The Paint Shop


Kremer Pigments

It looked unusual at first glance, so I returned again to look more closely.  The store was small and narrow and the front window was lined with small vials of powdered paint pigments, placed in a consistent rainbow-like order. Boris Groys’ suggestion of grinding up the paintings made by great masters immediately came to mind.  But had painting truly reached its end with the internet, technology and the unending appropriation process? 

Lisa Yuskavage presented seven new, large-scale paintings at the David Zwirner Gallery last Fall that posed a solid metaphor between the erotic, feminine nude and the surface of the undisturbed wild landscape.  While oil-painted playboy nudes are the artist’s signature, her previous paintings articulated representations of nature as nothing other than a prop, much like the artificial scrim used in a photographer’s studio. 

The Mound, 2011 by Lisa Yuskavage; oil on linen 84 x 72 inches (213.4 x 182.9 cm)

Yuskavage’s new paintings, however, draw more heavily from the history of Northern Renaissance landscape painting, particularly Pieter Bruegel and Hieronymous Bosch, while rendering forms that echo repeatedly with the colorful, empty and unpredictable terrain.  Moving into the back of our minds, Yuskavage has finally found the way to play with potent, dreamy desires while renewing painting as an arena full of unexpected possibilities

Share Button
This entry was posted in Essays. Bookmark the permalink.

Leave a Reply

Your email address will not be published. Required fields are marked *

5 + three =