{"id":170,"date":"2026-05-23T11:35:59","date_gmt":"2026-05-23T11:35:59","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=170"},"modified":"2026-05-23T11:35:59","modified_gmt":"2026-05-23T11:35:59","slug":"the-verve-and-confrontation-of-lisa-yuskavages-naked-ladies","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=170","title":{"rendered":"The Verve and Confrontation of Lisa Yuskavage\u2019s Naked Ladies"},"content":{"rendered":"
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You\u2019re reading Critic\u2019s Notebook<\/strong>, our weekend column looking at the most interesting moments in the cultural Zeitgeist.<\/em><\/span><\/div>\n<\/div>\n

The Austrian artist Valie Export, who died last week, at the age of eighty-five, saw the female body as a site of both seduction and opposition. Starting in the late nineteen-sixties, in her performance-art pieces, Export wielded her own sexual appendages like weapons\u2014keenly and audaciously. In \u201cAction Pants: Genital Panic\u201d (1968), she walked around a movie theatre in crotchless trousers, her naked vulva at the audience\u2019s eye level. (A photograph by the same title, from 1969, shows her wearing the pants, her gaze trained straight on the camera and a machine gun cradled in her arms; a profusion of pubic hair sprouts from between her spread legs as a kind of dare.) In \u201cTap and Touch Cinema\u201d (1968-71), Export took to the streets of Vienna and other European cities with her bare breasts encased in a curtained-off box, inviting passersby to reach in and have a squeeze, for a brief, strictly measured span of time. Attracting and menacing her viewers in equal measure, she compelled them to engage with her body while also challenging this very engagement. What does it mean to observe women\u2019s bodies, Export asked, whether for edification, or pleasure, or titillation? Might there be something aggressive or wrong about this act of observation, and might we expect the woman being observed to then take this aggression and wrongness and flip it, metabolize it, make it into something altogether new\u2014perhaps, even, into art?<\/p>\n

Read more What\u2019s Missing from Belle Burden\u2019s \u201cStrangers\u201d<\/a><\/p>\n

I happened to learn of Export\u2019s death as I was entering Lisa Yuskavage\u2019s new exhibition at the David Zwirner gallery in Chelsea\u2014a coincidence that felt oddly resonant. Though Export\u2019s radical feminist art grew out of a particular political moment that had pretty much passed by the time Yuskavage began her career, the artists nonetheless share a rabble-rousing sensibility and an obsession with the unnerving visual punch of the female body. Yuskavage, who is now in her sixties, began showing her paintings in the nineteen-nineties, and has since become one of the most important\u2014and certainly one of the most successful\u2014American figurative painters working today. Still, her art wasn\u2019t always considered a shoo-in for the contemporary canon. In a Profile of Yuskavage, published in this magazine in 2023, my colleague Ariel Levy traced the artist\u2019s struggle in the earlier years of her career to gain recognition for her work, largely because of the trickiness of her perennial subject matter, which Levy defined as \u201ca particular kind of naked lady.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The history of art is littered with naked ladies, of course, from Botticelli\u2019s \u201cBirth of Venus\u201d to Ingres\u2019s \u201cGrande Odalisque\u201d to Picasso\u2019s \u201cNude Woman in a Red Armchair,\u201d but Yuskavage\u2019s ladies are, indeed, of a particular kind, and could quite easily be taken for what the artist\u2019s husband, Matvey Levenstein, jokingly called \u201cstroke material for the patriarchy,\u201d in Levy\u2019s Profile. Nude or near-nude, pert or pendulous of breast and bare or near-bare of pudendum, these women\u2014rendered with great verve and skill, mostly in oils, but, occasionally, in pastels, graphite, collage, or watercolor\u2014are sexy in a pornographic, girly-mag sort of way. (To characterize her figures further, my above use of \u201cbreast\u201d and \u201cpudendum\u201d could and perhaps should have been swapped out for \u201ctit\u201d and \u201cpussy,\u201d the more appropriate terms here.) These women are the sloe-eyed Penthouse<\/em> Pets and ditzy \u201cLaugh-In\u201d go-go dancers and buxom and bouffant Little Annie Fannies that Gen X-ers like myself would catch startling, enticing glimpses of as children when we thought the adults weren\u2019t looking. Depicted as tropes rather than as subjects, the women in Yuskavage\u2019s paintings have always reminded me of an old magazine interview with Courtney Love, in which she described her days as a stripper in Los Angeles in the eighties, before she made it as a musician, and explained the conventional economics of the whole endeavor. \u201cIf you even try and slip a little of yourself in there you won\u2019t make any money,\u201d she cautioned. \u201cYou\u2019ve got to have white pumps, pink bikini, fuckin\u2019 hairpiece, pink lipstick. Gold and tan and white.\u201d<\/p>\n

Gold and tan and white: these heady, glittering chromas are metaphorically definitional for Yuskavage, even when, literally speaking, she expands her palette much wider, to include reds and greens, blues and yellows, as she does in the Zwirner show. Still, her figures\u2019 blond-and-rose bodies continue to effortlessly capture our eye in their baby-doll come-hitherness. Their easy, hedonic seductiveness emerges, too, via Yuskavage\u2019s lush, rounded, fleshy brushstrokes (a different sort of stroke material, for the patriarchy or for anyone else), which render everything from boobs to bellies to nipples smooth and swollen, like a succulent fruit fixing to burst.<\/p>\n

Read more Is the Working Class Finally Turning on Trump?<\/a><\/p>\n

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In the Zwirner exhibition, these women are almost always depicted inside of an art studio. Often, they appear to be models, standing alone or in a group, as if in mid-pose, or waiting between poses. Sometimes, they seem to be artists themselves, although their approach toward the canvas is more languid than intentional. And sometimes they are joined in the space by a fully clothed, brown-haired woman\u2014seemingly an avatar for Yuskavage herself. Brush in hand, she is dwarfed by huge canvases within the paintings on which bare-breasted figures are in the process of emerging\u2014a waiflike handmaiden hard at work at the feet of her American Helens of Troy. In \u201cPainter Painting,\u201d from 2024, her smocked figure, standing in front of a portrait in progress, almost literally bisects two enormous painted tits, like a humble human bra clasp. Only in \u201cSelf Portrait: Red Yellow Blue,\u201d from 2025, does her bespectacled, sandals-wearing person seem to be painting another version of herself\u2014a grave-looking brunette wearing a schoolmarmish green turtleneck\u2014as three perky-boobed models stand in the background, staring indifferently into space.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Both within the canvas and without it, Yuskavage is playing with familiar figures of twentieth-century American sexual fantasy. Like Love\u2019s version of a clever stripper, these women don\u2019t seem to be slipping even a little bit of themselves in there; and yet the fact that they make for beautiful, blank objects is, paradoxically, what makes for their staying power. There they are, popping up again and again, in canvas after canvas, like a random intrusive thought that refuses to go away, or a masturbatory fixation that both disturbs and excites. In the left canvas of the large triptych \u201cEndless Studio (portal),\u201d from 2025, a young woman in profile\u2014wearing only skimpy underwear and thigh-high socks\u2014carries a steaming mug of something or other through an atelier, the curve of her belly parallelling the magnificent tail of a peacock at the edge of the painting. The woman\u2019s one visible breast is, surprisingly, nearly flat, but her nipple is round and oversized and rosy, like a Christmas-tree ornament or a clown\u2019s rubber nose. In her paintings, Yuskavage often depicts round beads or globes\u2014the triptych\u2019s right canvas, in fact, includes one green and one yellow ball, rolling on the studio floor\u2014and it\u2019s not difficult to imagine these as appendages or costuming props. Like Bozo putting on his circus getup, Yuskavage\u2019s girls clock in at the studio, slapping on their socks, their panties, their outsized nipples. Then they stand there, looking mute and disaffected. They are both the weakest (they\u2019re all surface, they can\u2019t speak) and the most powerful (they fill our heads to bursting). We hate naked ladies and we love them, we revile naked ladies and we venerate them, and not unlike Valie Export in her work Yuskavage makes us confront this doubleness.<\/p>\n

I continued to think about this conundrum as I caught up a few days ago with the third season of Sam Levinson\u2019s lurid HBO drama \u201cEuphoria.\u201d In the fifth episode, Cassie, played by Sydney Sweeney, has embarked on an increasingly successful OnlyFans career. The classic sexy, big-boobed American blonde\u2014a Yuskavage girl look-alike\u2014Cassie engages in all manner of online sex work. She teases her subscribers by recording jerk-off-instruction videos, sells them her soiled underwear, and poses nude or nearly nude for explicit pictures. In a sequence early in the episode, Cassie is creating O.F. content in her bedroom to satisfy her hordes of horny followers, when she suddenly begins to grow enormous, like the titular protagonist in the nineteen-fifties B movie \u201cAttack of the 50 Foot Woman.\u201d Now huge, she emerges from her home to wander the streets of downtown Los Angeles in a leopard-print bodysuit, her heavy footfalls terrorizing fleeing passersby, and her flaxen ponytail swatting a police helicopter attempting to stop her. Approaching one high-rise, she spies an office drone masturbating to a video of hers on his computer. As she pushes her bare bosom against the man\u2019s window, he rushes to lick her nipples through the glass, until the weight of her breasts breaks it, sending the man flying back helplessly in a spray of shards. In the so-called real world of \u201cEuphoria,\u201d Cassie isn\u2019t doing that great. Her husband manipulates her, her best friend hates her, her sister derides her; her entire existence is thin and precarious. And yet, in the world of American fantasy, she is paramount. \u201cShe knew this was her destiny,\u201d the show\u2019s voice-over intones, as Cassie stomps on, toward the Hollywood sign. \u201cTo triumph. To conquer. To win.\u201d We couldn\u2019t ignore her if we tried.\u00a0\u2666<\/p>\n

Read more Dana White Thinks Everyone\u2019s a Fighter<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The women pop up again and again, in canvas after canvas, like a random intrusive thought that refuses to go away, or a masturbatory fixation that both disturbs and excites, Naomi Fry writes.<\/p>\n","protected":false},"author":1,"featured_media":169,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[],"class_list":["post-170","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critics-notebook"],"yoast_head":"\nThe Verve and Confrontation of Lisa Yuskavage\u2019s Naked Ladies - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=170\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Verve and Confrontation of Lisa Yuskavage\u2019s Naked Ladies - 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