Jonas Wood gives the New York Times a tour of his East Hollywood Studio, showing off a series of works from his own practice and his personal collection. “I’ve been all-in on painting since I was younger, and I realized that it was because of a lot of fear that it would all go away,” he says. “That’s not how I want to paint in the future. The pressure and psychology of that setup isn’t totally right. I would like to build bodies of work outside the calendar schedule of art fairs and shows for a little while. I love painting, and I think I can paint without having a giant carrot in front of me. I don’t think that I’m the best at painting, and I want to get better at it.”
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The Serpentine Gallery is facing criticism over reports that the architect for this year’s pavilion, Junya Ishigami + Associates, uses unpaid interns working 12-hour shifts. “I considered [the internship] for a second, but then later I just realized how ridiculous the terms are,” one student said of the internship. “I can’t afford to do that, considering that Tokyo is not at all a cheap place to live.”
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The Guardian has a piece this week on the logistics and challenges of shipping masterpiece artworks.  “At the end of the day, you have to make your peace with that,” one conservator says of the stressful and threatening conditions that works being shipped occasionally face. “You have to think what art is for.”
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