frieze d/e

Issue 6

Autumn 2012

The 6th issue of frieze d/e has a special focus on painting.

Mark Prince considers Stella‘s concept of ‘working space’ by asking: ‘Is the space of painting made by abstraction, illusion or the sculptural qualities of the canvas?’ In a companion piece Prince interviews Stella and artist Monika Baer.

Susanne von Falkenhausen and frieze d/e editor Jennifer Allen contribute two extensive reviews.

Also featured in issue 6: Luca Cerizza tests the appropriation of mass media and popular culture in the works of Phil Collins; Thibaut de Ruyter takes a closer look at the photographs of Seiichi Furuya; and Quinn Latimer examines Latifa Echakhch‘s strategies to turn everyday objects into abstractions through destruction and displacement.

The Sculptor (Der Bildhauer), Ausstellungs­ansicht Liebieghaus

Fondation Beyeler & Schirn Kunsthalle & Liebieghaus

By Dominikus Müller

Tate Modern

By Kari Rittenbach
Frank Stella, Diavolozoppo (#2, 4X), 1984 (Courtesy: Photo Art Resource/Scala, Florence)

Is the space of painting made by abstraction, illusion or the sculptural qualities of the canvas?

Deutschlandtüte, 1972

Galerie Melike Bilir

By Wes Hill
k.179, 2011 (Courtesy: der Künstler & Artists Rights Society (ARS), New York / Freedman Art, New York)

On the occasion of his retrospective at Kunstmuseum Wolfsburg, Frank Stella talks about illusionism, abstract expressionism and the inevitable mechanics of gesture in painting

Faust,  2012

Kerstin Engholm Galerie

By Maximilian Geymüller
monochrome (all night movie), 2009 (Courtesy: Galerie Barbara Weiss, Berlin; Fotografie: Jens Ziehe)

Monika Baer talks about her approach to painting’s surfaces, which teeter between anti-illusionism and illusionism, tactile and optical qualities, real holes and key holes

In perfekter Harmonie, 2012

Galerie Kamm

By Raimar Stange
Rude Boys, Leith Street #1, 2011

Phil Collins embraces mass media and popular culture, only to unsettle the stereotypes they produce

By Luca Cerizza
Smoking Shelter, Ausstellungs­ansicht, 2011


By Caoimhín Mac Giolla Léith
Arles, 2000

Seiichi Furuya captured a person and a country destined to disappear. While reorganizing his archive, the photographer discovered a new set of timeless subjects

By Thibaut de Ruyter
 Ohne Titel, 1975–76

Musée D’art Moderne et Contemporain

By Samuel Gross