Linda Yablonsky

  • Left: Musician Neil Tennant with dealer Maureen Paley. (Except where noted, all photos: Linda Yablonsky) Right: Dealer Marian Goodman. (Photo: Toby Stoneham)
    diary October 17, 2014

    Live and Let Live

    BECAUSE ART FAIRS are truly the context of no context, the best part of Frieze London is what isn’t there. Over the last week, the fair’s greatest by-product has been the surfeit of exhibitions in the city’s galleries and museums. For fairgoers on the prowl, it’s been all about dressing up with everywhere to go.

    With Frieze opening to VIPs on Tuesday, a day earlier than usual, the week began on Monday afternoon with a chops-whetting dash across London from the ICA (for a complex show by Neïl Beloufa), north to the Zabludowicz Collection’s new installation of Ryan Trecartin and Lizzie Fitch’s

  • Left: Dealer Sadie Coles with artist Anish Kapoor. Right: Dealer Shaun Caley Regen with artist Matthew Barney. (All photos: Linda Yablonsky)
    diary October 13, 2014

    First Wave

    FORGET RADICAL THINKING. To be avant-garde today means being first out of the gate. Last Friday in London, for example, the Sadie Coles, David Zwirner, and Herald Street galleries threw the switch on Frieze Week three days early. Absent the nattering crowds and competitive pressures of the art fair, all three openings—for shows by Matthew Barney, Kerry James Marshall, and Ida Ekblad, respectively—were actually fun, and definitely put best feet forward.

    Marshall’s emblematic debut with Zwirner at the dealer’s Grafton Street townhouse made the art of figurative painting seem vital again, even

  • Left: Chicago Mayor Rahm Emanuel and MCA director Madeleine Grynsztejn. (Photo: Jim Prisching / MCA Chicago) Right: Bryan Ferry performing at Museum of Contemporary Art Chicago. (Except where noted, all photos: Linda Yablonsky)
    diary September 26, 2014

    Chicago Hope

    WHO WOULDN’T WANT TO COME TO CHICAGO? That question, posed by a Windy City dealer last week on the eve of EXPO Chicago, begged a querulous reply. Why choose Chicago when the doors to New York, Los Angeles, London, Paris, Mexico City, and more exotic places are open? “Chicago is not an international city,” the woman conceded. “It is a great American city.”

    Point taken. We were on the rooftop terrace of the Art Institute of Chicago, at a dinner that followed the opening of “Sarah Charlesworth: Stills,” dwarfed by the mighty skyline lit up around us. We were seated at two long tables with the late

  • Left: Artist Rob Pruitt and publisher Brendan Dugan. Right: Artist Kembra Pfahler.
    diary September 22, 2014

    Second Coming

    PEOPLE IN THE ART WORLD say that the reason openings in Chelsea have become so overcrowded is because people who are not in the art world have heard that they can get free booze there. Whatever the explanation, walking between receptions—and sometimes within a single gallery—now means stepping to the rhythm of a traffic signal: Walk/Don’t Walk, Walk/Don’t Walk. Look/Don’t Look. Walk.

    That’s how it went during the fall season’s second week in action, starting with Tuesday, September 9, when the David Zwirner and Greene Naftali galleries held openings a few blocks and a thousand conceptual miles

  • Left: Artist Rachel Feinstein, Mike Bailey-Gates, and India Menuez. Right: Artist Ryan McGinley. (All photos: Linda Yablonsky)
    diary September 10, 2014

    There Goes the Neighborhood

    EVERY YEAR, for the two weeks following Labor Day, the art and fashion worlds own New York. Runway shows overlap with gallery openings and gallerinas keep pace with modelistas. Last Wednesday, September 3, Rachel Feinstein colluded with the Marianne Boesky and Gagosian galleries, Marc Jacobs, Art Production Fund, and Performa to merge the two worlds with a single, season-starting event that painlessly outclassed the art parades of yore.

    Dubbed “The Last Days of Folly,” Feinstein put it together for the closing of Folly, her summer-long exhibition of public sculpture in Madison Square Park. (

  • Left: Whitney Museum director Adam Weinberg with artist Jeff Koons. Right: Scott Rothkopf, associate director of programs at the Whitney Museum, with collectors Jennifer Rubell and Jason Rubell. (All photos: Linda Yablonsky)
    diary July 01, 2014

    All Dogs Go to Heaven

    TIME AND AGAIN, Jeff Koons has said that his art is all about “transcendence,” that he wants it to help people feel good about themselves. Last Tuesday night, during an exclusive patrons’ preview of “Jeff Koons: A Retrospective” at the Whitney Museum, he achieved that goal a few hundred times over, while giving the Whitney the perfect kiss-off to its Marcel Breuer building on Madison Avenue. Whatever could the museum do to top it, except start over somewhere else?

    “Have you been upstairs?” asked the Argentine real estate developer Eduardo Costantini—one of two collectors present who each paid a

  • Left: Photographer Juergen Teller. Right: Collectors Diana Widmaier-Picasso, Lieta Joannou, Dakis Joannou, and artist Maurizio Cattelan. (All photos: Linda Yablonsky)
    diary June 28, 2014

    House of Style

    SUMMER CAMP started early this year with a weekend of post-Basel R & R in Greece. Actually, the Swiss fair was still in progress when the first escapees arrived in Athens last Friday. With hardly a stop for breath, artists, collectors, and curators were whisked away to supercollector Dakis Jouannou’s Deste Foundation for the opening of “Macho,” an exhibition of self-portrait photographs by Juergen Teller, curated by Marina Fokidis. This is how art people take the pressure off—by immersing themselves in art that they can’t buy or sell.

    Joannou didn’t go to Basel, because, as he said, he didn’t

  • Left: Artist Matthew Barney and dealer Barbara Gladstone. Right: Marian Goodman and LA MoCA director Philippe Vergne. (All photos: Linda Yablonsky)
    diary June 22, 2014

    Fun and Fancy Free

    MY WATCH STOPPED last Monday, just as the VIP opening of Art Unlimited got underway. There couldn’t have been a more appropriate way to dive into the vortex of Art Basel, where time stands still and thousands of high-priced objects and images come at you from 285 different directions.

    That’s the number of galleries exhibiting in the fair’s forty-fifth edition. It included Art Unlimited, Design Miami/Basel, and Art Parcours (public art), plus film and talk programs, and—special for this year—“14 Rooms,” a separately ticketed, close encounter with performance art curated by Klaus Biesenbach and

  • Left: Dealer Iwan Wirth with Art Institute of Chicago curator James Rondeau and artist Mark Bradford. Right: Dealers Paul Schimmel and Lorena Ruiz de Villa. (All photos: Linda Yablonsky)
    diary June 17, 2014

    Time and Time Again

    LIKE OTHER TRIBAL CULTURES, the art world has rituals. One of them is Zurich Art Weekend, foreplay for pilgrims heading to Basel and feeling starved for visual stimulation after a long flight. With Kunsthalle Zürich leading the action, galleries and museums serve up a sophisticated menu of exhibitions, talks, and dinners so people who haven’t seen each other since the last stop, as much as a week ago, can gather for reunions.

    Last Saturday’s art flanks could have been divided between exhibitions in the Löwenbrau complex and those on the soulless Maag Areal plaza. Fortunately, no one had to choose

  • Left: Artist Christopher Williams and architect Rem Koolhaas, director of the 14th Venice Architectural Biennale. Right: Fashion designer and collector Muiccia Prada. (All photos: Linda Yablonsky)
    diary June 16, 2014

    Tale of Two Cities

    WHILE IN VENICE, I didn’t hear a single joke about architects. This is a profession that appears to take itself very seriously—no bad behavior while away from home. At least, that’s how it seemed over three preview days at the Fourteenth Venice Biennale of architecture—my first. Experienced people predicted that there would be more artists involved than in any edition before, and probably the best one to break my virginity. The reason, they all said, was “Rem”—Rem Koolhaas, the exhibition’s curator and an architect so widely respected that even those who turn up their noses at his ideas pay them

  • Left: ArteBA director Julia Converti and curator Octavio Zaya. Right: Collector Claudio Stamato, artist Julio Le Parc, and ArteBA president Alec Oxenford. (All photos: Linda Yablonsky)
    diary June 05, 2014

    Aires Strike

    ON MAY 21, I arrived in Buenos Aires for the opening of arteBA, thinking it Argentina’s first contemporary art fair. I was wrong. It was number twenty-three.

    Where had I been? Certainly not in Palermo, the neighborhood of La Rural, the convention center housing the fair. Just by the by, BA also has a Palermo Hollywood, a Palermo Soho, and a seedy, riverfront district called La Boca that some call “the Bushwick of Buenos Aires.” So this is not the most Latin American of cities. It looks like Paris, for one thing, and nearly everyone I met over five days had a French, German, or Italian name, and

  • Left: Dealer Anton Kern. Right: Frieze cofounder Amanda Sharp with collector Sascha Bauer. (All photos: Linda Yablonsky)
    diary May 13, 2014

    Sound and Vision

    FRIEZE NEW YORK stirs a pot that already contains a witch’s brew of its own making.

    Two days before the fair’s opening, for example, Fergus McCaffrey inaugurated his nine-thousand-foot duplex on West Twenty-Sixth Street with the work of Natsuyuki Nakanishi, a seventy-nine-year-old Japanese artist of major repute in his country now getting his first solo exhibition in this one. Next door, Alexander Gray ushered guests through the new, ground-floor entrance to his second-story gallery, while Mika Rottenberg drew a grazing Chelsea herd to her kinetic debut with Andrea Rosen, where three ponytails