Artwork
Untitled

Untitled is an ink print by Lisa Yuskavage. It dates from 2015 and is held in the collection of the Museum of Modern Art.
About this work
Overview
Created in 2015, this untitled lithograph by Lisa Yuskavage is part of the Museum of Modern Art’s collection. Executed on a lithographic stone, the print presents a muted, atmospheric scene that continues the artist’s investigation of the human figure through the medium of printmaking.
Subject & Meaning
The composition features three women standing closely together in an open meadow, their elongated hair and intertwined forms suggesting a sense of intimacy and shared presence. A soft pink‑blue sky arches above, while a distant, barely discernible city skyline hints at an urban backdrop, lending the scene a liminal quality between nature and civilization.
Technique & Style
Yuskavage employed traditional lithography, drawing directly onto a stone surface with greasy ink that was then transferred to paper under pressure. The process yields subtly blurred edges and layered tones, giving the figures a translucent, almost spectral appearance that reinforces the work’s dreamlike atmosphere.
History & Provenance
The print was produced in New York and entered MoMA’s holdings shortly after its completion, reflecting the museum’s ongoing commitment to contemporary print media. Its acquisition underscores the institution’s recognition of Yuskavage’s contribution to modern figurative art.
Context
Within Yuskavage’s broader oeuvre, the lithograph aligns with her painted works that reexamine conventional depictions of the body. By translating these concerns to print, she expands the dialogue between painterly figuration and the reproducible nature of lithography, situating the piece within late‑20th‑century explorations of medium and representation.
Artist & collection
Artist
Lisa Yuskavage ( yə-SKAV-ij; born 1962) is an American artist who lives and works in New York City. She is known for her figure paintings that challenge conventional understandings of the genre.










