With a solo presentation at Frieze London, Melvin Edwards discusses symbols, self-expression and his work in the Tate’s ‘Soul of a Nation’ show

Q: What do you like the look of? A: Art that does not look like art

'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

David Goldblatt discusses representation, censorship and his decision to remove his archive from the University of Cape Town

Francis Alÿs, Untitled, 1994. Oil on canvas on wood, 19 × 22 cm. Courtesy: the artist and David Zwirner, London and New York

Francis Alÿs, Untitled, 1994; Filippino Lippi, Allegoria dell’Amore (Allegory of Love), c.1500

Hieronymus Bosch, The Garden of Earthly Delights Triptych, 1490–1500. Oil on oak panel, 2 × 3.9 m. © Museo Nacional del Prado, Madrid

Hieronymus Bosch, The Garden of Earthly Delights, 1490–1500

Hollis Frampton, (nostalgia), 1971. Film still. Courtesy: The Estate of Hollis Frampton and Anthology Film Archives, New York. 

Hollis Frampton, (nostalgia), 1971

Andy Warhol, Male Genitals with Bow, c.1956. Graphite on tracing paper, 48 × 34 cm. Courtesy: © 2017 The Andy Warhol Foundation for the Visual Arts, Inc., ARS, New York and DACS, London / Artimage

Andy Warhol, Male Genitals With Bow, c.1956

Bertel Thorvaldsen, Józef Poniatowski, 1826–27. Plaster, 4.6 × 1.3 m. Courtesy: Thorvaldsens Museum, Copenhagen 

Bertel Thorvaldsen, Józef Poniatowski, 1826–27

Rogier van der Weyden, The Crucifixion, with the Virgin and Saint John the Evangelist Mourning, c.1460. Oil on panel (diptych), 1.8 × 1.9 m. Courtesy: The John G. Johnson Collection, Philadelphia Museum of Art, Cat. 334 and 335.

Rogier van der Weyden, The Crucifixion, with the Virgin and Saint John the Evangelist Mourning, c.1460

Peter Hurd, Enemy Action over American Bomber Station, 1942. Tempera on board, 53 × 80 cm. Courtesy: Smithsonian American Art Museum, Washington, D.C., and Army Art Collection, US. Army Center of Military History, Washington, D.C.

Peter Hurd, Enemy Action over American Bomber Station, 1942

Kerstin Brätsch, ‘Innovation’, 2017, exhibition view at Museum Brandhorst, Munich. Courtesy: the artist and Museum Brandhorst, Munich; photograph: Uli Holz

Artist Kerstin Brätsch and filmmaker and writer Alexander Kluge speak to Pablo Larios about algorithms, fortune-tellers and stained glass windows

By , and


frieze video - 07 Mar 2018

Fifty years on, Ellen Mara De Wachter retraces Robert Smithson’s journey to his home town of Passaic, New Jersey, in search of the monuments of his time

Sponsored Content - 28 Feb 2018

‘A way for my subconscious to play’: With her show at Hauser & Wirth, London, Lorna Simpson talks life, work, and being an artist in these times

On View