Drunk Emily
Tom Burr owns the foppish gesture, regardless whether he birthed. Despite it’s cliche as “emblem of Contemporary Art,” Burr’s dramatized version is the best. The objects obtaining a cartoon caricature-esque quality, iPhone icons of contemporary art, somehow losing the sharp imperfection of real objects. The reckless arrangement attains a rigidness opposing the lesser artists' rigid attempts to feign recklessness. The starch pressed severity make the attenuation towards the diaristic details all the more fetishistically perverse and good.
