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Frieze Masters

Issue 6

October 2017

Frieze Masters magazine looks at art from the past through the lens of the present. This issue includes features on Arte Povera and Surrealism; in Artists' Artists 21 contemporary artists discuss the artworks that have inspired them; plus Masks, Miniatures and Mysteries; and Director of Tate, Maria Balshaw, reflects on her first ever visit to a gallery in our Questionnaire. 

Abdul Hay Mosallam Zarara, ‘Chilean Struggle’ series, 1985

Marc Camille Chaimowicz, Enough Tiranny, 1972

Renée Green, Import/Export Funk Office, 1992

Frank Stella, Die Fahne hoch! (Hoist the Flag!), 1959

James Ensor, Masks Mocking Death, 1888. Oil on canvas, 81 x 100 cm. Courtesy: Scala Archives, Florence

On the recurring appearance of the mask in art

Carrie Walter Stettheimer, Stettheimer Doll House (front view) c.1916–35. Wood, bronze, marble, alabaster, gilding, cardboard, paper, foil, linen, ceramic, oil, ink, watercolour, gouache, graphite, Conté, pastel, coloured pencil and other materials, 79 × 132 × 94 cm. Courtesy: Museum of the City of New York

From medieval Wunderkammern to portable museums, Duchamp’s suitcases, and dolls’ houses, the miniature is an enduring and radical art form

Leonora Carrington’s kitchen, c.1998, photographed by Chloe Aridjis

Chloe Aridjis recalls taking tea with the great Surrealist in her home in Mexico

'Live in Your Head: When Attitudes Become Form', 2013. Installation views at Fondazione Prada, Venice. Courtesy: Fondazione Prada, Venice; photograph: Attilio Maranzano

Osei Bonsu talks to curator Germano Celant about the enduring relevance of the Italian art movement, Arte Povera – a term Celant coined 50 years ag

Jacob van Hulsdonck, A Still Life of a Laid Table, with Plates of Meat and Fish and a Basket of Fruit and Vegetables, undated. Oil on panel, 72 × 104 cm. Courtesy: Johnny Van Haeften, London

Meditations on still life

Polychrome reconstruction of the Prima Porta statue of Augustus, 2004. Painted plaster cast made after a prototype by P. Liverani, Vatican Museums, Rome, height 2.2 m. Courtesy: Ashmolean Museum of Art and Archaeology, Oxford.

To what extent did the ancients colour their sculptures?

Installation view of ‘International Congress of African Culture’, 1962, a pan-African exhibition at the Rhodes National Gallery, Salisbury, Rhodesia (now Zimbabwe), which set a precedent for ‘Magiciens de la terre’, the Pompidou Centre, Paris, 1989. Courtesy: National Gallery of Zimbabwe, Harare

The context and legacy of Jean-Hubert Martin’s contentious 1989 exhibition, ‘Magiciens de la terre’

Hercules Florence Épreuve no.°2 (photographie), Ensemble d’étiquettes pour flacons pharmaceutiques (Print no. 2, Photography. Set of Pharmacy Labels) c.1833. Photographic copy of pharmacy labels obtained through direct contact with photosensitive paper under the action of sunlight, 22 × 20 cm. Courtesy: Instituto Moreira Salles Collection, Rio de Janeiro

The remarkable story of Hercules Florence and his pharmacy labels