Andrew Durbin

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

A.S. Hamrah on the portrayal of ‘red America’ in Hillbilly Elegy, Rebuilding Paradise and Nomadland

The UK-based poet speaks with frieze editor Andrew Durbin about her debut collection of poems from Granta

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

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

Contributing editor Jonathan Griffin on ageing and fallibility

Each day for the next month, we’ll highlight a different exhibition that’s affected by the Covid-19 crisis

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 frieze editors recommend medieval feminist experimental fiction, 1930s socialist tracts and the latest sci-fi

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