Frieze has announced the winners of its New Writers program, who have selected the best art shows currently on view across the UK and Ireland. The initiative highlights emerging critical voices by commissioning them to review standout exhibitions, including Richard Tuttle's assemblages at Galerie Greta Meert and an expansive presentation of Lutz Bacher's work at WIELS in Brussels.
CLEARING, a New York-based gallery known for representing artists such as Marguerite Humeau, Korakrit Arunanondchai, and Harold Ancart, is closing its Manhattan and Los Angeles locations after 14 years. Founder Olivier Babin announced the closure on Instagram, citing no viable path forward due to rising overhead costs for rent, shipping, and art fairs, alongside declining revenues. The gallery opened in Brooklyn in 2011, later expanded to Brussels, and moved to a larger Bowery space in 2023 before the financial pressures became unsustainable. Its final exhibitions were solo shows by Coco Young in New York and Henry Curchod in Los Angeles.
The article highlights seven must-see museum shows in Seoul during Frieze Week 2025, curated for visitors attending the art fair. It features exhibitions ranging from Richard Tuttle's restless assemblages at Galerie Greta Meert to an expansive show of Lutz Bacher at WIELS, providing a guide for art enthusiasts navigating the city's cultural offerings.
GRIMM, the international gallery founded in 2005, will open a new space in London's St James's district this autumn, timed to Frieze Week. The gallery will occupy the ground and lower floors of a historic late Victorian building at 43a Duke Street, expanding from its current Mayfair location at 2 Bourdon Street. The inaugural exhibition will feature new paintings by German artist Matthias Weischer. Founder Jörg Grimm described the move as a logical progression following the gallery's establishment in London in 2022.
Cork Street in London's Mayfair district, a historic hub for commercial art, is celebrating its centenary with a collaborative group show involving 15 galleries. The exhibition is inspired by a controversial 1938 Jean Cocteau work, "La peur donnant des ailes au courage," which was deemed obscene by British authorities and only shown in a back office at Peggy Guggenheim's gallery, Guggenheim Jeune, after her petitions. Participating galleries include Stephen Friedman Gallery, Alon Zakaim Fine Art, and Goodman Gallery, with works by artists like Caroline Coon, Shirin Neshat, and others, curated by Tarini Malik.
Yto Barrada has been selected to represent France at the 61st Venice Biennale in 2026 with her exhibition "Comme Saturne" (Like Saturn) in the French Pavilion. The installation features rebellious stage curtains hiding wasp nests and a copper daguerreotype plate of a planet, a large rock, a Wheel of Fortune, and a nostalgic vanitas arrangement around a missing mirror frame. Curated by Myriam Ben Salah, the show explores textile and natural dyeing, with three cabinets addressing the transmission of know-how, migration of plants and people, postcolonial history, and Enlightenment imperialism. A central room displays 70 pieces forming a symmetrical frieze of red natural dyes, while a black monochrome patchwork highlights the difficulty of achieving black in dyeing. Barrada is the fifth woman to represent France at the Biennale.
Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the thematic and emotional depth of the British and German pavilions while critiquing the lack of meaning in the US entry.
Charles Porch, VP of Global Partnerships for Instagram, moved from Venice Beach to a historic West Village brownstone in 2020. He enlisted sculptor-turned-designer Jed Lind to renovate the property, blending vintage furnishings with contemporary artworks collected from emerging artists. The home features pieces by Pierre Augustin Rose, Michael O’Connell, and artworks by Whitney Bedford, Robert Natkin, and Brett Cody Rogers. Porch later married Robert Denning, a philanthropist on the Met’s Board of Trustees, and the couple has since moved to a Chelsea space, combining their collections.
Cultured magazine hosted a party at the Twenty Two in New York to celebrate Sophia Cohen's appointment as arts editor-at-large. Cohen, a former Gagosian associate director and founder of the consultancy Siren, will write a monthly column called "In the Know." The event, timed to Frieze New York, brought together figures including fashion designer Kim Shui, writer Nate Freeman, art advisors Ralph DeLuca and Sandy Heller, artist Rogan Gregory, critic Johanna Fateman, collector Lucas Hoffmann, and David Zwirner senior director Lucas Zwirner.
Reba Maybury presents her exhibition "I Come in Peace" at Secession in Vienna, an installation that spans four sites within the building—including the façade, foyer, and upstairs spaces. Maybury, an artist, writer, and political dominatrix, uses her multidisciplinary practice to explore themes of feminism, sexuality, labor, and power, directly engaging with the institution's history by questioning how to dominate the legacy of Gustav Klimt.
henrike naumann sculptor dead germany venice biennale
The German art world is mourning the death of sculptor Henrike Naumann, who passed away in Berlin at age 41 following a brief battle with cancer. Naumann was a rising star known for her immersive installations that utilized furniture and domestic objects to explore the complex sociopolitical legacy of East Germany and the psychological tensions of reunification. Her death comes just months before she was scheduled to represent Germany at the 2024 Venice Biennale.
Frieze is launching Frieze House Seoul, a new exhibition space in the Yaksu-dong neighborhood of central Seoul, which will open alongside the fourth edition of Frieze Seoul in early September 2025. The four-story venue, renovated by architecture studio Samuso Hyoja, spans 210 square meters and includes two main galleries and a landscaped garden. Galleries can apply to program the inaugural season, following a model similar to Frieze's No. 9 Cork Street space in London. The announcement coincides with Korean artist Im Young-zoo being named the 2025 Frieze Seoul Artist Award recipient, a prize funded by Bvlgari.
At Frieze New York and other concurrent exhibitions, Indigenous artists Sara Flores, Suzanne Kite, and Seba Calfuqueo are presenting works that challenge and expand traditional definitions of Indigenous art. Their pieces are on view in New York, Venice, and beyond, marking a significant moment for contemporary Indigenous voices in the global art scene.
Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaning in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
Andrew Durbin reviews the national pavilions at Frieze New York 2026, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the disparity in conceptual depth and emotional resonance among the three pavilions, with the US offering little meaning while the British and German contributions engage seriously with contemporary issues.
This article is a critic's guide reviewing national pavilions during Frieze Week New York. Andrew Durbin contrasts a vacuous US presentation with incisive and moving installations from Britain and Germany, questioning the meaning and depth of the American contribution.
Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights how the best moments of the exhibition live in the institutions built by curator Koyo Kouoh, who organized the Biennale's main exhibition.
Frieze critic Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The British pavilion, titled 'YBA & BEYOND,' exports British cool by showcasing works from Young British Artists and their successors, while the German pavilion offers a deeply resonant experience. The US pavilion is criticized for lacking meaningful content, raising questions about curatorial direction and national representation.
Jason Price, an artist and entrepreneur, is launching a new initiative called 'Risk and Reward' aimed at helping artists develop business acumen. The program offers workshops and resources on financial literacy, contract negotiation, and marketing strategies tailored specifically for visual artists. Price draws on his own experience navigating the art market to provide practical guidance, with the first sessions scheduled to take place in New York and Los Angeles.
At the 2026 Venice Biennale's Arsenale, critic Andrew Durbin reviews national pavilions, finding the US presentation vacuous and lacking meaning, while praising the British and German pavilions for their incisive and moving installations that resist erasure. The review highlights a stark contrast in curatorial ambition and political engagement among the participating nations.
Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the US pavilion for lacking meaningful content, while praising the British and German contributions for their depth and emotional resonance.
Frieze New York opened with a flurry of activity, drawing collectors, curators, and art enthusiasts to the fair's latest edition. The event featured a wide range of contemporary galleries and presentations, with notable early sales and strong attendance signaling a vibrant start to the fair season in New York.
Andrew Durbin reviews national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article is part of Frieze's Critic's Guides series, published on May 6, 2026.
The article announces the winner of the Frieze New York 'Focus' stand prize, a dedicated award for emerging galleries at the fair. The prize recognizes outstanding presentation and curatorial vision among the Focus section participants.
Andrew Durbin reviews national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the disparity in thematic depth and emotional resonance among the three pavilions.
Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article critiques the lack of meaning in the American pavilion while praising the depth and emotional resonance of the British and German contributions.
Art critic Andrew Durbin reviews national pavilion presentations at the Venice Biennale, contrasting a vacuous US exhibition with incisive and moving installations from Britain and Germany. The review highlights the disparity in thematic depth and emotional resonance among the three pavilions.
Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.
Andrew Durbin reviews national pavilions at the 2026 Venice Biennale, critiquing the US presentation as vacuous while praising incisive and moving installations from Britain and Germany. The review highlights Seba Calfuqueo's work in the context of colonized bodies, though the article's main focus is on the comparative quality of the pavilions.