Yishai Jusidman
Lives and works in
(b. 1963 in Mexico City, Mexico; lives in Los Angeles, U.S.A.) In Yishai Jusidman’s series Astronomer, 1987–90, he copied onto spherical surfaces the naturalistic landscapes of masters of the genre: the nineteenth-century Mexican artist José María Velasco, the impressionist Claude Monet, and the eighteenth-century British pastoral painter John Constable. The spherical form of the paintings point to the original eye and to the gaze (that of the painter) on a now-unattainable land. The flat picture plane of the painting, stretched out on a convex surface, also alludes to the deformation implicit in seeing. In these works the experiential confrontation with a place is reorganized into a form of Western representation preoccupied with parsing, subdividing, and regulating both the experience and the site. These unnatural operations, taken together, are known as “landscape.”
(b. 1963 in Mexico City, Mexico; lives in Los Angeles, U.S.A.) In Yishai Jusidman’s series Astronomer, 1987–90, he copied onto spherical surfaces the naturalistic landscapes of masters of the genre: the nineteenth-century Mexican artist José María Velasco, the impressionist Claude Monet, and the eighteenth-century British pastoral painter John Constable. The spherical form of the paintings point to the original eye and to the gaze (that of the painter) on a now-unattainable land. The flat picture plane of the painting, stretched out on a convex surface, also alludes to the deformation implicit in seeing. In these works the experiential confrontation with a place is reorganized into a form of Western representation preoccupied with parsing, subdividing, and regulating both the experience and the site. These unnatural operations, taken together, are known as “landscape.”