Lisa Yuskavage (b. 1963) Importance Of Associ - Nov 10, 2005 | Phillips In Ny
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LISA YUSKAVAGE (b. 1963) Importance of Associ

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LISA YUSKAVAGE (b. 1963) Importance of Associ
LISA YUSKAVAGE (b. 1963) Importance of Associ
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LISAYUSKAVAGE(b. 1963)Importance of Association.Signed, titled and dated "Lisa Yuskavage 1997 Importance of Association" on the reverse. Oil on canvas.31 ¨û x 16 ¨û in. (79.1 x 41 cm).Executed in 1997.Provenance
Marianne Boesky Gallery, New YorkIn her paintings, Lisa Yuskavage focuses on the allure of exaggeration and fantasy in an aggressive and sexual recreation of the rules governing the depiction of the female body. Yuskavage employs a system of anatomical distortion that transforms her female subjects into biological impossibilities and her painted women become both seductive and unsettling. While the subject matter of her work is provocative and at times disturbing, the formal qualities are enticing. Yuskavage manipulates paint in a style that synthesizes abstraction and representation, and skillfully quotes from and refers to a wide range of art historical periods in her artwork.

With her technique, it is evident that craftsmanship is as important to Yuskavage as to any Renaissance painter. She prepares a composition with numerous drawings, in the same way as the masters in the academic tradition, nothing is accidental or spontaneous in her final product. With this evident premeditation, she opens the ironic gap between her ignoble actors and her noble treatment of them. Moreover, light for Yuskavage seems to hold the power to transform her images and imbue them with calculated erotic and, at times almost sinister moods.

Her figures can have enormous breasts, nipples or buttocks, soft curves and supple skin; they can be shaped like columns, have distended bellies or startlingly abbreviated features or limbs.When they are prim and proper, they wear high-necked nightgowns that suggest little gothic fortresses. In Importance of Association, 1997, Yuskavage juxtaposes two very different female images; the elongated column sculpture of a bust of a woman which is supposed to represent Yuskavage's shrink, seeming very austere and stern, and a naked woman, sensually leaning against her billowing robe, the woman's only clothing consisting of knee high stockings and a long pearl necklace. The seductive colors of the work further emphasize the nakedness of raw flesh against the very uptight and conservative flow of robes. Yuskavage is working in the minefield of male sexual fantasy seen from a woman's perspective, while also metaphorically exploring issues of self-inquiry, scopophilia and grotesque desire. Fusing private and public, Yuskavage offers guilty pleasures to consume and challenges the viewer with full disclosure.
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LISA YUSKAVAGE (b. 1963) Importance of Associ

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