
Articles
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3 weeks ago |
frieze.com | Sean Burns
Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits In the early 1980s, the UK government, led by newly elected Conservative Prime Minister Margaret Thatcher, adopted a financial policy known as monetarism – the idea that, by controlling the supply of money, a country can regulate nominal GDP and...
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3 weeks ago |
frieze.com | Cassie Packard |Lou Selfridge |Andrew Durbin |Vanessa Peterson |Sean Burns |Ivana Cholakova | +1 more
Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits The War of Art (2025) | Lauren O’Neill-Butler A book with backbone, Lauren O’Neill-Butler’s The War of Art (2025) draws on oral histories and archival research to elucidate the ways in which artists in the US have protested, agitated and organized since...
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3 weeks ago |
frieze.com | Sean Burns
Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits ‘Never underestimate the effeminate child’ is the opening line of Gerry Potter’s poem ‘The Effeminate’ (2000).
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1 month ago |
frieze.com | Sean Burns |Ann Gallagher
Frieze PublishingYes, email me reviews, offers, and opinions by artists, writers, and editors from Frieze Frieze EventsYes, email me Frieze Events Inc and Frieze Events Ltd’s global programme information including special offers and benefits Sean Burns After your influential tenure at Tate, what drew you to the Goodwood Art Foundation, and what excites you most about its potential?
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1 month ago |
frieze.com | Sean Burns
A sign about two-thirds of the way around the Arsenale reads: ‘We are fucked! You can change it!’ The statement by HouseEurope! responds to curator Carlo Ratti’s emphatic call to engage with urgent environmental issues in his exhibition for the 19th Venice Architecture Biennale, ‘Intelligens. Natural. Artificial. Collective.’ His show features more than 750 participants, from farmers to fashion designers, and over 280 projects spread throughout the Arsenale and across the city.
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