Andrew Durbin is the editor of frieze. He lives in London, UK.
Andrew Durbin reflects on the efforts of seven centuries to monumentally exalt – and incidentally profane – the poet Dante
Ahead of a three-month project in the Rockaways, the London-based artist is thinking about home, time and community
Amid a glut of painting and portraiture, a few artists are experimenting with video, photography and animation
The UK-based poet speaks with frieze editor Andrew Durbin about her debut collection of poems from Granta
From an exhibition of Francis Bacon’s ‘beasts’ to Terrence Malick’s film on the life of Christ, these are the top picks for the year
COVID-19 and Black Lives Matter were two of the major events that signalled the changes that may – and in many cases must – come next year
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
