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艺术与文学类季刊《The White Review》第二期隆重登场，该刊由Benjamin Eastham、Jacques Testard担任主编，艺术方面仍然沿袭总监Ray O’Meara的一贯风格，本期更坚定了紧靠新写作与新兴艺术的决心，各部分内容按章节归类，凝练易读。第二期中不仅包含了William Boyd、Richard Wentworth等颇具影响力的艺术家、作家的深度访谈，还有来自瑞典摄影师JH Engström的作品“回家”，表现力极强绝不逊色于文字内容，令人期待。

Issue two of literary and arts quarterly, The White Review has arrived. Edited by Benjamin Eastham and Jacques Testard, and under the continued art direction of Ray O’Meara, No.2 strengthens their resolve to “stay close to new writing and emerging art” in a journal format, refined aesthetically and collected within chapter-like sections. The range of writing and sharp interviews, extended and unapologetic, include William Boyd, Richard Wentworth and JH Engström, whose accompanying photographic series Back Home is beautifully delivered with as much weight as the texts that flank it.

It’s Nice That网站对话主编Jacques&设计师Ray：

ITN: Jacques你好，当有了成功发布第一期的经验后，你是如何找到将出现在下一期内容中的艺术家或者作家的，谁又会成为你们的焦点？

Jacques: 筹备第二期时，其中一个重要的问题就是如何更好的平衡那些我们即将和正在出版的作家和艺术家的表现形式和流派。虽然期刊内容的选择存在一定的偶然性，但大部分情况下，我们仍是选载一些受委托的主题，或至少是从作品出众的人身上寻找灵感，比如Joshua Cohen就是一个例子。 一些想加入我们的优秀作者，他们本身就是诗人或者正在创作与此相关的东西，但在很大程度上我们并不希望The White Review因此而被各种诗歌或者诗意的内容充斥。就像我们在卷首语中所写：我们不曾刻意的为每期杂志强加一个主题，尽管如此，在汇编时，杂志的内容彼此仍旧自然的发生着关联。第二期看起来已经拥有了这份诗人的特质。

ITN: 在卷首语中你曾提到对杂志印刷情有独钟，你如何将这份情感通过在线内容传达？

Jacques: 我们的网站是杂志（印刷版）的衍生和补充，除却完全地呈现刊物中必要的内容外，还能提供很多其他帮助。首先，网站可以对时事进行即时反馈，相比印刷本，这种方式更为便捷。原则上讲，我们并不在网站上发布评论，但比如，Venice Biennale希望开设个人账号记录他的随感，我们也会将这类文章发布在网上。同样的，为保证时效性，与一些艺术家和作家的小型访谈也将即时更新在网站上。

同时，我们的网站也为初出茅庐的作家和设计师提供了施展才华的机会。从某种意义上说，我们所做的一切仍着眼于最后的印刷出版，为此我们不断提升自身价值，培养青年人才、紧跟时事。这些努力都能帮助期刊增加印刷量，网站内容也可以集结成册进行出版。

ITN: Ray，你能和我们说说自创刊以来你是如何不断改进和提升杂志的设计呢？

Ray: 我们着力于将第二期打造成一个实验平台。相较于与Viktor Timofeev、 Marcus Leatherdale合作的创刊号，此次由Lewis Irvine操刀的封面设计加上JH Engström的精彩摄影让第二期拥有了完全不同的基调。The White Review是一个构建中的系列，创刊号为我们在视觉主题上奠定了基础，而第二期则将这一优势发扬光大。设计形式、内容结构、节奏、画面以及版式，所有这些都是紧密联系在一起，其微妙的阅读体验让期刊之间有了区别，Joshua Cohen就是其中一个例子。

ITN: 主编提到第二期“心存诗意”，设计上会配合这一主题吗？

Ray: 杂志内容尽量避免明显的主体性。同样，我也不会完全根据一个主题去设计整个杂志的风格，而更注重设计本身是否可以和实际内容有更高的相关性。文字与图片的呼应本身成为了一个吸引人的部分，这也是最令人享受的部分。（翻译_Happen2Me）

It’s Nice That spoke to editor Jacques and deisgner Ray to find out more.

Hi Jacques, how and who have you approached for content in hindsight of issue one?

One of our main concerns with the second issue was to strike a better balance between the forms and genres that we set out to publish and the generations of writers and artists that we were publishing. Some of the content came through random submissions or pitches, but most of it was commissioned or at least sought out from people whose work we admired, like Joshua Cohen for example.

Without ever willing it we ended up with a poetry-infused issue, largely because many of the good writers who wanted to get involved were either poets or writing about them. As we wrote in the editorial: ‘We resist the imposition of a theme on each issue. Nonetheless connections emerge, organically, in the compilation of a journal. This second issue seems to have poetry at its heart.’

In your editors’ letter you spoke of an emotional stake in print, how does this translate to your online content?

Our website serves as a corollary to the print issues and serves several purposes beyond the necessity of staying visible in between issues. First of all, the website is a place to engage more with current affairs than is possible in print. We won’t publish reviews, but if someone wants to write a personal account of their time at, say, the Venice Biennale, and it is an unusual type of review, we will publish it online. Similarly, we’ll publish smaller interviews with writers and artists that need the immediacy of online publication to stay relevant.

Our website also enables us to give untested writers and artists a chance. In a sense, everything we do is geared towards the print issue – from raising our profile to nurturing young talents to keeping in touch with current affairs – with the idea being that we will eventually be able to increase our print-run and start publishing books too.

Hello Ray, what can you tell us about how you have developed/refined the design since issue one?

We’re interested in the journal as a platform for experimentation and (Lewis) Irvine’s cover and JH Engstrom’s images were both exciting to work with and gave the second issue a different tone to the first with Viktor Timofeev and Marcus Leatherdale.

The White Review is a series that is building. Issue 1 was the foundation of a visual theme that we’ve expanded and elaborated on in Issue 2. The design and the structure of content, the pace, imagery and typesetting – all of these go hand in hand, and it’s those subtleties in the reading that define the object issue to issue, Joshua Cohen being one example.

The editors stated this issue had “poetry at its heart” – is the design a concretion of this?

The White Review avoids themed content – and likewise I try to avoid designing towards an overall topic rather than working with the actual content. What’s happening in the text and imagery itself is what becomes the visually beguiling factor for the object, and that’s what’s most enjoyable. (via)

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