Issue 167
Nov - Dec 2014

The November/December issue of frieze is out now and includes features on painting and humour, a radical Japanese art movement and emerging artists, alongside our regular columns and reviews from around the world.

Also featured: Andrew Maerkle encounters the anarchic 1920s Tokyo art movement Mavo; Jonathan Griffin looks at how the art of Michael E. Smith plots the bleak landscapes of ex-urban America; Scott Roben investigates the collision of illustration and art history in the painting of Sanya Kantarovsky; and Declan Long decodes Uri Aran’s mysterious work-tables.

From this issue

How humour feeds painting

BY Paul Teasdale |

Movie stars, late capitalism and fragmented attention spans

BY Tom Morton |

Is too much information ever enough?

BY Lynne Tillman |

The films of Abderrahmane Sissako

BY Sean O'Toole |

Conversations, buildings, books and films

BY Céline Condorelli |

The dark, unsettling feminism of Jacqueline Rose

BY Nina Power |

‘There’s no extracting the concept from the commodity in any of Hoff’s many strands of work’

BY Andy Battaglia |

Frederick Wiseman’s new documentary about London’s National Gallery

BY Nick Pinkerton |

Gilda Williams’s new book on how to write about contemporary art

BY Orit Gat |

With 'Burning Down the House', Jessica Morgan proves her though and testing nature

BY Paul Teasdale |

Hammer Museum, Los Angeles, USA

BY Summer Guthery |

Temporary Gallery, Cologne, Germany

BY Dominikus Müller |

Aargauer Kunsthaus, Aarau, Switzerland

BY Aoife Rosenmeyer |

Various venues, Biel/Bienne, Switzerland

BY Barbara Casavecchia |

Galerie Perrotin, Paris, France

BY Robert Barry |

Centre d'art contemporain d'Ivry – le Crédac, Ivry-sur-Seine, France

BY Rahma Khazam |

Signal – Center for Contemporary Art, Malmö, at Kunsthal Charlottenborg, Copenhagen, Denmark

BY Nathaniel Budzinski |


BY Pablo Larios |

mother's tankstation, Dublin, Ireland

BY Gemma Tipton |

Various venues, Brno, Czech Republic

BY Emily King |

Kaufmann Repetto, Milan, Italy

BY Barbara Casavecchia |

LABoral Centro de Arte y Creación Industrial, Gijón, Spain

BY Lorena Muñoz-Alonso |

Gertrude Contemporary, Melbourne, Australia

BY Rebecca Coates |

Proyectos Monclova, Mexico City, Mexico

BY Gabriela Jauregui |

Museo Tomayo, Mexico City, Mexico

BY Nick Aikens |

Aspen Art Museum, USA

BY Dan Fox |

ltd los angeles, USA

BY Jonathan Griffin |

Jenny's, Los Angeles, USA

BY Kari Rittenbach |

The Art Institute of Chicago, USA

BY William J. Simmons |

Metro Pictures, New York, USA

BY Ara H. Merjian |

Gladstone Gallery, New York, USA

BY Jason Farago |

Cornerhouse, Manchester, UK

BY Luke Healey |

Modern Art Oxford, UK

BY Jonathan P. Watts |

David Zwirner, London, UK

BY Charlie Fox |

Waterside Contemporary, London, UK

BY Matthew McLean |

French Riviera, London, UK

BY Josephine New |

Sadie Coles HQ, London, UK

BY Sara Knelman |

Chisenhale Gallery, London, UK

BY Patrick Langley |

With mordant humour, the art of Michael E. Smith plots the bleak landscapes of exurban America

BY Jonathan Griffin |

‘Civilizations of the jaguar’, vacuum cleaners and the human body

BY Timotheus Vermeulen |

Taking stock of stock images

BY Dan Kidner |

Caoimhín Mac Giolla Léith examines the relationship between image and painting in the work of Marlene Dumas

Illustration and art history collide in Sanya Kantarovsky’s paintings

BY Scott Roben |

Decoding Uri Aran’s mysterious work-tables

BY Declan Long |

The anarchic 1920s Tokyo art movement Mavo and the internationalism of the Japanese Avant-garde

BY Andrew Maerkle |

Sukhdev Sandhu on an abandoned cinema in the Sinai Desert

BY Sukhdev Sandhu |

Q. What could you imagine doing if you didn’t do what you do? A. Drifting on a boat.

BY Anna Maria Maiolino |