Form Takes Effect - Un-ending Yad Vashem by Yishai Jusidman [White Wine Press No. 6]
White Wine Press No. 6
Yishai Jusidman, a Mexican artist living and working in L.A., uses Greenberg‰۪s writings to discuss the tensions between pictorial plane and plastic effect. In his second essay he argues that the Holocaust Monument at Yad Vashem should never be seen as completed.
In English and in Spanish. The book can be turned upside down and read in the reverse direction for the two different versions.
Yishai Jusidman (Mexico City, 1963) undertakes a wide array of traditional painterly concerns and deploys them in post-minimal frameworks. His intricate pictorial output calls forth XVII century portraiture and the modern monochrome; naturalist still-life and action painting; Renaissance oil/egg-tempera technique and the electrostatic digital print; optical delectation and the specific object. Jusidman lives in Los Angeles.
White Wine Press is a series of texts, one hundred being the goal, as an open project that seeks to wander a world. We are looking simply for those voices that have an urgency of saying. The artists are free to write about any subject, preferably about something outside the overwhelmingly present frames of their own work, or at least to come at the same in tangential fashion. In other words: state an interest.
The texts will be published in the original language and in an English translation. If the texts are written in English, they will be accompanied by a Spanish translation and thus cover two large linguistic areas. Our basic animal condition, as Charles Olson put it, is move/meant. We are now in movement and thank the artists for providing state/meant. There is no story that is not true.
80 pages, Softcover, 4.5 x 6.5 inches, 2007