Issue 115
May 2008

Brian Dillon laments the decline of the technologically sophisticated but rapidly outdated Polaroid camera, a ‘curious dead end in the history of photography’. David Campany considers the quietly meditative films of Mark Lewis, which fuse pictorial traditions with the art of movement. In Marine Hugonnier’s films, referred to by the artist as ‘an anthropology of images’, Lars Bang Larsen considers the politics of vision. Christy Lange discovers an unsettling side to the American Dream in Taryn Simon’s photographs of restricted locations and private moments. 

From this issue

When patrons wrestle power from museum curators and directors, what does it mean for the public?

BY Robert Storr | 05 MAY 08

The ‘hand-bra’ technique as a metaphor for rhetorical self-reflexivity in the arts

BY Tirdad Zolghadr | 05 MAY 08

Can a piece of writing ever precisely convey what the writer wants it to?

BY Jan Verwoert | 05 MAY 08

Wolfgang Voigt draws on Romantic landscape and classical music as much as technological minimalism

BY Simon Reynolds | 05 MAY 08

Thirty-five forms of contemporary creation, or how to identify an art work

BY Aaron Schuster | 05 MAY 08

frieze asks curators, artists and writers to list the books that have influenced them

05 MAY 08

The sophistication of Polaroid technology was not enough to save it from obsolescence – or nostalgia

BY Brian Dillon | 05 MAY 08

frieze asks artists and filmmakers to list the movies that have influenced their practice

05 MAY 08

Fritz Haeg (Metropolis Books, New York, 2008)

BY Bradley Horn | 05 MAY 08

Alex Ross (Farrar, Straus and Giroux, New York, 2007)

BY Paul Kildea | 05 MAY 08

John Roberts (Verso, London, 2007)

BY Belinda Bowring | 05 MAY 08

Toumani Diabaté (World Circuit, 2008)

BY Jace Clayton | 05 MAY 08

Vampire Weekend (XL Recordings, 2008)

BY Klaus Walter | 05 MAY 08

Part 2: Modern Highlife, Afro-Sounds & Nigerian Blues: 1970–6 (Soundway, 2008)

BY Sam Thorne | 05 MAY 08

The Second Sentence of Everything I Read Is You, Park Avenue Armory, New York, USA

BY Morgan Falconer | 05 MAY 08

Whitney Museum of American Art and Park Avenue Armory, New York, USA

BY Steven Stern | 05 MAY 08

Various Venues, Berlin

BY Martin Herbert | 05 MAY 08

Pompidou Centre, Paris, France

05 MAY 08

Beijing Commune, Beijing, China

BY Carol Yinghua Lu | 05 MAY 08

Milton Keynes Gallery, UK

BY Martin Herbert | 05 MAY 08

Museu de Arte Moderna de São Paulo, Brazil

BY Fabio Cypriano | 05 MAY 08

Anna Schwartz Gallery, Melbourne, Australia

BY Kit Wise | 05 MAY 08

Galerie Juliètte Jongma, Amsterdam, the Netherlands

BY Douglas Heingartner | 05 MAY 08

Chicago Cultural Center, USA

BY Jason Foumberg | 05 MAY 08

Battersea Arts Centre, London, UK

BY Sally O’Reilly | 05 MAY 08

Tecnológico de Monterrey, Mexico City, Mexico

BY Jessica Berlanga | 05 MAY 08

Mills College Art Museum, Oakland, USA

BY Julian Myers | 05 MAY 08

Whitechapel Art Gallery, London, UK

05 MAY 08

BaliceHertling, Paris, France

05 MAY 08

Talbot Rice Gallery, University of Edinburgh, UK

BY Mick Peter | 05 MAY 08

Mary Boone Gallery, New York, USA

BY Steven Stern | 05 MAY 08

Artists responded to the first public Modernist sculpture in India at Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium

BY Maria Fusco | 05 MAY 08

Kerlin Gallery, Dublin, Republic of Ireland

BY Tim Stott | 05 MAY 08

Broadway 1602, New York, USA

BY Morgan Falconer | 05 MAY 08

ZKM / Museum für Neue Kunst, Karlsruhe, Germany

BY April Elizabeth Lamm | 05 MAY 08

The Showroom, London, UK

BY Sam Thorne | 05 MAY 08

Chung King Project, Los Angeles, USA

BY Jeffrey Ryan | 05 MAY 08

Haus am Waldsee, Berlin, Germany

BY Christy Lange | 05 MAY 08

James Hockey and Foyer Galleries, Farnham, UK

BY Richard Unwin | 05 MAY 08

International Center of Photography, New York, USA

BY Kristin M. Jones | 05 MAY 08

Konrad Fischer Galerie, Berlin, Germany

BY Dominic Eichler | 05 MAY 08

Deitch Projects, New York, USA

BY George Pendle | 05 MAY 08

The release of the film Chromophobia raises questions about authorship and appropriation

BY David Batchelor | 05 MAY 08

Marine Hugonnier’s films explore what the artist describes as an ‘anthropology of images’

BY Lars Bang Larsen | 05 MAY 08

Brian Griffiths’ installations and sculptures drag their historical baggage towards an imaginary future

BY Jonathan Griffin | 05 MAY 08

Mark Lewis’ meditative films fuse pictorial tradition with the art of movement

BY David Campany | 05 MAY 08

Taryn Simon’s photographs of restricted locations reveal an unsettling side to the American Dream

BY Christy Lange | 05 MAY 08

Kris Martin’s explorations of faith and time employ myriad materials – from departure boards and novels to classical sculptures and watches

BY Jens Hoffmann | 05 MAY 08

Phalluses, saddles and South Africa; handmade costumes and the Xhosa language

05 MAY 08

Touch and appropriation; film, dance and gesture

05 MAY 08

Abandoned factories and sad machinery; fantasy, reality and ambiguity

05 MAY 08

Something from nothing: decorated offices, reclaimed land, hope and anticipation

05 MAY 08

Rosalind Nashashibi's films and photographs observe the nuances of everyday life around the world

BY Martin Herbert | 05 MAY 08

From frontier town to multicultural metropolis, the second-largest Australian city embraces a grass-roots approach to culture that weaves the experience of contemporary art into everyday life

BY Max Delany AND Nicola Harvey | 05 MAY 08

What should change? The weather in Brussels

05 MAY 08