Kaitlin Phillips

  • Left: Bret Easton Ellis Periscopes artist Alex Israel. Right: Mario Testino with dealer Daniel Buchholz. (Photos: David Velasco)
    diary December 03, 2015

    Door to Door

    ON WEDNESDAY NIGHT I SAT, the lone New Yorker in a hotel room of an LA man and his LA friends, with the artist Alex Israel, who was lying on the couch wearing black sunglasses of his own design: “I was thinking about driving around and needing sunglasses in Los Angeles in the car. You’re driving. It made sense. Because it’s bright.” “High by the Beach” played on the stereo. Having basically written this very scene in 1985, in that first book with that first sentence—“People are afraid to merge on freeways in Los Angeles”—Bret Easton Ellis closed the sliding doors to the private terrace, and sat

  • Left: Dealer Andrea Rosen, collector Mera Rubell, and producer Tanya Selvaratnam. Right: Collector Don Rubell. (Photos: Neil Rasmus/BFA)
    diary December 02, 2015

    In the Land of Women

    “I USED TO BE A GYNECOLOGIST! I feel right at home,” jokes Don Rubell in the Rubell Family Collection sculpture court at brunch Tuesday morning, duly cosseted by Nathan Mabry’s supine woman; Mera, his wife of fifty-one years; a dozen “women artists and Instagrammers”; and his daughter Jennifer—or @jenniferrubell, woman-artist Instagrammer. It’s a fitting introduction to “No Man’s Land,” the family’s spectacular new exhibition boasting over one hundred female artists from twenty-eight countries. (Fitting, too, that the first thing Don ever said to me, after we were encouraged to pick up knives

  • Agathe Snow, Stamina, 2015, video, color, sound, 24 hours.
    diary August 28, 2015

    Search Party

    AT 6:37 AM on the taxi’s clock a week ago today, we went uptown to catch an off-hour of Agathe Snow’s Stamina. A twenty-four-hour video of a twenty-four-hour party in 2005, Stamina was being screened at another twenty-four-hour party, this one at the Guggenheim, with drink tickets and security guards and some parents. In one of the seven panels on screen a woman in a leotard danced, dedicated to the party shift no one wanted. In the rotunda of the museum, two male teens discombobulated themselves on the disco floor, having the most amazing of times, but in a few years they’ll know that isn’t

  • Left: Rhizome digital conservator Dragan Espenschied. Right: , FEMICOM museum founder Rachel Simone Weil. (Photos: Rhizome)
    diary April 29, 2015

    ROM Com

    RECENTLY RHIZOME threw a panel to celebrate the online restoration of the germinal feminist CD-ROMs of video game designer, artist, popular blogger, and—by the time she committed suicide in 2007—conspiracy theorist Theresa Duncan.

    The panel was less than rigorous, but it did little to mar the truly fantastic, usable product created by Rhizome that we were enthusiastically celebrating: Any lady noodling on her computer at work can now access an outmoded operating system—via an “online emulation infrastructure”—to play Chop Suey (1995), Smarty (1996), and Zero Zero (1997), Duncan’s idiosyncratic

  • Left: Steven Weiner, Fab Five Freddy, Art Production Fund cofounder Doreen Remen, and Stuart Sundlun. Right: Artist Leo Villareal and Art Production Fund cofounder Yvonne Force Villarreal. (All photos: Billy Farrell Agency/bfanyc.com)
    diary April 07, 2015

    Gang Shebang

    LAST TUESDAY, I listened happily as a woman expounded on the “civilizing effects” of socializing in a taxidermy-friendly room of “people over thirty-five.” We both had had enough of parties full of “so-called young collectors.” Then I tripped over a small, obviously feral child. (In his mother’s defense, which I will not come to, he was wearing a suit.)

    Still, the Art Production Fund’s “Gangs of New York” gala was satisfyingly stacked with representatives from all the heavy-hitting cliques, and not just the art world’s. Liv Tyler! Cathy Horyn! Even AOL’s mascot Shingy. No one had heard of the

  • Left: Artist Tom Sachs. Right: Creative Time artistic director Anne Pasternak with designer Waris Ahluwalia. (Photos: Christos Katsiaouni)
    diary November 24, 2014

    Sleep No More

    CREATIVE TIME is a venerable nonprofit arts organization that is literally forty-one years old, so if Friday night’s Fall Ball sleepover felt like a Sweet Sixteen party planned by an overanxious momma, we’re not being mean, just insensitive. We arrived at Neuehouse a little before 10 PM, or two hours after start time. The party would go until 8 the next morning. Dinner was over and beginning again; salmon and salad and wild rice, exactly right for the art world’s pre–South Beach diet, were served in quantities larger than the crowd. Yet around the corner, a line was winding up for red beans and