Tell Me Something Good: Artist Interviews from The Brooklyn Rail brings together 60 of the New York-based journal's most important interviews, and includes conversations with gallery artists Suzan Frecon, Richard Serra, Luc Tuymans, and Lisa Yuskavage. Selected and co-edited by Jarrett Earnest, a frequent Brooklyn Rail contributor, and Lucas Zwirner, Editorial Director at David Zwirner Books, Tell Me Something Good includes an introduction to the project by Phong Bui as well as hand-drawn portraits of all the artists interviewed for the book. Published by David Zwirner Books
The Brood surveyed 25 years of Lisa Yuskavage's work and was her first solo museum exhibition in the United States in more than 15 years. The exhibition was organized around diptychs, triptychs, and multi-panel groupings the artist calls "symbiotic portraits." The Brood was first on view at The Rose Art Museum of Brandeis University in Waltham, Massachusetts and then traveled to the Contemporary Art Museum St. Louis.
Listen to Yuskavage lead an audio tour of the exhibition.
Published to accompany the major solo exhibition by Lisa Yuskavage that was presented at The Rose Art Museum of Brandeis University in Massachusetts and at the Contemporary Art Museum St. Louis in 2015-2016, The Brood explores more than two decades of the artist's work.
Created in close collaboration with the artist, this fully illustrated publication includes texts by Christopher Bedford, who curated the exhibition during his directorship at The Rose Art Museum, Suzanne Hudson, Catherine Lord, and Siddhartha Mukherjee, and features an interview with the artist by Katy Siegel.
"Ultimately," writes Bedford in his essay Color Theorist, "Lisa Yuskavage's paintings are about the experience of the world we know through the prism of a studio known only to the artist. Hers are paintings of the mind that emerge as raw, public propositions from the most private of spaces. Her glowing green planets and deep red figures are not of the world we know, but they are familiar enough. As the artist herself notes, with just as much pungency as her literary predecessor Kafka, 'They are about chumming the water, giving people a taste of what they might not even know that they want.'"
The Artist Project is an online series produced by The Metropolitan Museum of Art in New York which gives artists the opportunity to respond to the museum's encyclopedic collection. The Met invited Lisa Yuskavage to participate in the third season of the project. In the video, she chose to discuss Édouard Vuillard's The Green Interior. "What makes the painting truly interesting is how it's painted. The painting is screaming, that color is screaming."
Golden Couple, 2018
Oil on linen
77 × 70 inches (195.6 × 177.8 cm)
Widely associated with a re-emergence of figuration in contemporary painting, Lisa Yuskavage (b. 1962) has developed her own genre of portraiture in which lavish, erotic, angelic, and at times grotesque characters are cast within fantastical landscapes or domestic spaces. Seamlessly blending contemporary cultural imagery and classical pictorial language, Yuskavage marshals color as a conduit for complex psychological constructs. As Christopher Bedford describes, Yuskavage's paintings "are disarmingly present, even naked in their address, laying themselves bare for inspection not because they are exacting and slavish in their depictions, but instead because they hold little if anything back. Yet for all their nakedness, the worlds depicted are just that—worlds—and they are fundamentally distant from our own. The strength of the invitation to look at these paintings and what, in turn, they extend in exchange is exactly as forceful as the world of meaning and implication that is palpable in every brushstroke, yet just slightly out of reach. This collision of clarity of presentation and elusiveness of meaning constitutes [their] central, beguiling axis."1
The present work is an example of Yuskavage's "couples" paintings: charged depictions of often interlocking, interdependent male and female figures. These works developed out of the artist's series of "symbiotic" portraits, which, beginning in the early 2000s, paired two female figures to invoke a sense of a dual manifestation of a single personality. In the present work, the two partially dressed, larger-than-life-size figures nearly fill the canvas, seemingly enshrouded in a golden haze that expands outward from the quilted wall behind them and encompasses the entire painting. The work is structured by the man's implied movement toward the woman, who leans back, hiding what appears to be a playing card or other object behind her back. Posed between the two figures, the woman's wine serves as a compositional balance, at once acting as a horizontal level for the canvas, while, with its deep burgundy color, providing a contrast with the golden glow of the painting.
1 Christopher Bedford, "Color Theorist," in Lisa Yuskavage: The Brood - Paintings 1991-2015. Exh. cat. (New York: Skira Rizzoli, 2015), p. 13.
Edition of 42
Edition 24 of 45, 12 AP. Signed and dated recto
Hippies in Tit Heaven
Edition 26 of 45, 12 AP
Hippies in Tit Heaven
Three Gloves / One Girl Holding Another Girl's Leg
It's a Boy