Here is a unique collection that gives readers unprecedented access to a dazzling range of artists from one of the greatest cultural critics of a generation. From the late editor, designers, one of the great chroniclers of the art, and celebrity scenes: an expansive collection of thirty-five essays that offer an intimate look into the worlds of some of the most important and well-known artists, writer, and critic, fashion, and actors of our time.
For more than three decades, Ingrid Sischy's profiles and critical essays have been admired for their keen observation and playful style. Many of the pieces that appeared in the new york times magazine, among others, and francesco clemente, miuccia prada, including her masterful profiles of Nicole Kidman, Jeff Koons, and Vanity Fair from the 1980s to 2015 are gathered here for the first time, Jean Pigozzi, Calvin Klein, Kristen Stewart, Alice Neel, The New Yorker, as well as her exclusive interview with John Galliano after his career nose-dived in 2011.
Whether writing about a young alexander mcqueen, the photography of robert Mapplethorpe, Cindy Sherman, Sischy's close attention to the unexpectedly telling detail results in vividly crafted, Sebastião Salgado, or Bob Richardson, or the Japanese musical theater group Takarazuka Revue, incisive portraits of individuals and their works.
Nobody's Looking at You: Essays
A new york times Book Review Editors' Choice. Like forty-one false starts, nobody’s looking at You brings together previously uncompiled pieces, mainly from The New Yorker and The New York Review of Books. The title piece of this wonderfully eclectic collection is a profile of the fashion designer Eileen Fisher, whose mother often said to her, “Nobody’s looking at you.
But in every piece in this volume, malcolm looks closely and with impunity at a broad range of subjects, from Donald Trump’s TV nemesis Rachel Maddow, to the stiletto-heel-wearing pianist Yuju Wang, to “the big-league game” of Supreme Court confirmation hearings. In an essay called “socks, ” the pevears are seen as the “sort of asteroid that has hit the safe world of Russian Literature in English translation, ” the focus is Tolstoy, ” and in “Dreams and Anna Karenina, “one of literature’s greatest masters of manipulative techniques.
Nobody’s looking at you concludes with “pandora’s click, ” a brief, cautionary piece about e-mail etiquette that was written in the early two thousands, and that reverberates—albeit painfully—to this day. A 2019 npr staff Pick. Malcolm is always worth reading; it can be instructive to see how much satisfying craft she brings to even the most trivial article.
Phillip lopate, tlsjanet malcolm’s previous collection, forty-One False Starts: Essays on Artists and Writers, was “unmistakably the work of a master” The New York Times Book Review.
Hollywood's Eve: Eve Babitz and the Secret History of L.A.
For babitz, fast company until a freak fire turned her into a recluse, life was slow days, living in a condo in West Hollywood, where author Lili Anolik tracked her down in 2012. She would go on to produce seven books, usually billed as novels or short story collections, always autobiographies and confessionals.
Her prose achieves that american ideal: art that stays loose, maintains its cool, and is so simply enjoyable as to be mistaken for simple entertainment. There were the album covers she designed: for Buffalo Springfield and the Byrds, to name but a few. Hollywood’s eve, equal parts biography and detective story “brings a ludicrously glamorous scene back to life, adding a few shadows along the way” Vogue and “sends you racing to read the work of Eve Babitz” The New York Times.
Now in her mid-seventies, she’s on the cusp of literary stardom and recognition as an essential—as the essential—LA writer. Los angeles in the 1960s and 70s was the pop culture capital of the world—a movie factory, a music factory, a dream factory. The photograph made her an instant icon of art and sex.
Then, her it girl days numbered, at nearly thirty, Babitz was discovered—as a writer—by Joan Didion. She was naked; he was not. There were the men she seduced: Jim Morrison, Harrison Ford, Ed Ruscha, to name but a very few. Under-known and under-read during her career, she’s since experienced a breakthrough.
Vile Days: The Village Voice Art Columns, 1985-1988 Semiotexte / Active Agents
Edited and prefaced by bruce hainley, Vile Days provides an opportunity to track Indiana's emergence as one of the most prescient writers of his generation. I now had to actually enter all those galleries instead of peeking in the windows. This made my life easier and lousy at the same time. In the midst of reaganism, and the frequent jingoism of postmodern theory, the grim toll of AIDS, Indiana found a way to be the moment's Baudelaire.
He turned the art review into a chronicle of life under siege. As a critic, indiana combines his novelistic and theatrical gifts with a startling political acumen to assess art and the unruly environments that give it context. But indiana also remained alert to the aesthetic consequence of sumo wrestling, flower shows, corporate galleries, public art, and furniture design.
Thirty years later, vile days brings together for the first time all of those vivid dispatches, too long stuck in archival limbo, so that the fire of Indiana's observations can burn again. Gary indiana's collected columns of art criticism from the Village Voice, documenting, from the front lines, the 1980s New York art scene.
In 1985, the village Voice offered me a job as senior art critic. No one was better positioned to elucidate the work of key artists at crucial junctures of their early careers, from Sherrie Levine and Richard Prince to Jeff Koons and Cindy Sherman, among others. At times, the only tangible perk was having the chump for a fifth of vodka whenever twenty more phonies had flattered my ass off in the course of a working week.
Hot, Cold, Heavy, Light, 100 Art Writings 1988-2018
Hot cold heavy light collects 100 writings—some long, some short—that taken together forma group portrait of many of the world’s most significant and interesting artists. For more than three decades, he has written about art with Emersonian openness and clarity. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does.
His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. From pablo picasso to cindy sherman, schjeldahl ranges widely through the diverse and confusing art world, Old Masters to contemporary masters, and saints to charlatans, paintings to comix, an expert guide to a dazzling scene.
A fresh perspective, a lucid gloss on a big idea awaits the reader on every page of this big, an unexpected connection, absorbing, buzzing book.
I Used to Be Charming: The Rest of Eve Babitz New York Review Books Classics
What is less well known is that babitz was a working journalist for the better part of three decades, and Esquire, Vogue, writing for the likes of Rolling Stone, as well as for off-the-beaten-path periodicals like Wet: The Magazine of Gourmet Bathing and Francis Ford Coppola’s short-lived City.
. Whether profiling hollywood darlings, remembering friends and lovers from her days hobnobbing with rock stars at the Troubadour and art stars at the Ferus Gallery, Los Angeles, getting to the bottom of health crazes like yoga and acupuncture, or writing about her beloved, misunderstood hometown, Babitz approaches every assignment with an energy and verve that is all her own.
I used to be charming gathers nearly fifty pieces written between 1975 and 1997, including the full text of Babitz’s wry book-length investigation into the pioneering lifestyle brand Fiorucci. Previously uncollected nonfiction pieces by Hollywood's ultimate It Girl about everything from fashion to tango to Jim Morrison and Nicholas Cage.
With eve’s hollywood Eve Babitz lit up the scene in 1974. The title essay, published here for the first time, recounts the accident that came close to killing her in 1996; it reveals an uncharacteristically vulnerable yet never less than utterly charming Babitz. The books that followed, fast company and Sex and Rage, among them Slow Days, have seduced generations of readers with their unfailing wit and impossible glamour.
Forty-one False Starts: Essays on Artists and Writers
A national book critics circle Finalist for CriticismA deeply Malcolmian volume on painters, writers, photographers, and critics. Janet malcolm's in the freud archives and the journalist and the murderer, with its forty-one "false starts, are canonical in the realm of nonfiction—as is the title essay of this collection, " or serial attempts to capture the essence of the painter David Salle, as well as her books about Sylvia Plath and Gertrude Stein, which becomes a dazzling portrait of an artist.
In "salinger's cigarettes, banality, " malcolm writes that "the pettiness, and thus can tolerate in others, and vanity that few of us are free of, vulgarity, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines. Over and over, an article in a magazine, " as ian frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, something we see every day—can rise to the highest level of literature.
One of publishers weekly's Best Nonfiction Books of 2013. 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.
Tonne Goodman: Point of View
The vogue fashion director has not only shaped the way women dress and see themselves, but she has also created a nexus in which the worlds of celebrity and style continually collide. The editor’s recollections of some of the world’s greatest photographers, models, and designers of our time are illustrated throughout, celebrities, with behind-the-scenes fashion photos and shots of Goodman’s personal life.
Throughout her illustrious career, Tonne Goodman has made the famous stylish and the stylish famous. Organized chronologically, this book charts Goodman’s career from her modeling days, to her freelance fashion reportage, to her editorial and advertising work, through to her reign at Vogue. Now, in point of view, Goodman’s life and career are explored for the first time.
Boom: Mad Money, Mega Dealers, and the Rise of Contemporary Art
Dealers operate within a private world of handshake agreements, negotiating for the highest commissions. This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, takes us through the ramshackle 1950s studios of Coenties Slip, London's Bond Street, the hipster locations in SoHo and Chelsea, and across the terraces of Art Basel until today.
. He has spoken to all of today's so-called mega dealers-larry gagosian, and iwan Wirth-along with dozens of other dealers-from Irving Blum to Gavin Brown-who worked with the greatest artists of their times: Jackson Pollock, David Zwirner, Cy Twombly, Andy Warhol, Arne and Marc Glimcher, and more. The meteoric rise of the largest unregulated financial market in the world-for contemporary art-is driven by a few passionate, guileful, and very hard-nosed dealers.
The contemporary art market is an international juggernaut, auction to auction, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, party to glittering party. Now, dealers and auctioneers are seeking the first billion-dollar painting. But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival.
Michael shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. They can make and break careers and fortunes. It hasn't happened yet, but they are confident they can push the price there soon.
Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art
And helen frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Grace hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Elaine de kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax.
Joan mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. Set amid the most turbulent social and political period of modern times, sometimes tragic, Ninth Street Women is the impassioned, wild, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting -- not as muses but as artists.
Five women revolutionize the modern art world in postwar America in this "gratifying, generous, and lush" true story from a National Book Award and Pulitzer Prize finalist Jennifer Szalai, New York Times. From their cold-water lofts, where they worked, and loved, drank, fought, these pioneers burst open the door to the art world for themselves and countless others to come.
Her gamble paid off: at twenty-three she created a work so original it launched a new school of painting. These women changed american art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. Gutsy and indomitable, lee krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock.
I.M.: A Memoir
He tells what it was like to be an out gay man in a homophobic age and to witness the ravaging effects of the AIDS epidemic. Yet ever since he shot to fame in the late 1980s, the private Isaac Mizrahi has remained under wraps. Growing up gay in a sheltered syrian jewish orthodox family, isaac had unique talents that ultimately drew him into fashion and later into celebrity circles that read like a who’s who of the twentieth and twenty-first centuries: Richard Avedon, Anna Wintour, and Oprah Winfrey, Audrey Hepburn, Meryl Streep, Mikhail Baryshnikov, to name only a few.
Until now. In I. M. Isaac mizrahi offers a poignant, candid, and touching look back on his life so far. Instant new york times bestseller“in I. M. Isaac mizrahi puts his life to paper with the same mix of spirit and wryness as the designs he popularized. Vanity fairisaac mizrahi is sui generis: designer, talk-show host, cabaret performer, a TV celebrity.
Illuminates deep emotional truths. Brimming with intimate details and inimitable wit, Isaac's narrative reveals not just the glamour of his years, but the grit beneath the glitz. In his elegant memoir, insomnia, Isaac delves into his lifelong battles with weight, and depression.