How we launched Frieze, the world’s coolest art fair

The first Frieze London was a cutting-edge confluence of culture and commerce. Co-founder Matthew Slotover chronicles its continued success

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(Image credit: Photograph by Graham Carlow. Courtesy of Graham Carlow/Frieze.)

I met Amanda Sharp when we were both studying at Oxford. We set up Frieze magazine for fun; we had no idea it would develop as it has. We didn’t know much about art, but when we saw Modern Medicine, the warehouse show curated by Damien Hirst in southeast London in 1990, it all made sense. When we launched Frieze the following year, we were influenced by The Face and Blitz, and our launch coincided with that of Dazed & Confused.

We wanted a magazine about contemporary art that focused more on younger artists than other magazines did and included their projects as well as articles about related fields. More than two decades on, its definition has not really changed, but the art market has changed dramatically. Back then, everyone knew each other – it’s so much bigger now, which means that’s no longer the case. Equally, it’s more diverse and there’s an increasing amount of interest, especially globally.

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