What is The New Yorker? I know it’s a great magazine and that it’s a tremendous source of pleasure in my life. But what exactly is it? This blog’s premise is that The New Yorker is a work of art, as worthy of comment and analysis as, say, Keats’s “Ode on a Grecian Urn.” Each week I review one or more aspects of the magazine’s latest issue. I suppose it’s possible to describe and analyze an entire issue, but I prefer to keep my reviews brief, and so I usually focus on just one or two pieces, to explore in each the signature style of its author. A piece by Nick Paumgarten is not like a piece by Jill Lepore, and neither is like a piece by Ian Frazier. One could not mistake Collins for Seabrook, or Bilger for Goldfield, or Mogelson for Kolbert. Each has found a style, and it is that style that I respond to as I read, and want to understand and describe.
Three striking artworks in this week’s issue:
1. Sergiy Maidukov’s portrait of Grace Jones for Sarah Larson’s “Podcast Dept.”
2. Naila Ruechel’s photos for Hannah Goldfield’s “Tables For Two: EMP To Go."
3. Andrea Ventura’s portrait of Paul Celan for Ruth Franklin’s “A Word, a Corpse.”
Maidukov and Ventura are established New Yorker illustrators. I’ve long admired their work. But Ruechel’s bold, color-drenched photography is new to me. I look forward to seeing more of it in the magazine.
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