Lisa Yuskavage Prints

David Zwirner is pleased to present a selection of prints by Lisa Yuskavage. These works incorporate not only traditional but also vanguard print techniques and were made in collaboration with renowned fine art print publisher Universal Limited Art Editions (ULAE). Two major solo exhibitions of Yuskavage’s paintings are also currently on view at the gallery in New York: Babie Brood: Small Paintings 1985–2018 at 533 West 19th Street and New Paintings at 34 East 69th Street.

Yuskavage approaches printmaking with the same exacting interest in technique, material, and art history that guides her painting. She has described thinking of her oeuvre as a kind of “generational” family; most of her prints have a direct relationship to her paintings’ themes and compositions and also appear in important museum collections, including The Museum of Modern Art, New York, the Museum of Fine Arts, Houston, the Perez Art Museum, Miami and The Whitney Museum of American Art, New York.

Yuskavage has been making prints since her first lithography class in her sophomore year of college. Her deep knowledge and interest in the technical processes has guided her five-year collaboration with master printers Bill Goldston and Brian Berry at ULAE and is exemplified by the wide range of complex techniques and unique prints on view here—from twelve-color lithographs, drypoint, chine-collé, monotypes, and monoprints to an inventive new process in which pastel is overlaid on inkjet prints. This Viewing Room demonstrates Yuskavage’s engagement with radical advancements in modern printmaking (the work of Edgar Degas and Jasper Johns are important precedents for her), as well as her desire "not to accept any givens" in her studio. She embraces printmaking as “the perfect medium” for experimenting with materials and researching an image—a process-driven practice that considers, questions, and redefines every component of the print, from the toning of the paper ground to breakthrough achievements such as her characteristic and innovative “atmospheric color.”

Inquire about works from this Past Viewing Room.

Lisa Yuskavage

A No Man's Land 3, 2013
Pastel over inkjet ground on rag paper
40 x 60 inches (101.6 x 152.4 cm)
Framed: 53 x 64 3/4 inches (134.6 x 164.5 cm)

Lisa Yuskavage

The Countryside I and II, 2013
Two (2) monoprints with hand coloring and pastel on paper
Paper, each: 10 7/8 x 8 3/8 inches (27.6 x 21.3 cm)
Framed, each: 18 1/8 x 15 1/2 inches (46 x 39.4 cm)

Lisa Yuskavage

The Wee Wilderness V, 2012
Drypoint with monoprint and watercolor on paper
11 3/4 x 9 5/8 inches (29.8 x 24.4 cm)
Framed: 19 1/8 x 16 3/4 inches (48.6 x 42.5 cm)

“I found myself in a very different territory with printmaking and in love with the process. 

 

I tend to focus on painting rather exclusively for a while and then set that aside and  focus on the monoprints with pastels.”

 

                                                                  — Lisa Yuskavage

Pastel colors in Lisa Yuskavage's studio, 2015. Photo by EJ Camp.
Pastel colors in Lisa Yuskavage's studio, 2015. Photo by EJ Camp.
A framed print by Lisa Yuskavage, titled Hippies in Tit Heaven, dated 2015.

Lisa Yuskavage

Hippies in Tit Heaven, 2015
Lithograph in twelve (12) colors on paper
39 5/8 x 34 3/4 inches (100.6 x 88.3 cm)
Framed: 49 1/4 x 44 1/2 inches (125.1 x 113 cm)

Lisa Yuskavage

The Wee Wilderness V, 2012
Drypoint with monoprint and watercolor on paper
11 3/4 x 9 5/8 inches (29.8 x 24.4 cm)
Framed: 19 1/8 x 16 3/4 inches (48.6 x 42.5 cm)

“I am interested in the idea of what underpins an image. The early layers are literally the image's history but also the history of my own imagery. Underneath the print of Hippies in Tit Heaven, which I made in 2015, is an earlier painting that came from a drawing I had made in 1992. That is my own layered history.”

 

                      — Lisa Yuskavage

Courtesy of the artist and Universal Limited Art Editions (ULAE).
Courtesy of the artist and Universal Limited Art Editions (ULAE).

The three intaglio with chine-collé works Art Students, Merlot and Bonfire were started in the summer of 2017 when Lisa Yuskavage decided to focus exclusively on print making for the season. 

 

The works went through dozens of states in the process and took the artist and master ULAE printer Brian Berry almost four months to achieve the final result.

 

Yuskavage's signature “atmospheric layer” of color was created by custom toning the Japanese Gampi paper before printing onto its surface.

Lisa Yuskavage

Bonfire, 2018
Intaglio with chine-collé on Ivory Revere Suede paper
15 1/8 x 12 5/8 inches (38.4 x 32.1 cm)

Lisa Yuskavage

Merlot, 2017
Intaglio with chine-collé on Ivory Revere Suede paper
16 1/8 x 13 7/8 inches (41 x 35.2 cm)

Lisa Yuskavage

Art Students, 2018
Intaglio with chine-collé on Ivory Revere Suede paper
16 1/8 x 13 7/8 inches (41 x 35.2 cm)
Lisa Yuskavage’s technical processes and inventive techniques have earned her far-reaching institutional support and her print works appear in important museum collections. The lithographs Ukrainian Shirt, Kingdom and Forces are all part of the Museum of Modern Art collection in New York.

Lisa Yuskavage

Ukrainian Shirt, 2001
Single color lithograph on Gampi Torinoko paper
30 x 22 inches (76.2 x 55.9 cm)

Lisa Yuskavage

Kingdom, 2006
Two (2) color lithographs on Gampi Torinoko paper
30 1/4 x 20 1/2 in (76.8 x 52.1 cm)

Edition of 42, 12 AP, 5 PP
Printed and published by Universal Limited Art Editions
Initialed, dated, and numbered recto

$5,000

Lisa Yuskavage

Forces, 2007
Four (4) color lithographs on BFK Rives paper
37 7/8 x 30 1/8 in (96.2 x 76.5 cm)
Lisa Yuskavage working on Forces. Photograph by Steve Schapiro, 2007. Image courtesy Universal Limited Art Editions.
Lisa Yuskavage working on Forces. Photograph by Steve Schapiro, 2007. Image courtesy Universal Limited Art Editions.

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