Issue 177
March 2016

The March issue of frieze is out now, with a tribute to the late David Bowie and his enduring influence on art students; plus features on Cheng Ran and Chinese video art; Betty Woodman; and the complex relationship between gallery and stage.

Also featuring: Amy Sherlock talks about ceramic histories and modern painting with Betty Woodman, ahead of the artist’s ICA London show; Jonathan P. Watts explores cultural paranoia and Bardic storytelling in the work of Bedwyr Williams.

From this issue

With the sad news of the passing of Betty Woodman, revisiting her interview where she talked about ceramic histories and modern painting

BY Amy Sherlock |

What is an artist's play and how does it differ from performance art?

BY Matthew McLean AND Stephen Squibb |

David Bowie as art school

BY Dan Fox |

Dada's centenary and the importance of absurdity

BY Jennifer Higgie |

The enduring symbolism of a sewn mouth, from the works of David Wojnarowicz to recent protests by refugees

BY Olivia Laing |

Encounters with the late Chantal Akerman's films

BY Lynne Tillman |

Can private philanthropy help save regional British collections?

BY Richard Parry |

What do you call musicians who write about themselves? Common, apparently

BY Andrew Hultkrans |

The British artist discusses the films that have influenced him

BY George Barber |

What it's like to stand on the precipice of virtual reality

BY Alexander Provan |

How a team of artists, architects and theorists are exposing state violence

BY Kareem Estefan |

Three new books argue for the interconnectivity of all things

BY Carson Chan |

The artist's delirious new satire explores happiness, consumerism and corporate power

BY Patrick Langley |

Mortality, madness and misgivings in the work of Bedwyr Williams

BY Jonathan P. Watts |

Deep space, sculpture and Mormonism

BY Travis Diehl |

In our regular series focusing on a single work by an artist, Phoebe Blatton considers Donna Huddleston's monumental new drawing

BY Phoebe Blatton |

Artist Peter Wächtler talked to Walter Swennen about the pitfalls of poetry and painting as an impure practice

BY Peter Wächtler AND Walter Swennen |

Chinese video art, post-socialist trauma and the work of Cheng Ran

BY En Liang Khong |

The Barnes Foundation and Locks Gallery, Philadelphia, USA

BY Becky Huff Hunter |

Stedelijk Museum, Amsterdam, The Netherlands 

BY Kirsty Bell |

MOMA PS1, New York, USA

BY Chris Wiley |

Queensland Art Gallery & Gallery of Modern Art, Brisbane, Australia

BY Sophie Knezic |

Arratia Beer, Berlin & ZKM, Karlsruhe, Germany

Victoria Miro, London, UK

BY Anna Coatman |

Temporary Gallery, Cologne, Germany

BY Nicole Yip |

dépendance, Brussels, Belgium

BY Laura Herman |

Brussels, Belgium

Fanta Spazio, Milan, Italy

BY Vincenzo Latronico |

Galleria Raffaela Cortese, Milan, Italy

BY Barbara Casavecchia |

Galerie Sultana, Paris, France

BY Sabrina Tarasoff |

Thaddaeus Ropac, Paris, France

BY Robert Barry |

M+B, Los Angeles, USA

BY Jonathan Griffin |

A. Kasteev Museum of Arts, Almaty, Kazakhstan

BY Abigail Winograd |

Bridget Donahue, New York, USA

BY Nick Irvin |

Whitney Museum of American Art, New York, USA

BY David Geers |

Museé d'art contemporain de Montréal, Canada

BY James D. Campbell |

National College of Art and Design Gallery, Dublin

BY Gemma Tipton |

Nottingham Contemporary, UK

BY Jonathan P. Watts |

Cabinet, London, UK

BY Harry Thorne |

The Photographers' Gallery, London, UK

BY Laurie Taylor |

the Bluecoat, Liverpool, UK

BY Brian Dillon |

Q. What should change? A. Religious obsessions.