A finalist for the National Book Critics Circle Award, this memoir of one woman's later in life career change is “a smart, funny and compelling case for going after your heart's desires, no matter your age” (Essence). Following her retirement from Princeton University, celebrated historian Dr. Nell Irvin Painter surprised everyone in her life by returning to school––in her sixties––to earn a BFA and MFA in painting. In Old in Art School, she travels from her beloved Newark to the prestigious Rhode Island School of Design; finds meaning in the artists she loves, even as she comes to understand how they may be undervalued; and struggles with the unstable balance between the pursuit of art and the inevitable, sometimes painful demands of a life fully lived. How are women and artists seen and judged by their age, looks, and race? What does it mean when someone says, “You will never be an artist”? Who defines what an artist is and all that goes with such an identity, and how are these ideas tied to our shared conceptions of beauty, value, and difference? Bringing to bear incisive insights from two careers, Painter weaves a frank, funny, and often surprising tale of her move from academia to art in this "glorious achievement––bighearted and critical, insightful and entertaining. This book is a cup of courage for everyone who wants to change their lives" (Tayari Jones, author of An American Marriage).

A finalist for the National Book Critics Circle Award, this memoir of one woman's later in life career change is “a smart, funny and compelling case for going after your heart's desires, no matter your age” (Essence). Following her retirement from Princeton University, celebrated historian Dr. Nell Irvin Painter surprised everyone in her life by returning to school––in her sixties––to earn a BFA and MFA in painting. In Old in Art School, she travels from her beloved Newark to the prestigious Rhode Island School of Design; finds meaning in the artists she loves, even as she comes to understand how they may be undervalued; and struggles with the unstable balance between the pursuit of art and the inevitable, sometimes painful demands of a life fully lived. How are women and artists seen and judged by their age, looks, and race? What does it mean when someone says, “You will never be an artist”? Who defines what an artist is and all that goes with such an identity, and how are these ideas tied to our shared conceptions of beauty, value, and difference? Bringing to bear incisive insights from two careers, Painter weaves a frank, funny, and often surprising tale of her move from academia to art in this "glorious achievement––bighearted and critical, insightful and entertaining. This book is a cup of courage for everyone who wants to change their lives" (Tayari Jones, author of An American Marriage).

In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak? Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

This work reaches across the colour line to examine how race, gender, class and individual subjectivity shaped the lives of black and white women in the 19th- and 20th-century American South.

This National Book Award finalist is a revealing and beautifully written memoir and family history from acclaimed photographer Sally Mann. In this groundbreaking book, a unique interplay of narrative and image, Mann's preoccupation with family, race, mortality, and the storied landscape of the American South are revealed as almost genetically predetermined, written into her DNA by the family history that precedes her. Sorting through boxes of family papers and yellowed photographs she finds more than she bargained for: "deceit and scandal, alcohol, domestic abuse, car crashes, bogeymen, clandestine affairs, dearly loved and disputed family land . . . racial complications, vast sums of money made and lost, the return of the prodigal son, and maybe even bloody murder." In lyrical prose and startlingly revealing photographs, she crafts a totally original form of personal history that has the page-turning drama of a great novel but is firmly rooted in the fertile soil of her own life.

#1 NEW YORK TIMES, WALL STREET JOURNAL, AND BOSTON GLOBE BESTSELLER • One of the most acclaimed books of our time: an unforgettable memoir about a young woman who, kept out of school, leaves her survivalist family and goes on to earn a PhD from Cambridge University “Extraordinary . . . an act of courage and self-invention.”—The New York Times NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW • ONE OF PRESIDENT BARACK OBAMA’S FAVORITE BOOKS OF THE YEAR • BILL GATES’S HOLIDAY READING LIST • FINALIST: National Book Critics Circle’s Award In Autobiography and John Leonard Prize For Best First Book • PEN/Jean Stein Book Award • Los Angeles Times Book Prize Born to survivalists in the mountains of Idaho, Tara Westover was seventeen the first time she set foot in a classroom. Her family was so isolated from mainstream society that there was no one to ensure the children received an education, and no one to intervene when one of Tara’s older brothers became violent. When another brother got himself into college, Tara decided to try a new kind of life. Her quest for knowledge transformed her, taking her over oceans and across continents, to Harvard and to Cambridge University. Only then would she wonder if she’d traveled too far, if there was still a way home. “Beautiful and propulsive . . . Despite the singularity of [Westover’s] childhood, the questions her book poses are universal: How much of ourselves should we give to those we love? And how much must we betray them to grow up?”—Vogue NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • O: The Oprah Magazine • Time • NPR • Good Morning America • San Francisco Chronicle • The Guardian • The Economist • Financial Times • Newsday • New York Post • theSkimm • Refinery29 • Bloomberg • Self • Real Simple • Town & Country • Bustle • Paste • Publishers Weekly • Library Journal • LibraryReads • Book Riot • Pamela Paul, KQED • New York Public Library

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.