Known for paintings of women, Lisa Yuskavage s images occupy the space between high and low; the sacred and the profane. Many of these new works explore a complex psychological direction specifically, symbiotic relationships. Influenced in part by images that depict power struggles, including Baroque sculptures (specifically Gianlorenzo Bernini) and Giorgio de Chirico s late Gladiator paintings, Yuskavage s figures hover or climb upon one another caught in embraces that appear to shift between tenderness and violence. Within these paradoxical relationships, it is often difficult to decipher what is real and what is imagined; what is weighted and what is weightless; what is made of paint and what transcends the medium entirely. Yuskavage s subtle degrees of fiction and representation culminate in questionable, unsettling quasi-realities. In Ledge (2005), paint is personified by two female entities through which empathy and apathy are suggested, yet are nearly indistinguishable. In Imprint (2006), within which two women seem to meld into one, malleable form, Yuskavage interprets the flat, illusionistic space of bas-relief sculpture through the use of close color and punctuations of extreme contrast at the points of human contact.
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Yuskavage had recent solo exhibitions at the Museo Tamayo Arte Contemporáneo in Mexico City, Mexico (2006), the Centre d Art Contemporain, Geneva, Switzerland (2001) and the Institute of Contemporary Art at the University of Pennsylvania, Philadelphia, PA (2000). Major group exhibitions include the Fifth International Biennial: Disparities and Deformations, Our Grotesque, SITE Santa Fe, Santa Fe, NM (2004); Supernova: Art of the 1990s from the Logan Collection, San Francisco Museum of Modern Art, San Francisco, CA (2003); de Kooning to Today: Highlights from the Permanent Collection, Whitney Museum of American Art, New York, NY (2003); 2000 Whitney Biennial, The Whitney Museum of American Art, New York, NY (2000); and Greater New York, P.S.1/The Museum of Modern Art, New York, NY (2000). In 2007, Yuskavage will participate in America Today: 300 Years of Art from the USA at the National Art Museum of China in Beijing.
Leave it to Lisa Yuskavage... to remind us that an exhibition catalog can be a place for gleeful subversion. -- New York Times, Friday, January 12, 2001 –Roberta Smith
...an unforgettable monograph featuring the painter’s colorful, gauzy portraits of perversely proportioned women. -- Vanity Fair, January 2000
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