my drawing and painting class but most of my high school days were spent in Debate, at my part-time barista job, volunteering in summer and afterschool programs, and shuttling around my younger brothers.

As the Director of Learning and Engagement at Contemporary Arts Museum Houston (CAMH), one of the most important goals I have for the Teen Council is introducing them to unforeseen possibilities and to learning about new pathways that exist to be creative in the world. I try to make sure they are connected to the staff at the Museum— the Graphic Designer, the Preparator, Communications Team, Senior Curator, Program Manager, and the Executive Director, to name a few. We connect the Teen Council with other arts organizations across the city—making sure they know of the resources that exist and building their network. Just this year we got to meet several MFAH Core Residents (Bryan Castro, Saúl Hernández-Vargas, Yifan Jiang, Jagdeep Raina, and Valentin Diaconov), Alexis Pye at Lawndale Art Center, a visit to Art League Houston, the Drawing Institute at the The Menil Collection, the Sicardi Ayers Bacino Art Gallery, and a walking tour of Freedmen’s Town by my colleague Charonda Johnson.

The opportunity to work with these 13 Teen Council members and 25 artists to create the exhibition, Where Do We Go From Here? was a wild ride. I got to witness the students discuss their options and make decisions collectively with the highest level of respect and collaboration. They started out the school year with the monumental task of creating an exhibition in less than six months. They were not daunted by this task and dove right in. They were reflecting on this moment in time, recalling that the last Teen Council-curated exhibition, Turn In, Tune In, Tap Out, was planned fully online in the height of the pandemic. This

current group has met in-person but knows that they are still processing the past several years and the long term impact it will have on them. They worked together to choose a series of questions that they would invite artists to respond to: What have you grown away from? What are you growing towards? How have you been born anew? Once the call for submissions was open, the artwork started rolling in. The group then reviewed each submission and they were in surprising alignment with the work that resonated and best answered the questions they posed.

Several themes rose to the surface out of this idea of growth—there are reflections on childhood like in Brandon Sun’s photographs and Ava Finch’s work Days of Yore Transfigured Crimson (2022). There are artists who have created work based on their cultural identity including Lina Wu’s painting Growth (2022) while planted like a cabbage expresses the feeling of being stuck under cultural pressure, or the young figure in Aileen Zhang’s Color Theory (2022) who has experienced racism and is trying to cancel out their identity through painting their arm purple, the opposite of yellow. Beau

Beaudette’s short film A Required Answer (2022) is a window into someone choosing how to share their gender identity and Sophia Reinhardt’s Large Spike (Bound Bodies) (2022) that has created an object that represents their queer identity to take up space in the gallery. There are also several works in the exhibition where the artist is faced with bodily changes and health challenges like in Jackie Neumann’s The Search For the Phantom Limb (2022) made in response to their cholecystectomy and Zei Carrasco’s Reflection and Duality (2022) that is a response to their recent brain surgery.

As someone who is far beyond my own teenage years, the question of Where Do We Go From Here? still resonates. I hope you will spend time with this work and reflect on your own growth and future. As I know in my own work in a creative field that both the artists in this exhibition and Teen Council members are my future colleagues and peers.

Aleena Sheikh, Veiled Reality, (detail) Reeds, recycled nets, cardboard, acrylic paint and paper pulp, courtesy the artist

Julia Rossel

Coming of age as a creative person in Houston has been a blessing because of public programming created by Contemporary Arts Museum Houston’s (CAMH) Teen Council. Fellow teens I met at Music Fest 2018 became my friends and when I showed work in 2019 in the Teen Council-organized exhibition, Shapeshifters, I met artists that have continued to be my peers in this city’s contemporary scene. Exposure to like-minded young people early on empowered me. Seeing what teenagers could come up with when CAMH provided the time and space to express themselves, inspired me to test what I could do without that kind of support. At age 16, Teen Council’s programming was proof to me that all I needed to foster a community was access to other artists, a location to meet, and a way to spread the word. That realization informed how I approach social sculpture within my art practice at 20 years old. My initial role at CAMH was giving tours and hosting public programs as a member of the Frequently Asked Question (FAQ) Team. I love engaging visitors with their own creativity in workshops and opening a dialogue between tour groups and the artwork. Becoming the Teen Council Associate was a full circle moment. Now I’m in the position of guiding them while they make decisions about public programming. Getting to witness how their curation is enriching their generation of peers is so exciting because I am not very far removed from teenagerdom. I can still feel the aftershock of each step I took in that era within my professional and creative life, these experiences are creating context for young adults who are beginning their arts career here in Houston. The sooner one is aware that pursuing art in any way is tangible, the more confidence they can build; which is why I enjoy being a Teaching Artist at Navarro Middle School. Answering questions that students might have about how seemingly daunting and ambiguous a creative life path may be, is showing them that following their passions is possible and they aren’t the only ones who want to.

Lucy Katz

I have been thinking a lot about the in-betweens lately. Between the cuts of a movie, the lines in a novel. Those bits of time between major plot points, I suppose, where media transcends time and space for the sake of good storytelling. Think about it: we never see Audrey Hepburn brushing her teeth or James Bond grocery shopping. Movies and television shows often leave out so many moments, doomed to be forgotten in the abyss of the in-between. As a member of Contemporary Arts Museum Houston’s Teen Council, we took this concept to a larger scale and sought to illuminate and celebrate the in-betweens of life. Our exhibition embodies the common human experience of standing on the threshold between the before and after—that time in the margins that does not move the plot orour lives forward. After all, on the precipice of some great unknown, we all have that moment where we take a step back to ask ourselves, “Where do I go from here?”.

From the artists’ depictions of their in-betweens, various sub-themes came forth. Some pieces, such as Lina Wu’s Growth (2022) and Saj Baldwin’s Hoodie, (2022) for example, focus on culture and how the artists feel trapped under the heavy weight of society’s negative perceptions of their racial identities. Others like Brandon Sun’s Inner Child (2022) encapsulate the loss of and longing for childhood and simpler times. Then, there are some pieces like Jackie Neumann’s The Search For the Phantom Limb (2022) and Zei Carrasco’s Reflection and Duality (2022) that represent a life-changing medical diagnosis that altered the course of the artists’ lives. Through these sub-themes, we at Teen Council hoped to showcase the commonality in all our in-betweens to ultimately create a sense of camaraderie and belonging. Whatever our middle may be, we are never alone.

In a society that consumes media that purposefully leaves out the unglamorous in-betweens of life, it becomes easy to feel like something is wrong. Where Do We Go From Here? sprang forth from the desire to not only shed light on these in-between moments, but to depict them as something beautiful and natural. We hope that through the representation of various takes on the theme, the viewer leaves with a sense of community. After all, we all have periods of indecision in life,

Installaton view of Where Do We Go From Here?, CAMH, 2023

ax Scholl

When I first saw Brooke Smith recite that final monologue of Anton Chekhov’s classic 1899 play Uncle Vanya in Louis Malle’s 1994 film Vanya on 42nd, something changed inside of me.

The play, set on a familial estate in the Russian countryside, follows a handful of characters each grappling with the purpose of their lives. Some confront the tedium of their lives by succumbing to sorrow; others, in bouts of denial, shake their fist at the world and attempt battling fate head-on, always resulting in failure. However, there was something special about that final monologue: or, the moment Sonya Alexandrovna comes to terms with the hardships of her life in a sweeping, despairing, yet nonetheless optimistic stroke of unbridled emotion. There was something about the way Smith delivered “But wait, Uncle Vanya, wait! We shall rest. We shall rest.” as the delicate, innocent, yet anguished Sonya that ran chills down my spine, with the gravitas and solemnity of a real-world existential crisis so suddenly upheaved by the credits rolling and the rest of the cast coming out to congratulate her—laughing, smiling—all in the same shot.

Immediately afterwards, I struggled to describe the impact the final scene had on me. The film, an uninterrupted rehearsal of Uncle Vanya set in a crumbling theater, is a part-fiction, part-documentary hybrid-film of sorts concerning the power of art and the creative process itself. It’s a film that is a metafictional rendition of a play about the struggle, tedium, and disappointment of ordinary life, where the consequences of the characters’ decisions are existential yet nonetheless miniscule on the universal scale. I spent the next couple of weeks continually writing and scrapping thousands of words in an attempt to extract why it hit me so particularly hard before, then, a message began to draw into focus: that art, itself, is cathartic. That art —not only through its own artistic narrative but also through a

different level of meaning—has the potential to change our lives.

Vanya on 42nd inherently extends past the framework of art itself in its final scenes by revealing the ‘after’ of its doubly-fictitious stage play, reminding us that we’re watching a film and that the actors, too, are real people. It reminds us that everybody involved in the artistic process—from the audience to the artist—leads ordinary lives of each of their own immensity, proportions, and narratives, much like the characters of Uncle Vanya itself. We all have our own experiences of momentous changes-of-narrative—from catastrophic losses to striking revelations—that make up the fabric of our own existences. And what, exactly, allows us to retroactively examine the moments which define our very being? Well—from what Vanya on 42nd tells us—art itself.

It’s only art that has the power to redefine our lives and shatter our boundaries. It’s only art that has the power to treat our existential ailments—expressively or impressively—by helping us navigate the web of changes constituting our day-to-day existences. It’s only art that has the power to frame our tumultuous lives in terms of the eternal, giving us solace that these wild oscillations shattering our lives are ordinary experiences, teaching us how to deal with them, how to grapple with those emotions, transform them into something constructive rather than destructive.

This idea that art inexplicably possesses this ultimate, liberating power is one of the driving motivations behind Contemporary Arts Museum Houston Teen Council’s 13th biennial exhibition—titled Where Do We Go From Here?. Both the exhibition and the play demonstrate how art can be used as a means of transforming adversity into something therapeutic or even cleansing: artist Aileen Zhang in their piece Color Theory (2022) confronts the generational trauma and troubles of Vietnamese-American identity underlining the visage of one’s day-to-day life; the very piece, itself, is a resilient expression of acknowledgement and recognition towards one’s troubled heritage. Hoodie (2022), by Saj Baldwin, on the other hand, is a liberating expression of how it is to grow up–that we, while growing, are constituted by the fragmented memories of our past, and how these moments eventually become things that we wear - an idea that is inherently revelatory towards this idea of growing up. Lastly, the physicality of Large Spike (Bound Bodies) (2022) by Sophia Reinhardt,

is, itself, a catharsis, an inherent expression of LGBTQ+ experiences represented by the piece’s remarkable presence in the museum space.

Like the decaying theater in Vanya on 42nd, the remnants of days long past will continue to exist, surrounding us and defining us like the actors in the film. Now, it’s only a matter of what we should do with the aftermath of our changes, essentially asking “Where do we go from here?”: should we shove these changes aside and ignore them, or actively address them, lest we remain stagnant?

Well - as Sonya Alexandrovna put best—“We shall rejoice and look back upon our sorrow here; a tender smile—and—we shall rest. We shall rest.”

Installaton view of Where Do We Go From Here?, CAMH, 2023

K aviya Ravikumar

The art I create is likely equivalent to that of your average 2nd grader. My skill set consists of mediocre stick figures, coloring within the lines, and tracing generic diagrams. All I have managed to master in my years of life is breaking my crayons and starting a collection of empty white-out dispensers. And yet once a week, I find myself in a stimulating arts incubator, Contemporary Arts Museum Houston’s Teen Council, that encourages me to outline contemporary themes, collage perspectives, and illustrate a path to my community.

At first, it didn’t make sense why I would choose to immerse myself in a world I knew so little about. What could I possibly contribute to this community? For the longest time, I had attempted to confine my identity within the boundaries of that traditionally successful student in STEM, ignoring any other nuance that didn’t align with that narrative. Much like in Aileen Zhang’s Color Theory, where the child is portrayed painting herself purple to cancel out the yellow undertones of her skin, I felt as if my identity was contradicting. In order to satisfy myself and those around me, I had to choose the niche I wanted to occupy and blend in. But when I saw that painting, I would stand and stare a little bit longer. Of course, I knew nothing of the technical work that accompanied the artistry, but there was still a part of me longing to understand why I was so captivated. Through Teen Council, my longing materialized. Art is a universal language that can be translated anywhere into the lives of those that experience it, no matter their background. I quickly realized my atypical perspective was not a nuisance to our work, but rather contributed to the diversity of thought within our team. I chose to broaden my perspective and welcome a change in the identity I had previously defined for myself. Inspired by Sophia Reinhardt’s Large Spike (Bound Bodies), (2022) I was ready to take up the space I deserved and create a new niche that those around me would conform to, rather than the other way around.

Reflecting recent shifts in the socio-political sphere, Where Do We Go From Here? displays the artists’ personal transformations that have shaped their identity. As teenagers, this is one of the first times in our lives that we are able to consciously maneuver through our past and present realities, modifying our identities with increasing independence. Each piece housed in this exhibition marks such a modification in its creator’s life. Ava Finch’s Days of Yore Transfigured Crimson (2022), reminds me to give grace to my past realities and appreciate the role they played in shaping who I am now, just as Finch mirrors her childhood self in this powerful portrait that symbolizes her growing into her artistic identity. Being able to create a space, like this exhibition, where these initial changes in one’s life are celebrated rather than overlooked was important to me. There is a certain level of vulnerability that comes with confronting change and presenting your experience to the world. It is a testament to one’s mental, physical, and emotional capabilities to be able to successfully forge a new path forward after deviating from one’s comfort zone. Where Do We Go From Here? epitomizes the will of my generation to navigate their conflicted identities. Inspired by my peers, I too will embrace my evolving self and look forward to where I go from here.

Detail, Ava Finch, Days of Yore Transfigured Crimson, 2022, Color pencil and oil pastel on paper.

Saj Baldwin

Dreams of the Sublime, 2022 Graphite, charcoal, paper, acrylic paint, gesso, wood, and foam core mat

Hoodie, 2022

Graphite, charcoal, toner

transfer, acrylic paint, and gesso on paper

Saj Baldwin

Beau Beaudette

A Required Answer, 2022

Video: color, sound, 1:56 minutes

Zei Carrasco

Reflection and Duality, 2022

Textiles and acrylic paint on canvas

Amelia Craypo

Musical Insides, 2022

Air-dry clay on canvas, acrylic

paint, paper, hot glue, wire, glue, clear gloss sealant, and stuffed

animal fur

Allison Cully

Reflections, 2022

Flowers, styrofoam sphere, mirror tiles, glue, fishing line, and motor

Hannah Dang

Sự Tồn Tại, 2022

Acrylic and oil paint on canvas

Thanh Duong

Historical Animal, 2022

Acrylic paint on canvas

Ava Finch

Days of Yore Transfigured

Crimson, 2022

Color pencil and oil pastel on paper

Olivia Forque

Eye For An Eye, 2021

Oil pastels, acrylic paint, ink, and charcoal on cardboard

Gisselle Galeas

Me and Medusa , 2022

Digital photographic print

Ryan Kirkpatrick

Little Queen, 2022

Acrylic paint, Micron pen ink, and Sharpie on construction paper

Ahrihanna Gonzalez

Seeing the Light, 2022

Fired and glazed ceramic

Jackie Neumann

The Search For the Phantom Limb, 2022

Textile, acrylic yarn, buttons, PVC plastic, tulle, sequins, ribbon, thread, freshwater pearls, fringe, wire, electrical tape, spray paint, and adhesive on peg board

Sophia Reinhardt

Large Spike (Bound Bodies), 2022

Fabric, aqua resin, and foam

Mia Rodriguez

Psychological Metamorphosis

2022

Acrylic paint on canvas

Annie Serrano

A Family Portrait, 2022

Oil on canvas

Sara Shen

Hindsight, 2022

Ink on paper

Aleena Sheikh

Veiled Reality, 2022

Reeds, recycled nets, cardboard, acrylic paint, and paper pulp

Cycle, 2022

Ira Sison

Acrylic paint and polymer clay on canvas

Getzamary Solano

Floras Process, 2022

Acrylic paint on canvas

Brandon Sun

6 Years Later, 2021

Archival inkjet print

Brandon Sun

Inner Child, 2021

Archival inkjet print

Abigail Tobey

Who Says, 2022

Acrylic paint, spray paint, and newsprint on canvas

Zoe Villalobos

Above The Past, 2022

Paper, masking tape, plaster, and wood

Lina Wu

Growth, 2022

Acrylic paint on canvas

Aileen Zhang

Color Theory, 2022

Digital print on vinyl

xhibition Checklist

Saj Baldwin

Dreams of the Sublime, 2022

Graphite, charcoal, paper, acrylic paint, gesso, wood, and foam core mat

Saj Baldwin

Hoodie, 2022

Graphite, charcoal, toner transfer, acrylic paint, and gesso on paper

Beau Beaudette

A Required Answer, 2022

Video: color, sound, 1:56 minutes

Zei Carrasco

Reflection and Duality, 2022

Textiles and acrylic paint on canvas

Amelia Craypo

Musical Insides, 2022

Air-dry clay on canvas, acrylic paint, paper, hot glue, wire, glue, clear gloss sealant, and stuffed animal fur

Allison Cully

Reflections, 2022

Flowers, styrofoam sphere, mirror tiles, glue, fishing line, and motor

Hannah Dang

Sự Tồn Tại, 2022

Acrylic and oil paint on canvas

Thanh Duong

Historical Animal, 2022

Acrylic paint on canvas

Ava Finch

Days of Yore Transfigured Crimson, 2022

Color pencil and oil pastel on paper

Olivia Forque

Eye For An Eye, 2021

Oil pastels, acrylic paint, ink, and charcoal on cardboard

Gisselle Galeas

Me and Medusa , 2022

Digital photographic print

Ryan Kirkpatrick

Little Queen, 2022

Acrylic paint, Micron pen ink, and Sharpie on construction paper

Ahrihanna Gonzalez

Seeing the Light, 2022

Fired and glazed ceramic

Jackie Neumann

The Search For the Phantom Limb, 2022

Textile, acrylic yarn, buttons, PVC plastic, tulle, sequins, ribbon, thread, freshwater pearls, fringe, wire, electrical tape, spray paint, and adhesive on peg board

Sophia Reinhardt

Large Spike (Bound Bodies), 2022

Fabric, aqua resin, and foam

Mia Rodriguez

Psychological Metamorphosis, 2022

Acrylic paint on canvas

Annie Serrano

A Family Portrait, 2022

Oil on canvas

Sara Shen Hindsight, 2022

Ink on paper

Aleena Sheikh

Veiled Reality, 2022

Reeds, recycled nets, cardboard, acrylic paint, and paper pulp

Getzamary Solano

Floras Process, 2022

Acrylic paint on canvas

Brandon Sun

6 Years Later, 2021

Archival inkjet print

Brandon Sun

Inner Child, 2021

Archival inkjet print

Abigail Tobey

Who Says, 2022

Acrylic paint, spray paint, and newsprint on canvas

Zoe Villalobos

Above The Past, 2022

Paper, masking tape, plaster, and wood

Lina Wu

Growth, 2022

Acrylic paint on canvas

Aileen Zhang

Color Theory, 2022

Digital print on vinyl

Ira Sison

Cycle, 2022

Acrylic paint and polymer clay on canvas

CAMH Staff

Hesse McGraw Executive Director

Lorielle Anderson Development and Membership Manager

Sarah Atwood Director of Development

Tim Barkley Registrar Quincy Berry Visitor Engagement Coordinator

Felice Cleveland Director of Learning and Engagement

Naomi B. Crawford Chief of Staff and Board Liaison

Kenya Evans Visitor Engagement Manager and Preparator

Marcelina Guerrero Exhibitions and Publications Manager

Faye Hosein Assistant Director of Development

Troy Jasmin Director of Finance and Administration

Charonda Johnson Engagement Manager –Partnerships

Rebecca Matalon Senior Curator

Victoria Nguyen Communications Coordinator

Phillip Pyle, II Graphic Designer and Retail Manager

Mike Reed Assistant Director of Facilities and Risk Management

Patricia Restrepo Curator

Michael Robinson Communications and Marketing Manager

Jeff Shore Head Preparator

Mich Stevenson Project Manager –Partnerships

Seba Raquel Suber Deputy Director

YET Torres Public Programs and CAMHLAB Manager

Board of Trustees

Howard Robinson Chair

Ruth Dreessen President

Dillon Kyle

Cabrina Owsley

Elisa Stude Pye Vice Presidents

Mark Miller Treasurer

Louise Jamail Secretary

Radu Barbuceanu

Mary Barone

Mara Calderon

Margaret Vaughan Cox Jamal

Cyrus

Paula M. Daly

Joseph C. Gatto, Jr.

Kerry Inman

Bryn Larsen

Lester Marks

Catherine Masterson

Mac McManus

Rishma Mohamed

Jessica Phifer

Rickey F. Polidore, Jr.

Elisa Stude Pye

Nicholas Silvers

Justin Smith

Loraine Christ Speier

Bill Toomey

Ben Williams

Where Do We Go From Here? is organized by Contemporary Arts Museum Houston’s Teen Council.

Teen Council is made possible by generous support from H-E-B, and additional support from Mark and Mary Ann Miller, Louisa Stude Sarofim, and Dillon Kyle and Sam Lasseter.

Contemporary Arts Museum Houston is funded in part by the City of Houston through Houston Arts Alliance.

This catalogue has been prepared in conjunction with Where Do We Go From Here?. This Exhibition was co-organized by Teen Council and Felice Cleveland for Contemporary Arts Museum Houston, on view from February 17 – July 2, 2023.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher.

© 2023 Contemporary Arts Museum Houston

ISBN: 978-1-951208-06-6

Contemporary Arts Museum Houston 5216 Montrose Boulevard Houston, Texas 77006

CAMH.ORG

Coordinator: Felice Cleveland

Designer: Phillip Pyle, II

Editor: Felice Cleveland and Marcelina Guerrero

Photography: Sean Fleming and Victoria Nguyen

Font: Ransom

2022-23 Teen Council Members

Holden Aramburu, Elisabeth Bell, Alexandra Davis Donaldson, Sarah Jones, Lucy Katz, Jones Mays, Matthew Messinger, Kaviya Ravikumar, Max Scholl, Elliot Stravato, Camille Siptak, Katelyn Ta, and Julia Wykoff.

Photographer Credits

Victoria Nguyen: Teen Council group photo: Pg. 5–6

Sean Fleming: All other photos.

Exhibition Donors and Patrons

This exhibition has been made possible by the patrons, benefactors, and donors to CAMH’s Major Exhibition Fund: Chinhui Juhn and Eddie Allen, Louise Jamail Sissy and Denny Kempner, Dillon Kyle and Sam Lasster, MD Anderson Foundation, Rea Charitable Trust, Louisa Stude Sarofim, The Sarofim Foundation, and the Texas Commission on the Arts.

The Museum’s operations and programs are made possible by generous gifts from: The Brown Foundation, Inc., Allison and David Ayers, Mary and Marcel Barone, Ruth Dreessen and Tom Van Laan, Joseph and Johanne Gatto, George and Mary Josephine Hamman Foundation, Houston Endowment, Inc., Kerry Inman and Denby Auble, Louise Jamail, John R. Eckel, Jr. Foundation, Page Kempner, Dillon Kyle and Sam Lasseter, Bryn Larsen, Catherine and George Masterson, Karen and Mac McManus, Mary Ann and Mark Miller, Cabrina and Steve Owsley, Elisa Stude Pye and Cris Pye, The Rawley Foundation, Beverly and Howard Robinson, Jay Shinn and Tim Hurst, Tom and Terry Smith, Loraine and Anthony Speier, Susan Vaughan Foundation, The Wortham Foundation, Inc., and Elizabeth and Barry Young.