Articles

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  Margaret Priest and Jen Aitken

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  Melanie Authier

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  Sandra Meigs with Christopher Butterfield

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  Janet Werner

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  “Shards”

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  “The North End Revisited: Photographs by John Paskievich”

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  The 15th Istanbul Biennial

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  Rhonda Weppler and Trevor Mahovsky

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  Fleur Jaeggy’s Gift of Detachment

  For this period, detachment is the state of things. Easier, safer, recommended. No noisy, unmanageable, untidy passions. No individual cluttered urgencies with ends and tags askew. Each her own island country, complete and selfsufficient, an isolationist policy in place for all.

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  “Once Upon a Time…”

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  Jonas Wood

  The sense of freshness and clarity conveyed by Jonas Wood’s paintings, and by their emotionally cool and unruffled air, have sometimes prevented them from being taken quite as seriously as they should be. And that was true right from the beginning—for instance, when the New Yorker ran an unsigned notice of the Angeleno’s first New York exhibition in 2007, saying, “Wood’s paintings are extremely likable—although ‘reassuring’ might be an equally apt description. Like fashion designers or musicians who draw on styles of earlier eras, Wood has hit on a formula that is at once familiar and fresh.” That’s not exactly a bashing by any means, but still, according to the art world’s implicit value system, “likable” and “reassuring” are not positive characteristics, and neither is “formula.” “Edgy,” “critical,” “confrontational” are the things to be. Wood is talented, was the implication, but lightweight, maybe even superficial.

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  “INSURGENCE/ RESURGENCE”

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