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Most works carry a subtle political charge that amounts to a thoughtful critique of the injustice of our times

By Evan Moffitt

Latest Articles

The Golden Lion-winning Lithuanian Pavilion, ‘Sun & Sea (Marina)’, crafts an endless pop song for the end times

By En Liang Khong

At Goldsmiths CCA, the group’s darkly comic grotesqueries reflect an unsettling age  

By Patrick Langley
Ren Hang, Untitled 27, 2012. © Estate of Ren Hang. Courtesy: Estate of Ren Hang and Blindspot Gallery, Hong Kong

Two years after his untimely death, the Chinese photographer continues to shape a generation of young image-makers

By Bohan Qiu

More than 80 works from four decades mine the tension between beauty and horror

By Hili Perlson

By Natasha Ginwala with contributions from Abdul Halik Azeez (@Colombedouin), Muvindu Binoy, Sandev Handy, We Are From Here, Imaad Majeed and Pushpakanthan Pakkiyarajah

By Natasha Ginwala
Mariko Mori, Tea Ceremony I, 1994. Courtesy: Sean Kelly, New York and SCAI the Bathhouse, Tokyo

How cyborg identities have empowered women to challenge societal norms

By Yae-Jin Ha
Edward Kienholz, The Eleventh Hour Final, 1968, multi-media. Copyright Kienholz. Courtesy: © the artist and L.A. Louver, Venice, CA

‘Past is prologue’ in two shows at the Smithsonian American Art Museum, following the 50th anniversary of the Tet Offensive

By Ian Bourland
Tony Conrad performing Bowed Film, 1974. Courtesy: The Institute of Contemporary Art, Philadelphia

With wit and gumption, the late artist broke with institutional proprietaries and pedigree to rethink art’s place in its community

By Shiv Kotecha

In further news: Giudecca Art District opens in Venice; gallery sued over fake Bonnard; Decolonize This Place activist arrested

By Frieze News Desk

An epochal exhibition of the Ghanaian artist – the last curated by Okwui Enwezor – gives the Munich institution a new face

By Jane Ure-Smith

A new book by Jay David Bolter chronicles the demise of cultural gatekeeping

By Houman Barekat

Two concurrent exhibitions in London use mark-making as a way to get at something beyond what we see

By Harry Thorne

Curated by Charlie Porter, ‘Palimpsest’ turns the attention back on the history of the neo-gothic estate

By Mimi Chu

The collateral exhibitions at the 58th Venice Biennale tackle social issues from class to surveillance

By Sean Burns

The best of the off-site and collateral exhibitions during the 58th Venice Biennale

By Pablo Larios

The strongest exhibitions in the 58th Venice Biennale find creative freedom in failure 

By Evan Moffitt

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Sponsored Content - 22 May 2019

The sculptor’s latest work, STAND (2019) is an addition to the civic space surrounding the Philadelphia Museum of Art

LIFEWTR lounge at Frieze New York 2019

Sponsored Content - 17 May 2019

‘If we can touch one more person through what artists are doing with that medium, that’s incredibly important’ 

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Janiva Ellis, Catchphrase Coping Mechanism, 2019, oil on linen, 2.2 x 1.8 m. Courtesy: the artist and 47 Canal, New York; photograph: Joerg Lohse

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