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Eddy Frankel

@eddyfffrankel

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ART CRITIC for The Guardian and others
Big cheese @oof_gallery
Formerly Time Out Art Editor
And I’m in @liquidshitsludge

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Unbelievably psyched to launch this new column for the Guardian where I’ll be reviewing all the best small, free exhibitions in commercial galleries, project spaces and torture basements that don’t normally get a look in. More art, more reviews, more good times, what’s not to like?

Huge thanks to @alexneedham74. by @eddyfffrankel

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3 days ago

Went to Venice, reviewed a biennale. Saw so much art, drank so much aqua frizzante, ate so many tiny plates of risotto, avoided so many boring conversations with curators. It was a privilege. Huge thanks to @alexneedham74 for the commission and @davidlevene for the photos. You know where to read it. by @eddyfffrankel

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5 months ago

‘No sentence sums up the contemporary digital experience quite like ‘‘I can’t handle any more stress right now. I need to know if this is real.’’ Those words, the desperate plea not of a poet or philosopher, but of Megan Fox, were typed in reaction to Jim Carrey’s ‘‘new’’ face, unveiled as he received a lifetime achievement award at the 51st Cesar Awards in Paris last week,’ writes Eddy Frankel (@eddyfffrankel), in a new column for ArtReview. ⁠
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‘Once the images surfaced, the people of the internet, deeply unsettled, plunged into a mania of conspiracy theories: Carrey had been cloned, Carrey was dead, Carrey sent an imposter. Was the man on the red carpet an impersonator? Was it a performance, in the vein of Gillian Wearing or Cindy Sherman, two artists who have spent decades playing with the slipperiness of identity, the fragility of how we present ourselves? Or, more plausibly, did Carrey get a face full of botox – and is the ensuing reaction merely a symptom of the internet’s steady erosion of our ability to distinguish fact from fiction?’⁠
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Read the full column at the link in bio. ⁠
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Image: YouTube / Entertainment Today by @eddyfffrankel

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7 months ago

Are we already nostalgic for the lopsided AI‑generated images of only a few years ago?⁠
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When the first batch of Generative Artificial Network image models hit mainstream attention—DALL-E, Midjourney, Stable Diffusion, etc.—they were greeted by the public with fear and distrust. But what they were outputting in the late 2010s and early 2020s was a genuinely new aesthetic. Early versions of AI art created an immediately recognisable, utterly unique aesthetic.⁠
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DALL-E, in other words, looked like DALL-E. We think everything’s been done, that our cultural present is doomed to be nothing but post-post-post-post-modern rehashings of the infinite variety of pre-existing cultural forms, like we’re stuck in a constant aesthetic loop. And then DALL-E comes along and looks like nothing else, before or, crucially, since.⁠
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Who actually saw the images that DALL-E was creating in 2022 and genuinely thought ‘Well, that’s me done’? The first iterations of DALL-E weren’t going to take your job as a graphic designer, or even as an artist, because DALL-E sucked—it made ‘bad’ images, filled with errors and flubs and weirdness. But in the sucking, it managed something that AI is going to struggle to do the better it gets: it approached, in some way, beauty. A beauty which we are now on the verge of losing.⁠
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For Ocula Magazine, Eddy Frankel (@eddyfffrankel) asks whether early, imperfect AI art was actually almost beautiful. Link in bio. ⁠
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Images:⁠
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1. Jon Rafman (@jonrafman), Counterfeit Poast (2023) (video still). Courtesy the artist and Sprüth Magers (@spruethmagers)⁠
2. Still from the original AI-generated video titled ‘Will Smith eating spaghetti’, created using ModelScope’s text-to-video tool, posted on Reddit on 23 March 2023⁠
3. Jon Rafman, Counterfeit Poast (2023) (video still). Courtesy the artist and Sprüth Magers⁠
4. Jon Rafman, Punctured Sky (2021) (video still). Courtesy the artist and Sprüth Magers⁠
5. Detail of the AI-generated ‘Lovecraftian horror’ banner in London by @eddyfffrankel

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9 months ago

The next @oof_gallery show is the first ever look at football in the work of Roger Mayne, one of the most significant and influential photographers in British history. Organised with the Roger Mayne archive, the show is three rooms of scuffed knees, acrobatic saves and unadulterated joy. Can’t wait.

PV is on Nov 27, you are invited, this is your invitation. Details in the OOF bio. by @eddyfffrankel

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a year ago

Dry Cough is sick to the stomach to bring you the latest offering from the UK’s ugliest band this Friday.

Harsher, slower and somehow infinitely bleaker - the latest EP by sludge-death four piece Liquid Shit is the vilest, nastiest, meanest thing they’ve done to date. The EP is still distinctly sludge, still forcefully death metal, but now with added globs of black metal and Today Is The Day-esque misery thrown in, with the songs sinking deeper into suffering, loss and despair than ever before.

Welcome to the sewer, it stinks down here.

#liquidshit #drycoughrecords #sludge #sludgemetal # deathmetal #deathsludge #deathmetalcassettes #sludgecassettes by @eddyfffrankel

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a year ago

Been wrangling with some art critical issues over the past few years, and @artreview_magazine graciously let me air my grievances in public. You can’t say anything these days, eh. Except obviously you can. Very grateful to @benson_louise for the commission and the editing on a piece that was almost unreadably manic to begin with. by @eddyfffrankel

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a year ago

Today was my last day at Time Out. It’s been an honour, smell ya l8r. by @eddyfffrankel

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2 years ago

BACK AT IT, OOF X UMBRO RETURNS. Yes, we’ve made football shirts again. These beauties are by the amazing @hankwillisthomas and @rachel_maclean_studio and you can nab em from @oof_gallery. Dazzling sartorial psychedelia, perfect for the football pitch, perfect for the Louvre. It’s what we do. by @eddyfffrankel

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2 years ago

Back when OOF started, Douglas Gordon and Philippe Parreno’s ‘Zidane: A 21st Century Portrait’ was our North Star. It was, it is, the ultimate work of football-based art; a film nominally about the sport, but actually about so much more. It’s a quiet, meditative, beautiful vision of a beautiful man doing beautiful things, it’s a portrait of work, dedication, solitude, brilliance. It matters, a lot. To us at least. So here it is on the cover of the next issue. I went to Berlin last week to interview Douglas, he was generous, chaotic, fun, amazing. He did some breakdancing, he stole my T-shirt. And I went to Paris on Wednesday to interview Philippe. He did some keepy uppies. He had a lot of footballs in his studio. ‘They are like flowers,’ he said. If you say so mate.
Anyway, get it from @oof_gallery it ships in a few weeks by @eddyfffrankel

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2 years ago

Excellent canal-side sculptures. All the detritus around us is so aesthetically satisfying, partly because it looks like art, and partly because it’s full of the narratives of its own use and subsequent lack of usefulness. But mainly because it doesn’t come with a press release written by someone from the chisenhale. by @eddyfffrankel

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2 years ago

Issue thirteen (how tf did this dumb idea get to thirteen issues) is here and it’s damn fine. Articles about @louisbever @ggonzalezleal.studio @henrytaylorart @arjenrobben @jackhirons and a big interview with cover artist @mariannasimnett. Get it from @oof_gallery please, I’m very tired. by @eddyfffrankel

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2 years ago