As The Devil Wears Prada demystified the world of high fashion, this funny and insightful debut novel dishes the crazy and captivating Manhattan art scene. When painter Jeffrey Finelli is run over by a cab, the art world clamors for the instantly in-demand work by the late “emerging artist”—especially an enormous painting called Lulu Meets God and Doubts Him.
Gallery receptionist and aspiring artist Mia McMurray fi nds herself at the center of the hype. She is an amused witness as a Birkin-toting collector, a well-muscled Irish artist, a real estate baron, and Lulu herself, the artist’s niece and muse, battle over the brand-new masterpiece. In the midst of the madness, Mia finds her own creative expression and artistic identity, not to mention love.
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Danielle Ganek has been an editor at Mademoiselle and WomanÂ’s Day magazines. She is a collector of contemporary art and photography. This is her first book.
In this enjoyably tart art world sendup, winsome, aperçu-spouting Mia McMurray (think Party Girl–era Parker Posey) is a gallerista—one of the invariably decorative young women who act as a gallery's de facto concierge, and "who is always, always watching," as Mia herself puts it. A mysterious portrait by the recently late Jeffrey Finelli (killed by an errant cab in front of Mia's Simon Pryce gallery) gives the novel its winningly clumsy title and sets up its main conflict, between grasping art collectors and representatives of Finelli's estate. Former Mademoiselle and Woman's Day editor Ganek, herself a significant art collector, offers sharply drawn characters and convincingly savvy details. That the book's most important female collector is presented as a loudmouthed and overdressed refugee from Absolutely Fabulous gives a sense of its waspish humor. But Ganek stops short of crude caricature, and Ganek's portraits of the variously sneaky, ridiculous and pretentious art world denizens are tinged with affection and depth. The tone is sophisticated chick lit, and there's a sweet love story threaded in, but what most clearly animates this debut, and sets it apart, is a real sense that art matters. (June)
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