ArtForum.com’s Scene & Herd column goes to Tracey Emin’s opening:

The weather was superb, the designer shades were big, the heels were death-defying, and there were mountains of décolletage as far as the eye could see—coincidence, perhaps, but I suspected homage to endowed and proud Ms. T. Emin. A steady succession of glossy, purring motors dispatched oiled and dapper Euro-men sporting size 0 arm candy. Everyone was groomed and dressed to the nines—a rare spectacle in London, where the drizzle often defeats even the most determined sartorial efforts. Vaguely familiar-looking model types pushed past aggressive bouncers while the paparazzi circled the building, unsure whom to point their cameras at first.

Celebrity interior designer Nicky Haslam, finally working “a look” befitting both his age and his enthusiasm for fashion, duly paused for some snaps. Inside, copies of One Thousand Drawings, Emin’s new limited-edition book of drawings and monoprints, were flying off the shelf faster than punters could part with their £225.

Where Emin’s work was once shocking and self-consciously “obscene,” it now seems almost quaint; its poetry has outshone its shock value. The exhibition, comprising neon, animation, sculpture, and works on paper, was beautifully hung, and even the animation of a woman (certainly the artist) masturbating felt almost PG-13.

Vital Signs (ArtForum.com)