Without changing much, Yuskavage’s most recent paintings at Zwirner are miles better. Yet the points the artist raised often seemed primarily conceptual and the greasy surfaces and exaggerated light seemed contrived, unpleasant. Its eroticized Kewpie doll girls and pornographic tropes enveloped in a saccharine monochromatic atmosphere effectively conveyed the male inability to see women as anything but sex objects, as well as the damage this outlook visits upon both the see-er and seen. I used to respect more than like Lisa Yuskavage’s work. All of which makes them very satisfying to visit and mull over, especially in the ways they deal with the lives of women.
We get to see what’s utmost on their minds as reflected in markedly different, and improved, work fresh out of the studio, often completed during the pandemic. Three of the most exciting gallery shows right now present the latest efforts of well-known artists: Lisa Yuskavage in Chelsea, Mickalene Thomas on the Upper East Side and Alison Elizabeth Taylor in TriBeCa. Going to galleries is on one level a search for such signs of growth and the cultural optimism they engender. Even having art fairs arrive inconveniently early this year, during Labor Day week, didn’t dampen things.Īs usual, much of the buzz of a new season derives from gallery solos which reveal individual artists making changes and taking new risks.
There’s a back-to-school excitement as galleries reopen, sometimes at new addresses, usually with new shows. Autumn tends to be a great time in New York City’s art world.
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