
Has another week really passed? It seems so here in Art Ravel’s land, which has been hopefully busy despite a recurrence of hangovers.
Reasons to be hopeful:
1) Spring has returned to Manhattan and gallery hopping can commence again, as I document here. Sure, in between then and now we had some freezing days, but a thaw is coming. *Could also be a reason to be hungover.
2) YouTube’s content gets more fun by the minute. See Richard Serra shovel Vaseline under Mathew Barney’s direction. Not to be missed.
3) A new play by Moises Kaufman shows us how to make time stand still, in addition to its other good qualities.
4) In another exorbitant claim, a man has discovered the secret of beauty. *Could also be a reason to be hungover.
5)I said goodbye to Culture Pundits, and hello to cool art magazines.
6) Asking questions about Kara Walker, rather than critique, in a further positive, hopeful effort.
And so what do I think sums up this week, its hopes, its hangovers?
Lobsters, obviously. Why? Ask the Surrealists, or read Signs of Spring.
And I-iii-i will always lo-ove yo-ooooooooooooooooouuuuu!
Idiotically, I did not click on the ad. So I had to do some sleuthing to find artist Tara Giannini‘s
Based in Brooklyn, Giannini describes her work as exploring “the implications, limitations and individual perceptions of taste, beauty and excess in both art and culture, while simultaneously exploring my interests in overindulgence, visual complexity and ornamentation. It is a romantic and celebratory exploration into personal ideals of the beautiful, and the play that exists between the natural and the artificial.”
I love the thickness of the paint and lushness of the materials. While these works don’t quite have that creepy air of Victorian dolls, Giannini takes the same neo-Baroque, over the top aesthetic and pushes it until it’s on the cusp of breaking down. It’s interesting and sensual in an unpleasant way.