Issue 137
March 2011

In the March issue of frieze, Peter Schjeldahl examines the use of pronouns, cites a good example of writing in Wallace Stevens and even makes a case for his profession: ‘Attention Artists! Perhaps you employ language in your work. You may be highly literate. But you don’t have to say what your art means or even is about. Furthermore, don’t do that. It’s my job. You make the stuff. Let critics talk about it. Making is superior to talking, so you have the better end of the deal.’

Dan Fox finds a new model for an institutional operation in south east Brazil: ‘Visiting Instituto Inhotim is quite unlike any other art experience I have had; there is a walking trail through paradisical gardens, where, hidden in palm groves or setting serenely by the side of a lake, the visitor can find Modernist-style pavilions housing works by Brazilian artists and high-profile international names.’

Negar Azimi asks whether so-called socially engaged art can really effect change; Sam Thorne considers the seductive deception of the work of Daniel Sinsel and, following a major commission from the Louvre, Taiwanese director Tsai Ming-liang talks to Erik Morse. Jennifer Bornstein considers the photography of curator Sam Wagstaff, who not only collected, supported and promoted other people’s photography but produced over 7,000 photographs of his own.

From this issue

The artist lists the books that have influenced him

01 MAR 11
Article

The world’s first Arab Museum of Modern Art and Qatar’s plans for its cultural future

BY Sarah-Neel Smith | 01 MAR 11
Article

Globetrotting curators and anxious artists; the trials of aviation and placelessness

01 MAR 11

What do you like the
look of?

Powder-coated anything. 

01 MAR 11

Following a major commission from the Louvre, Taiwanese director Tsai Ming-liang talks about how music, his father and the responsibilities of filmmaking have informed his 20-year career

01 MAR 11

Childhood possessions, assembled tableaux, secret stories and studio walls

BY Andrew Berardini | 01 MAR 11

Consumerism, spatial confusions and dislocated images; volume, solidity and lobsters

BY Lizzie Carey-Thomas | 01 MAR 11

Art has a long history of engagement with politics. Does recent so-called socially engaged or political art really effect change?

BY Negar Azimi | 01 MAR 11

Gilles Barbier speaks about his work in progress that will be shown at the Centre Pompidou in Paris later this year.

BY Vivian Sky Rehberg | 01 MAR 11

Can we speak sensibly about what we like about art?

01 MAR 11
Article

The little-known photographs of a pioneering photography collector; an artist’s project

01 MAR 11

Moving between concealment and display, the work of Daniel Sinsel treads a fine line between seduction and deception

BY Sam Thorne | 01 MAR 11
Article

A 21st-century update of psychedelia and a new generation of American lo-fi musicians who channel the 1980s sounds of mainstream radio rock, New Wave mtv pop, sedative New Age and the peppy synth-driven soundtracks of Hollywood blockbusters 

01 MAR 11
Article

Ventriloquism, collaboration and translation in recent poetry publications

BY Quinn Latimer | 01 MAR 11

Why the Smithsonian Institution has failed the basic tenets of a nation

01 MAR 11

Does Instituto Inhotim, a 240-hectare art park and botanical garden in south-east Brazil, represent a new kind of institutional operation?

BY Dan Fox | 01 MAR 11

The disputed legacy of a South African painter

01 MAR 11

The ramifications of ‘Globish’ – global English

01 MAR 11
BY Jennifer Allen | 01 MAR 11
BY Katie Kitamura | 01 MAR 11
BY Isobel Harbison | 01 MAR 11
BY Alessandro Rabottini | 01 MAR 11
BY John Motley | 01 MAR 11
BY Helen Chang | 01 MAR 11
BY Carol Yinghua Lu | 01 MAR 11
BY Colin Perry | 01 MAR 11
BY James D. Campbell | 01 MAR 11
BY Gabriela Jauregui | 01 MAR 11
BY Kathy Noble | 01 MAR 11
BY Lumi Tan | 01 MAR 11

MUSAC, León

BY Vivian Sky Rehberg | 01 MAR 11
BY Tom Morton | 01 MAR 11
BY Eleanor Nairne | 01 MAR 11
BY Kirsty Bell | 01 MAR 11
BY Jennifer Higgie | 01 MAR 11
BY Natasha Degen | 01 MAR 11
BY Melissa E. Feldman | 01 MAR 11

Where next for art education in an increasingly professionalized art world?

BY Carol Yinghua Lu | 01 MAR 11