In Bad Boy, renowned American artist Eric Fischl has written a penetrating, often searing exploration of his coming of age as an artist, and his search for a fresh narrative style in the highly charged and competitive New York art world in the 1970s and 1980s. With such notorious and controversial paintings as Bad Boy and Sleepwalker, Fischl joined the front ranks of America artists, in a high-octane downtown art scene that included Andy Warhol, David Salle, Julian Schnabel, and others. It was a world of fashion, fame, cocaine and alcohol that for a time threatened to undermine all that Fischl had achieved. In an extraordinarily candid and revealing memoir, Fischl discusses the impact of his dysfunctional family on his art—his mother, an imaginative and tragic woman, was an alcoholic who ultimately took her own life. Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as Wall Street money begins to encroach on the old gallery system and change the economics of the art world. Fischl rebelled against the conceptual and minimalist art that was in fashion at the time to paint compelling portraits of everyday people that captured the unspoken tensions in their lives. Still in his thirties, Eric became the subject of a major Vanity Fair interview, his canvases sold for as much as a million dollars, and The Whitney Museum mounted a major retrospective of his paintings. Bad Boy follows Fischl’s maturation both as an artist and sculptor, and his inevitable fall from grace as a new generation of artists takes center stage, and he is forced to grapple with his legacy and place among museums and collectors. Beautifully written, and as courageously revealing as his most provocative paintings, Bad Boy takes the reader on a roller coaster ride through the passion and politics of the art world as it has rarely been seen before.

A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013

Providing a crucial record of the painter Noah Davis’s extraordinary oeuvre, this monograph tells the story of a brilliant artist and cultural force through the eyes of his friends and collaborators. Despite his exceedingly premature death at the age of 32, Davis’s paintings have deeply influenced the rise of figurative and representational painting in the twenty-first century. Davis’s emotionally charged work places him firmly in the canon of great American painting. Stirring, elusive, and attuned to the history of painting, his compositions infuse scenes from everyday life with a magical realist atmosphere and contain traces of his abiding interest in artists such as Marlene Dumas, Kerry James Marshall, Fairfield Porter, and Luc Tuymans. This catalogue is born of the unique relationship between Davis and Helen Molesworth, whom Davis entrusted to be the curator of his work. It is published on the occasion of the 2020 exhibition at David Zwirner, New York, which travels to The Underground Museum in Los Angeles, a space that Davis founded with his wife, artist Karon Davis. In her introduction, catalogue essay, and interviews with important figures in Davis’s life, Molesworth shows how the artist’s generosity and sense of responsibility galvanized a uniquely supportive artistic community, culture, and vision. Together with color illustrations and archival photographs, the book features heartfelt testimonials that unfold in the intimate yet expansive spirit of studio visits with people close to him.

America grows older yet stays focused on its young. Whatever hill we try to climb, we're "over" it by fifty and should that hill involve entertainment or athletics we're finished long before. But if younger is better, it doesn't appear that youngest is best: we want our teachers, doctors, generals, and presidents to have reached a certain age. In context after context and contest after contest, we're more than a little conflicted about elders of the tribe; when is it right to honor them, and when to say "step aside"? In Lastingness, Nicholas Delbanco, one of America's most celebrated men of letters, profiles great geniuses in the fields of visual art, literature, and music-Monet, Verdi, O'Keeffe, Yeats, among others - searching for the answers to why some artists' work diminishes with age, while others' reaches its peak. Both an intellectual inquiry into the essence of aging and creativity and a personal journey of discovery, this is a brilliant exploration of what determines what one needs to do to keep the habits of creation and achievement alive.

Through fifty years of epic stories, art, and personal ephemera, The Fletcher Family spans surfing's golden era to the present day, when bathing-suit model Dibi and competitive surfer Herbie met, to raising talented Christian and Nathan on boards and waves, to passing the torch to their skating-phenom grandson, Greyson. Herbie Fletcher is a surfing legend. Fletcher and his sons, Christian and Nathan, made a habit of doing things exceptionally well and in their own way before they became the norm. But the Fletchers are not merely trailblazing surf and skate legends; they also are counterculture and subculture icons. T Magazine referred to them as having "punk family values." Their sincere love for art and surfing and their collective DGAF attitude has earned them legions of devoted fans and friends from so many different worlds: music, fashion, streetwear, and art. The epitome of both surfer cool and punk counterculture, the Fletcher family for the first time has put together a window into their immensely colorful life. A visual memoir of this near-mythological surf family, The Fletcher Family is sure to appeal to their massive surfing fan base, young skaters, and those who are interested in the Fletcher family and their place in Southern California as a subcultural force of nature.

This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.