Studio 2009

Curator: What’s immediately striking to you about Lisa Yuskavage's "Studio" from 2009, rendered with acrylic paint and gouache? Editor: The overwhelming green hue definitely sets a mood – a slightly surreal, dreamlike atmosphere. And the figures, especially with the one holding the paintbrush, it brings forth the idea of intimacy. I’m curious, what does this piece suggest to you, considering her background and use of materials? Curator: The materiality is central here. Yuskavage employs acrylic and gouache—accessible materials—challenging the high/low art divide. These aren't materials traditionally revered in academic painting, but she uses them to construct a space that's both sensual and unsettling. It makes you question the value we place on specific mediums. Look at the layering – do you see how the translucent gouache over the acrylic builds a kind of manufactured skin? Editor: I see it now, yes, how the layers add depth! I guess it speaks volumes about the body being a construct, almost like it is manufactured through the layers of paint. So do you think the subject matter is commenting on beauty standards maybe? Curator: Absolutely! Considering that, reflect on the gaze of these figures. What does it tell us about how women view themselves within the historically male-dominated world of art production? Editor: That makes perfect sense when considering who traditionally held power within artistic creation and the female form often being a sexualized subject. Curator: And don’t forget that the title itself, "Studio," forces us to confront the means of artistic creation. The act of painting becomes an act of production, one deeply embedded in cultural and economic power dynamics. What new perspectives did analyzing it from a materialist perspective give you? Editor: I never considered that the materials were such a strong part of the message. I thought that it was mostly just about portraying women’s sensuality. Curator: Exactly! It makes you rethink how the art object’s very existence is inextricably tied to the labor, materials, and consumption involved in its creation.