Tara Ohanian stuns the ordinary with painterly wit and

Result #1

Tara Ohanian stuns the ordinary with painterly wit and vernacular humor. In her first solo exhibition, Ohanian showed four paintings, all from 2002. The paintings are a mishmash of collage, photography, and found objects, including a scrapbook of childhood photos and a toy crocodile, a bottle of pickles, and a bottle of paint. Ohanian is a big fan of the juvenile, the playful, and the ridiculous, and her works are filled with such things as photos of children, old photographs, and scraps of paper. In a photograph of a group of children, the artist has made a life-size stuffed crocodile out of a blue-and-white striped shirt. A second photo shows a group of children, dressed in their pajamas, at a picnic table. The caption reads: BABY CHICKS. The children are all grown and have grown into men and women, and the animals are all grown up. Ohanian has made a joke of this fact, and it is funny, too, because it is funny that the adults are all grown up. It is also funny that the adults are all grown up. Ohanians work is always playful and ironic, and her playful, ironic attitude is one of the few things that works in her favor.The other two paintings in the show, both 2002, are very funny, too. One is a collage of photographs of children, taken by Ohanian, and another is a photograph of a baby. The first one is a collage of photos of children, which Ohanian made by combining the images of children with the images of people. The second one is a collage of photos of a baby, which Ohanian made by combining the images of a baby with the images of a man. The collage is a collage, but one that is not a collage, and the collage is not collage, so the collage is not collage.

Result #2

vernacular artifice. The art world has been known to take its cue from the artists name, and it is a pleasure to see the effort paid by the curator of this show. For this reason, the show is a welcome addition to the long list of artists who have made it their mission to debunk the myth of the artist as an artist. Indeed, the curators have been careful not to allow this myth to be perpetuated. They have included only works that explicitly call themselves works of art. In this way, the exhibition is a very welcome and encouraging addition to the list.

Result #3

Tara Ohanian stuns the ordinary with painterly wit and vernacular style. Her work is a mix of the familiar and the unfamiliar, the quotidian and the surreal, and the mundane and the extraordinary. In this show, she exhibited two paintings, one made of paper, the other of wood, and one of her drawings of a male figure. The paper paintings, which are in black ink on white paper, are made up of a series of overlapping sheets of paper. The images on the paper are often similar to the images on the paper. One painting, for example, shows a man with a beak, a mask, and a beard, but with a beard and beak. The man has a hat on his head and a beard; the mask is a beard and the beard is on his head. The mustache on his face is a mustache; the beard is a beard and the mustache is on his face. The man is wearing a mask, and the mask is a mask. The man has a beard, and the beard is a mustache; the mustache is a mustache and the mustache is on the man. The mask is a beard and the beard is a mustache; the mustache is a beard and the mustache is on the man. The man is holding a mask and the mask is a mask. The man is wearing a mask and the mask is a mask. The man is holding a mask and the mask is a mask. The mask is a mask and the mask is a mask. The mask is a beard and the beard is a mustache; the mustache is a mustache and the mustache is on the man. The mask is a beard and the mustache is a mustache. The mustache is a beard and the mustache is a mustache. The mustache is a mustache and the mustache is a mustache. The mustache is a beard and the beard is a mustache. The mustache is a mustache and the mustache is a mustache. The mustache is a mustache and the mustache is a mustache. The mustache is a mustache and the mustache is a mustache.

Result #4

Tara Ohanian stuns the ordinary with painterly wit and vernacular charm. The works in her recent show are all made of paper, but the most striking is a group of paintings on paper, a group that seem to suggest a conceptual, proto-formalist painting. The drawings are a mixture of ink, watercolor, and pastel, and the surfaces are made of paper, but the surfaces are made of the same stuff, and the ink is painted over the paper with a brush. The drawings are a mix of drawing and decoration, and the paper is covered with layers of paper, paper, and ink.The drawings are a mixture of ink and watercolor, and the paper is covered with layers of paper, paper, and ink. The ink is a black ink, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The ink is a black ink, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink. The drawings are a mixture of drawing and decoration, and the paper is covered with layers of paper, paper, and ink.

Result #5

Tara Ohanian stuns the ordinary with painterly wit and vernacular humor. In her recent exhibition, she presented a series of sculptures and wall reliefs that use the formal language of sculpture to depict and comment on everyday life. The sculptures, which use found materials, are made of wood, metal, and wire, and are presented in a variety of styles and sizes. In one piece, a large wood block, a piece of metal, and a wire-and-wood sculpture all coexist in a single, central configuration. The blocks and the wire, which are arranged in a grid, function as independent sculptures, the wire acting as a support for the metal and the wood. The wood, which is also found, is carved and carved, and the wire and metal, which are found together, are all broken and bent. In a sense, Ohanian implies that the two materials are not separate, but rather share the same plane. Another work, a small sculpture of a box, a box with a hole, and a small metal box, all in the same style, are made of wood. The box is a wooden box, the wood a metal box. The sculptures are constructed of wooden slats, the wood a surface that has been cut, bent, and folded. The pieces are presented as though they were found objects, and as such, they are highly functional. They function as independent sculptures, and as such, they are highly functional. The sculpture is a box, the wood is a wooden box. The sculpture is a wooden box, the wood is a metal box. The sculpture is a wooden box, the wood is a metal box. The sculpture is a wooden box, the wood is a metal box. The sculpture is a wooden box, the wood is a metal box. The sculpture is a wooden box, the wood is a metal box. The sculpture is a wooden box, the wood is a metal box. The sculpture is a wooden box, the wood is a metal box.