Laughter, Tears and Rage

Stand and Deliver

What do lectures reveal about the lecturer? by Brian Dillon

Life in Film

The Otolith Group

In ‘Life in Film’, an ongoing series, frieze asks artists and filmmakers to list the movies that have influenced their practice.

The Art Market

An arts degree, some experts claim, is now one of the most desirable qualifications in the world of business. Yet cross-pollination comes with a high risk of failure – is it worth it? by Ronald Jones

Debate

School’s Out

The shock cancellation of Manifesta 6 raises questions about the role of contemporary art in contested regions by Martin Herbert

Events

Oberhausen International Short Film Festival

Oberhausen, Germany by Mike Sperlinger

View from the Bridge

Haste Makes Waste

Who is really served by the mad rush of dealers to show work by recent graduates? by Robert Storr

State of the Art

Lessons in Perspective

Do we visit museums to be taught, amused, challenged or affirmed? Should curators legislate how they want their exhibitions to be understood? by Emily King

More Than A Feeling

Academic Questions

Educating the educators, ivory tower activism and an enlightening visit to the zoo by Tirdad Zolghadr

Design

Turn On, Tune In

The invention of the Sony Portapak in 1967 – the first mass-produced portable video camera – encouraged artists to experiment with a dizzying new range of approaches and technologies, prompting the launch of the video journal Radical Software by Will Bradley

Bureaux de change

Many of the key independent curators of the 1990s are now running major European art centres. Their radical and inclusive approach to the function of the gallery has been coined ‘new institutionalism’ by Alex Farquharson

Are You Being Served?

Education programmes have assumed a central role in museums and art galleries. Who are they for and what are the ramifications for art? by Tom Morton

Questionnaire

Brian O’Doherty / Patrick Ireland

Brian O’Doherty/Patrick Ireland is an artist and writer. His novels include The Strange Case of Mademoiselle P. (1992); and The Deposition of Father McGreevey (1999), which was shortlisted for the Booker Prize in 2000. Other writings include Inside the White Cube (1976); and American Masters: The Voice and the Myth (1998). His recent exhibition at Dublin City Gallery The Hugh Lane, ‘Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland’, will travel to New York University’s Grey Gallery next year. He lives in New York City and Todi, Italy.

Focus

Luca Frei

Making room for learning and un-learning; jugglers and public space by Lars Bang Larsen

Class Action

Joseph Beuys set up more educational institutions and political parties than most people know jokes. Was he, as has been claimed, aspiring to be the last Modernist visionary or seeking to undermine the role of authority figures by becoming one himself? by Jan Verwoert

The Geometrical God

A translated excerpt from a Jonathan Meese performance.

Focus

Hassan Khan

The individual, the communal; theatricality and authenticity by Jonathan Griffin

What Lies Beneath

Many of the most interesting American Conceptual artists of the 1960s and ‘70s became teachers in art schools such as the California Institute of the Arts and Yale. What is the legacy of their teaching for a generation of painters including Laura Owens, Monique Prieto, Lisa Yuskavage and John Currin? by Lucy Soutter

Interview

Learning Experience

Phyllida Barlow, whose career has spanned 40 years, is one of the most influential teachers and artists working in Britain today by Mark Godfrey

Survey

Schools of Thought

Three lecturers from art academies in the USA, Germany and the UK reflect upon the strengths and failings of art education today by Okwui Enwezor, Stephan Dillemuth and Irit Rogoff

Focus

Rainer Ganahl

The communication of knowledge and the parameters of educational systems by Craig Martin

Focus

Laura Horelli

Mass- and miscommunication; interviews and re-enactments by Christy Lange

Degree Zero

Roy Ascott’s radical ‘Groundcourse’ at the Ealing and Ipswich Art Schools in the 1960s was as influential as it was unorthodox in its approach to teaching art by Emily Pethick

Undercover Surrealism

Hayward Gallery, London, UK

By Peter Suchin

Cerith Wyn Evans

ARC/Musée d’Art moderne de la Ville de Paris, Paris, France

By Vivian Rehberg

Wade Guyton, Seth Price, Josh Smith, Kelley Walker

Kunsthalle Zurich,

By Adam Jasper

Portikus

Portikus, Frankfurt, Germany

By Ronald Jones

dontstopdontstopdontstopdontstop

Hans Ulrich Obrist , (Sternberg Press, Berlin, 2006) ,

By Dan Fox

Collage Party

White Columns and ZieherSmith Gallery,, New York, USA

By Steven Stern

Patrick Tuttofuoco

Fondazione Sandretto Re Rebaudengo, Turin, Italy

By Luca Cerizza translated by Stephen Conway

Coco Fusco

MC, Los Angeles, USA

By Chris Balaschak

Work (W3:K)

Lewis Glucksman Gallery, Cork, Ireland

By Andrew Hunt

Now-Time Venezuela

Berkeley Art Museum, California, USA,

By Julian Myers

Josiah McElheny

Andrea Rosen Gallery, New York, USA

By Katie Sonnenborn

Tomas Saraceno

Barbican Curve Gallery, London, UK

By Sally O’Reilly

Queer Noises 1961-1978: From the Closet to the Charts

(Trikont/Shellshock/Indigo, 2006), ,

By Dominic Eichler

Yto Barrada

The Kitchen, New York, USA

By Kristin M. Jones

Call for a Demonstration

Hove, UK,

By Jennifer Higgie

The Drift

Scott Walker, (4AD, 2006),

By Dan Fox and Bob Stanley

Kontakt

Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria

By Nicole Scheyerer Translated by Nicholas Grindell

Ignasi Aballí

Museu d’Art Contemporani de Barcelona, Barcelona, Spain

By Max Andrews

Yang Yong

Tang Gallery,

By Brian Curtin

EAST

Norwich Gallery, Norwich, UK

By Tom Morton

Tomorrowland: CalArts in Moving Pictures

Museum of Modern Art, New York, USA

By Kristin M. Jones

Home-Made: Contemporary Russian Folk Artifacts

Vladimir Arkhipov , (Fuel Publishing, London, 2006),

By Eugenia Bell

Sophie Von Hellermann

Chisenhale Gallery, London, UK

By Martin Herbert

Sean Duffy

Susanne Vielmetter Los Angeles Projects, Los Angeles, USA

By Chris Balaschak

The Société Anonyme

Hammer Museum, Los Angeles, USA

By Julian Myers

Ergin Cavasoglu

John Hansard Gallery, Southampton, UK

By Jonathan Griffin

The Manifesta Decade

ed. Barbara Vanderlinden and Elena Filipovic , (Roomade/MIT Press, Cambridge, MA, 2006),

By Aaron Schuster

Brian O’Doherty / Patrick Ireland

Dublin City Gallery The Hugh Lane, Dublin, Ireland

By Caoimhín Mac Giolla Léith

The Empire Strikes Back

Country Teasers , (In the Red, 2006),

By Nathaniel Mellors

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Cultural Cartography: Roni Horn - Added on 13/10/07
Roni Horn presents a keynote lecture exploring ideas of site- specificity and seriality

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Frieze Art Fair Yearbook 2007-8
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The Expanded Gallery: Mass Forms for Private Consumption - Added on 13/10/07
What cultural value do industrial design, graphics and film bring to the spaces of the gallery and the museum?