"Over the last twenty years, art has become more accessible than ever before. A painter can post their latest creation on Instagram and wait as the likes pile up; a budding filmmaker can shoot a clip on their iPhone, then upload it to YouTube for thousands to view. The digital landscape has fundamentally altered what it means to be creative, as well as how consumers interact with artistic production both economically and curatorially. William Deresiewicz, a leading critic of contemporary culture in America, argues that we are in the midst of an epochal transformation within art. Whereas the nineteenth century considered artists to be craftsmen and the twentieth century treated them as professionals, artists today are uniquely dependent upon themselves. The internet, along with decreases in art funding and the growing prevalence of gig economies, has forced artists to become responsible for every aspect of their work, from conception to promotion, from sales to legacy. In The Death of the Artist, Deresiewicz profiles those struggling to make a living through the arts, from the twenty-something college novelist with a multi-hyphenated job title to the midlife painter who must utilize social media to stay relevant. Deresiewicz shows what the birth of the "creative entrepreneur" signifies about our evolving society at large and what might be done to keep artists thriving, because we need them"--

A group of notable writers--including UK poet laureate Simon Armitage, Julian Barnes, Margaret MacMillan, and Jenny Uglow--celebrate our fascination with the houses of famous literary figures, artists, composers, and politicians of the past What can a house tell us about the person who lives there? Do we shape the buildings we live in, or are we formed by the places we call home? And why are we especially fascinated by the houses of the famous and often long-dead? In Lives of Houses, a group of notable biographers, historians, critics, and poets explores these questions and more through fascinating essays on the houses of great writers, artists, composers, and politicians of the past. Editors Kate Kennedy and Hermione Lee are joined by wide-ranging contributors, including Simon Armitage, Julian Barnes, David Cannadine, Roy Foster, Alexandra Harris, Daisy Hay, Margaret MacMillan, Alexander Masters, and Jenny Uglow. We encounter W. H. Auden, living in joyful squalor in New York's St. Mark's Place, and W. B. Yeats in his flood-prone tower in the windswept West of Ireland. We meet Benjamin Disraeli, struggling to keep up appearances, and track the lost houses of Virginia Woolf and Elizabeth Bowen. We visit Benjamin Britten in Aldeburgh, England, and Jean Sibelius at Ainola, Finland. But Lives of Houses also considers those who are unhoused, unwilling or unable to establish a home--from the bewildered poet John Clare wandering the byways of England to the exiled Zimbabwean writer Dambudzo Marechera living on the streets of London. With more than forty illustrations, Lives of Houses illuminates what houses mean to us and how we use them to connect to and think about the past. The result is a fresh and engaging look at house and home. Featuring Alexandra Harris on moving house; Susan Walker on Morocco's ancient Roman House of Venus; Hermione Lee on biographical quests for writers' houses; Margaret Macmillan on her mother's Toronto house; a poem by Maura Dooley, "Visiting Orchard House, Concord, Massachusetts"--the house in which Louisa May Alcott wrote and set her novel Little Women; Felicity James on William and Dorothy Wordsworth's Dove Cottage; Robert Douglas-Fairhurst at home with Tennyson; David Cannadine on Winston Churchill's dream house, Chartwell; Jenny Uglow on Edward Lear at San Remo's Villa Emily; Lucy Walker on Benjamin Britten at Aldeburgh, England; Seamus Perry on W. H. Auden at 77 St. Mark's Place, New York City; Rebecca Bullard on Samuel Johnson's houses; a poem by Simon Armitage, "The Manor"; Daisy Hay at home with the Disraelis; Laura Marcus on H. G. Wells at Uppark; Alexander Masters on the fear of houses; Elleke Boehmer on sites associated with Zimbabwean writer Dambudzo Marechera; Kate Kennedy on the mental asylums where World War I poet Ivor Gurney spent the last years of his life; a poem by Bernard O'Donoghue, "Safe Houses"; Roy Foster on W. B. Yeats and Thoor Ballylee; Sandra Mayer on W. H. Auden's Austrian home; Gillian Darley on John Soane and the autobiography of houses; Julian Barnes on Sibelius and Ainola.

An artist who teaches others but who has lost his own inspiration, German-born painter Danzig finds a muse in the person of a new model named Merav, the Israeli-born granddaughter of Holocaust survivors, but before they can create a new future for themselves, both artist and model must come to terms with the past.

The Waverly Inn has been a landmark in New York’s Greenwich Village since the 1920’s. But since 2006, when Vanity Fair editor Graydon Carter bought and refurbished the restaurant, it has also been one of the most sought after destinations in the city. And while we can’t guarantee you a reservation there, we can bring you the wonderful, witty mural by Edward Sorel that graces its walls. Sorel--whose caricatures and drawings regularly appear in The New Yorker and on its cover--chose forty Greenwich Village greats from the past 150 years to cavort in bacchanalian splendor. Each of the 40 makes a solo appearance in these pages alongside a charming, telling vignette of his or her life by Dorothy Gallagher, then appears in a foldout of the entire mural at the back of the book. Here you will find Walt Whitman being attacked by a ferocious Truman Capote butterfly; Jane Jacobs, Gertrude Vanderbilt Whitney and Willa Cather playing ring-around the rosy; those famous denizens of the White Horse Tavern, Dylan Thomas--who breakfasted on beer and lunched on brandy--and Jack Kerouac, typing his long roll of a novel. Anais Nin appears nude, which, Gallagher points out, was her usual state. Norman Mailer admires himself in a reflecting pond. Here, too, are Djuna Barnes and Edna St. Vincent Millay, Jackson Pollack and James Baldwin, Thelonius Monk, Bob Dylan, and Joan Baez, Andy Warhol and Fran Lebowitz, Margaret Sanger, Marlon Brando, and many others. The Mural at the Waverly Inn is an enduring delight to treasure and to give.

In 1903, the artist Gwendolen Mary John travels from London to France with her companion Dorelia. Surviving on their wits and Gwen's raw talent, the young women walk from Calais to Paris. In the new century, the world is full of promise: it is time for Gwen to step out from the shadow of her overbearing brother Augustus and seek out the great painter and sculptor Auguste Rodin. It is time to be brave and visible, to love and be loved and time perhaps to become a hero as the stain of anti-Semitism spreads across Europe.

Delilah, an aspiring artist and nude model, starts to question her life and father, who has begun to show signs of Alzheimer's disease, after her mother suddenly returns with a young daughter and reveals a shocking family secret.

Even before his birth, Johnny Baker's life is in danger. His mother breaks the law when she has her fertilized egg endowed with genes that will give her son the potential to become a visual artist. Born in 2038, John Firth Baker is the first genetically engineered artist. At the age of nineteen, at the threshold of his career, he is murdered. Now, ten years after his death, Baker has become famous. An art curator has organized a show of his work, and his biography-culled from journals, e-mails, and interviews with those who knew him best-is published. The Song of the Earth is this "biography." It presents a powerful and haunting portrait of an artist as a young man in the twenty-first century. Baker is born into a world transformed by technology: genetic profiles, space travel, and controlled housing communities are commonplace. Global warming has altered the environment. A planetary gender war is raging, familial structures are shattered, and new religions contend with the old. Yet human needs remain the same: the search for love, the desire for approval, the longing for fame, and the quest for knowledge. The Song of the Earth is a hypnotic novel about our desire to control our destinies, our yearning for immortality, and the very human impulse to create art. With prose, poetry, and images, Nissenson tells an original tale that brilliantly captures the experience of another time and place.