A poignant and painfully funny novel about the New York art world by the acclaimed author of Although of Course You End Up Becoming Yourself For two first-class years, Joan Freeley had it all: the perfect family, the best art dealer in Manhattan, and the admiration of famous friends. Her adoring husband and two handsome sons attended her first gallery show in matching khakis and blue blazers. “An Interesting Talent Makes Its Debut,” declared the New York Times. Then, as if her success were nothing more than a booking error, Joan’s life got downgraded. A brutal divorce led to paintings too bitter to sell and a career stuck firmly in coach. Unable to see her suffer alone any longer, Joan’s teenage son Richard leaves his father and older brother in Los Angeles and moves in to her one-bedroom apartment in SoHo. At the gallery openings where she used to be a star, Richard discovers just how much his mother’s light has dimmed. She is an artist who is not showing—she might as well be invisible. To acknowledge her is to acknowledge the thin line between success and failure in a world as superficial as it is intoxicating. Richard immediately devotes himself to returning his mother to her former glory. Everything about him—the clothes he wears, the jokes he makes, the college he attends—is calculated to boost Joan’s reputation. But as the years go by and the galleries keep sending back her slides, Richard has to ask: Who wants Joan Freeley’s resurrection more—him or her? And when will his own life start?

In just half a century of growth, the art fair industry has transformed the art market. Now, for the first time, art market journalist Melanie Gerlis tells the story of art fairs' rapid ascent and reflects on their uncertain future. From the first post-war European art fairs built on the imperial 19th-century model of the International Exhibitions, to the global art fairs of the 21st century and their new online manifestations, it's a tale of many twists and turns. The book brings to life the people, places and philosophies that enabled art fairs to take root, examines the pivotal market periods when they flourished, and maps where they might go in a much-changed world.

Making a living as an artist, the brave way! Entertaining and thorough account on how to launch a career as an art festival artist. A book for brave artists who embark on the treacherous and most wonderful adventure of selling artful creations in art festivals and generally directly to the public. What you will need, how to choose shows, sales at the booth, marketing and promotion, setting goals for continued success, display tips, tricks of the trade, staying healthy and much more.

Eleven sparkling stories of family, love, and art from New York Times–bestselling author David Lipsky My mother doesn’t know that I owe my father three thousand dollars. From the opening line of the acclaimed title story—a Best American Short Stories selection that first appeared in the New Yorker—to the tender last scene of “Springs, 1977,” this pitch-perfect collection explores the unsteady terrain of early adulthood and the complex legacy of family. Self-aware, creatively ambitious, and just privileged enough to be acutely aware of all that they lack, Lipsky’s characters are as real and unforgettable as the dilemmas they face—some of their own making, some that the world has thrust on them. In “Relativity,” a college junior transfers to the Ivy League in order to please his mother and make new friends; he quickly realizes the fault in his logic. In “Colonists,” a nervous young author searches for her muse at a New Hampshire writers’ retreat attended by a priest who pens erotic poetry and a composer working on a comic opera about the Alger Hiss trial. “ ‘Shh,’ ” the genesis of Lipsky’s highly praised novel The Art Fair, is the story of a dutiful son trying to shield his artist mother from the agony of her latest rejection. Witty, heartbreaking, and wise, the stories in Three Thousand Dollars are a testament to David Lipsky’s exceptional talent and to the power of short fiction to transform the smallest of moments into the greatest of truths.

In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.

A text book on learning how to draw and paint based on perceptual

For every artist who dreams of selling his or her work, "The Art Festival Handbook" offers a practical, in-depth guide to all aspects of participating in outdoor art festivals. Every year, hundreds of thousands of artists exhibit in the 30,000 art festivals held in the United States. These painters, sculptors, photographers, fiber artists, ceramicists and creators of art in many more media all employ-or should employ-the principles and techniques in "The Art Festival Handbook." From the basics of applying to art festivals through the emotional impact of festivals on artists, "The Art Festival Handbook" guides the artist to success-both artistic and financial-in the multi-billion dollar art festival business.

New York Times Bestseller: A “fascinating, funny and tremendously well written” chronicle of daily life at the US Military Academy (Time). In 1998, West Point made an unprecedented offer to Rolling Stone writer David Lipsky: Stay at the Academy as long as you like, go wherever you wish, talk to whomever you want, to discover why some of America’s most promising young people sacrifice so much to become cadets. Lipsky followed one cadet class into mess halls, barracks, classrooms, bars, and training exercises, from arrival through graduation. By telling their stories, he also examines the Academy as a reflection of our society: Are its principles of equality, patriotism, and honor quaint anachronisms or is it still, as Theodore Roosevelt called it, the most “absolutely American” institution? During an eventful four years in West Point’s history, Lipsky witnesses the arrival of TVs and phones in dorm rooms, the end of hazing, and innumerable other shifts in policy and practice. He uncovers previously unreported scandals and poignantly evokes the aftermath of September 11, when cadets must prepare to become officers in wartime. Lipsky also meets some extraordinary people: a former Eagle Scout who struggles with every facet of the program, from classwork to marching; a foul-mouthed party animal who hates the military and came to West Point to play football; a farm-raised kid who seems to be the perfect soldier, despite his affection for the early work of Georgia O’Keeffe; and an exquisitely turned-out female cadet who aspires to “a career in hair and nails” after the Army. The result is, in the words of David Brooks in the New York Times Book Review, “a superb description of modern military culture, and one of the most gripping accounts of university life I have read. . . . How teenagers get turned into leaders is not a simple story, but it is wonderfully told in this book.”

How do we imagine the art fair of the future? Alongside the recurrent question of the relationship between fairs and biennials, and the debate on the cultural or purely commercial role of these events, with their high concentration of symbolic, social, and financial capital, 'Fairland' wants to explore the phenomenon of “fairization”. 'Fairland 'is is a wide-ranging collection of analytical standpoints and possible visions by outstanding artists, curators and critics.