Born in 1962 in Philadelphia, Lisa Yuskavage is an American painter with controverse artistic paintings reposting sexist women figures. She received her B.F.A. from the Tyler School of Art, Temple University in 1984 and her M.F.A. from the Yale University School of Art in 1986. She lives and works in New York.
See also Nude photography By Shae DeTar HERE!
Lisa is a painter with a director’s sense of narrative and character. She cates alternate worlds populated by an ensemble of defiantly hypersexualized babes seen through a mutable gaze that, while female, often postures as a male gaze for kicks. Her paintings are like an improbable zone at the intersection of the European painting tradition, religious iconography, porn, and, I’ll argue, performance art. Most probably, given its origin in the early ’90s, so have you.
Yuskavage was once famously accused of being “too much.” To this we owe her artistic breakthrough. Psychoanalyst Adam Phillips’s thoughts on being too much inevitably come to mind: “we are too much […] because we are unable to include so much of what we feel in the picture we have of ourselves.” From this hot spot at the junction of psyche and picture-making emerge Yuskavage’s pinups. They irritate and enthrall viewers precisely because they refuse to be pinned down. We’re perplexed by their sexual orientation; are they hetero, lesbian, or bi? At once gorgeous and grotesque, frivolous and multilayered, debauched and coy, self-engrossed and pleased with themselves yet forlorn and longing for someone to regard them, Yuskavage’s animated fictions do quite a number of things unambiguously. They beckon and confront us with the problem of looking, as in the flasher to the voyeur: “What are you looking at?”
Meet also SENSUAL POLAROIDS BY HELMUT NEWTON HERE!
Author: Dídia Sousa