Yuskavage, Lisa (geb. 1962 Juniata Park, Philadelphia (USA) )
:::::::: >girly grotesquerie< by Peter Schjeldahl | Text only
- geb. 1962 Juniata Park, Philadelphia .PA (USA)
- Philadelphia High School for Girls
- 1982 Tyler School of Art, Temple University,Philadelphia - BFA
- 1986 Yale School of Art - MFA
-1990 Debut at Pamela Auchincloss Gallery,NY ( "Truly Yous -Paintings ")
-1991 "The Gifts-Paintings"
-1993 , Elizabeth Koury Gallery, NY
-2003 Marianne Boesky Gallery NY
2004 Greengrassi, London
SITE Santa Fee >Disparities and Deformations, Our Grotesque<
lebt in NY
Über ihre Werke: Yuskavages Gemälde sind kitschig und pervers, zB. " Tit Heaven" (1992) " Kleiner Wichser" (1996) oder das Gemälde >Hamass<. Gemalt in der Technik und Malstil von Rokokomalern , wie Fragonard und Boucher oder von Spitzweg stellen die Gemälde "Penthouse-Mädchen des Monats" aus dem gleichnamigen Magazinen der 70ger Jahre dar oder wie Illustrationen auf dem Playboy. Ihre seit 1995 gemalten Bilder von Mädchen und jungen Frauen verstoßen gegen alles was der Kunst bislang heilig war und zeigen darin eine Umarmung des Kitsch wie sie vor ihr schon Jeff Koons manifestiert hat. In der Technik der Altmeister, in der Farbigkeit des Rokokos und in der Inhaltlichkeit von Männermagazinen und Softpornos und sehen wir Personen ohne Nase und karrikaturhafter, monstöser Körperlichkeit die in einer morbiden Zone zwischen Disney Caroonfiguren , Mangas und Zombies schweben und jedem guten Geschmack ins Gesciht schlagen. Die Autorin Tamara Jenkins formuliert in der Biographie >Lisa Yuskavage<, Abrams Books,2004 :
" In a series of Lisa`s paintingsd called Bad Habits,a mutant race of swaybacked women and erotic barbies apperar with bloaded bellies, missing limbs and nipples pointing impossibly skyward. Others are cursed with nightmarish deformities that prey on womens´s fears about losing control over their bodies"
Die dargestellten Frauen sind monströse Barbies, die die Kontrolle über ihren Körper verloren haben, der durch Schönheitsoperation oder Lebenswandel entstellt ist, unklassisch in den Proportionen, asymmetisch aber sehr erotisch. Ihr Werk scheint eine adäquate weibliche Sicht auf die Welt - im Bezug zu Paul McCarthy oder zu Robert Crumb -zu sein .
Ab 1995 finden ihre Bilder beachtung und erreichten ab 2000 Rekordsummen.
Looking at Yuskavage's paintings, I am reminded of the way I feel about America when I return home after living abroad. I am overwhelmed by the lush fecundity the license, the writ too largeness, the abrasive vulgarity. The finesse of Yuskavage's paintings is her rejoinder to these qualities in our culture. Her corrective to too much too fast too big is to make pictures at a rate of five or six a year that aspire to rival the great masters. Thoughtful, scrupulously prepared, exquisitely painted, they ask to be regarded with the same kind of attention as the masterpieces of the grand tradition from which she has learned.
With her technique, she makes it clear that craftsmanship is as important to her as to any painter of the Renaissance. She prepares a composition with numerous drawings, in the same way as the masters in the academic tradition. There is nothing of the accidental or spontaneous in her final product, and, with this evident premeditation, she opens the ironic gap between her ignoble actors and her noble treatment of them. As part of her laborious preparation, in imitation of sixteenth-century painters like Jacopo Tintoretto, Yuskavage makes three-dimensional models of her figures. We are told that Tintoretto made clay figures and then placed them on a little stage, where he could adjust the lighting and study them from various angles and in relation to the other figures in a composition. In fact, the Venetian probably learned this technique in central Italy from his hero, Michelangelo. When he needed to design some four hundred poses for the Sistine Lost Judgment, Michelangelo created small wax figures that he could warm in hot water and mold into the desired poses. He could then study them in various lights. This technique obviated the need for studies of the live model, and when those figures were painted, he could reshape and reuse the figurines. Yuskavage makes her maquettes of cast hydrocal, and they are larger than I imagine Tintoretto's or Michelangelo's to have been (but who knows? None has survived). She, too, uses them to study light: "to get 'real' light," she says. She discovered that when Thomas Hart Benton used maquettes, he had his model take the pose of the sculpture, so she has included this step in her process. She photographs the models; then, she may draw from the photo in ink, or pencil, or pastel. The use of photographs seems to me to help her get the right distance. She does not want immediacy, only the illusion of immediacy Sometimes, she is inspired by Degas to make monoprints. There are examples in the exhibition of all these paths to the finished work. And we can see that there are even times when the study becomes the finished work.
Light for Yuskavage is alchemical. Like her great Venetian forebears, she finds in light the power to transform the visual image, to imbue it with mood. Like Lisa, who wanted to reproduce here Giovanni Bellini's San Zaccaria altarpiece, I, too, find it a very moving piece, because of its light. ( )
by ICA Institute of Contemporary Art, Philadelphia http://www.postmedia.net/01/yuskavage.htm
Werke von Lisa Yuskavage sind u.a.:
Blonde, Brunette, Redhead, 1995 / oil on linen / triptych, each: 36 x 36 " ::
Big Blonde Squatting, 1994 /oil on linen /72 x 72 "
Lisa Yuskavage Tamara Jenkins , Abrams Books, 2004