| For decades, the painter has provoked viewers with raunchy, virtuosic, mysterious images.  Art work © Lisa Yuskavage / Lisa Yuskavage, “Golden Studio,” (2023) / Courtesy the artist and David Zwirner In a rollicking new Profile in this week’s issue, Ariel Levy takes on the career of the painter Lisa Yuskavage, whose work, she writes, “has ranged widely, from small watercolor still-lifes of flowers, fruit, and nipples to huge, eerie landscapes, which feel like a dream where you’re not sure if you want to stay forever in the land of erotically tinged weirdness or wake up before something unspeakable happens.” Yuskavage’s work hangs in the Metropolitan Museum of Art and at MOMA, and her largest paintings now sell for more than two million dollars. But she remains a controversial, and confrontational, artist. As one of her fellow-painters describes it, “Lisa’s paintings call out in a fairly irresistible way, which is maybe one of the reasons that people have so much trouble with some of them. I mean, you’ve kind of got to say, ‘Is there something wrong with me? Or is there something wrong with that picture?’ ” Yuskavage herself, speaking of her desire to confound the art world, is, characteristically, more blunt. “I’m Little Miss Underestimated,” she says. “They think I just do the tits.” Support The New Yorker’s award-winning journalism. Subscribe today » | 
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