Andrew Durbin is the editor of frieze. He lives in London, UK.
frieze editor Andrew Durbin speaks to the author about his new essay on Bollywood for the November/December issue
With ‘Men and Apparitions’ – her first novel to be published in the UK since 1999 – Tillman deep-dives into photography and its lovers
2020Solidarity/Between Bridges is selling artist-made posters to raise funds for the city’s beleaguered clubs, performers and organizers
Frieze magazine has been redesigned, beginning with our May/June issue
The artists, collectives, movements and tendencies that shaped art in the 2010s
The 2013 album is a compelling record of our collective fracturing
Speaking to frieze editor Andrew Durbin, Rainer discusses the way she resists the myths of the 1960s
New arrangements of artists from across the planet emphasize broad concepts over tidier organizing principles
Two shows at David Zwirner, New York, champion the artist's ability to capture the sound of a now-bygone world
Food is personal, and so is this issue – the first of frieze to focus on food’s aesthetic, sensorial, political and environmental role in contemporary culture
Remembering a poet who helped define a generation of American writers through his love of gossip, sex and art
The duo’s latest installation at the Prada Foundation is an incomplete take on contemporary America
The disaster was not a ‘uniquely’ Soviet problem
To address the ‘interesting times’ alluded to in the title of the 58th Venice Biennale, we must challenge the language we use to describe them
In its final season, ‘Veep’ satirizes the heartless ambition driving US politics
Ellis’s paintings are spring-loaded with overlapping references to film and television, current events, art and cartoons.
The television show – the director’s first – is a sequel to his 1997 film of California queer disillusion, Nowhere
‘Gillen suggests that New York is less a place than it is an open-ended idea’
At last, MoMA has restored the dancer, choreographer and filmmaker’s 1980s classic
The artist’s sculpture possessed an almost surreal promise, as if at any moment it might become a Really Living Thing
