ARTLURKER

A Miami based contemporary art newsletter / blog

Jet Set Satruday: Liat Yossifor at Angles Gallery

Uniform, 2011. Oil on linen. From the series Performers From a Future Past. Image courtesy Angles Gallery.

One of the first things a young artist learns in painting is never ever to layout an entire spectrum when painting. Rather, a diligent student is supposed to carefully construct an under-painting and then group colors according to families creating a series of monochromatic bands on the surface of the mixing plate. The separation of colors is perhaps an idealized version of life and cultural identity itself, where rules like political boundaries are etched in the mind, but bear little physical resemblance to the actual lives of people struggling with location, ownership, and national identity. Liat Yossifor breaks the elementary rules of painting with the ease and might of a mud wrestler tangled up with the hegemony of both politics and painting. Her paintings initially read as semi-neutrals – mixtures of secondary and tertiary tints, tones and shades, muddled and scraped with mysterious implements. What is revealed when one totally slashes orderly boundaries is always surprising, and Yossifor’s show at Angles goes to new places as exciting for her as an artist as they are for her audience.

Installation view of Performers From a Future Past. Image courtesy Angles Gallery.

Installation view of Performers From a Future Past. Image courtesy Angles Gallery.

Installation view of Performers From a Future Past. Image courtesy Angles Gallery.

Yossifor has been pushing paint in monochromatic schemes for a while from her coming out solo show, “The Dawnig of an Aspect” at Susanne Vielmetter Projects to her more recent, “Falling Into Ends” at Anita Beckers Gallery in Frankfurt. In Her new show at Angles, “Performers From a Future Past” she demonstrates the extension of her systematic progression toward breaking down forms that she started after graduate school as a young artist who organized brushstrokes into rendered portraits. Now her figures appear as ghostly desert jinns or humid clouds of early modernist abstraction. The delights in Yossifor’s new work lie in the small incidentals like the scraffito revealed marble of viridian and magenta swept aside with her overwhelming pervasive gray. The sum total of an entire palette of color mixed together is far from black, it is a grey glob, a pasty eggshell, and above all else a thick odiferous swath of oil paint. No doubt these paintings are still wet as their smell hits this jet setter’s olfactory sense affecting a full-on flashback of long nights in the studio, parliaments, and glassy memories of painting with all of its history, recognition and anxiety[.]

For more information please visit: www.anglesgallery.com

This post was contributed by Mary Anna Pomonis.

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Jet Set Satruday: Liat Yossifor at Angles Gallery