The Goon Line 027: Liana Finck

Listen, these aren't all going to be deep cuts. I'm like three emails away from recommending that you “try using Google" to search for something on the internet. (Stay tuned for my uproarious April Fools’ Day edition next week, when I will suggest to you the Gangnam Style video, that Pete Wells Señor Frog’s review and “Charlie Bit My Finger.”)

Anyway, in case you have not yet encountered her work, allow me to recommend Liana Finck. I have long found her art to be poignant and funny and beautiful. We had this print hanging in our house in Austin (part of a triptych that also featured this piece from Christopher David Ryan, and this one from Emma Jon-Michael Frank; the three together really said a lot about our family's whole vibe.)

Much of Finck’s work lately has displayed a public, vulnerable and refreshing grapple with how to juggle a spouse, a child, an animal, a home, a job and a self; I am not a parent, but so much of what she publishes is remarkably resonant for me, still. (She’s got two books on the subject of two-plus-beings-per-family, specifically, that have been or will soon be released in 2024; How to Baby and You Broke It!).

But, children notwithstanding/nonexisting: If you are into meditations about art, middle age, living sensitively in a loud world, responsibility, anguish, gender, religion, parenting, adulthood, anxiety, coffee shop etiquette or any combo of the aforementioned, check out her Instagram, Substack, New Yorker contributions or books. She’s among the artists who are most salient for me these days, and maybe she’ll ring a bell with you, too.

And if not, just go watch that Weapon of Choice video again already.