Nine interviews with Francis Bacon spanning over twenty years from 1962 to 1986 which give invaluable insight into the creative mind of one of the twentieth century’s greatest artists Since its first publication, this book―with its subsequent revised and augmented editions―has been considered a classic of its kind. As a discussion of the problems of making art it has been widely influential, not only among artists but among writers and musicians. It has also been seen as the most revealing portrait that exists of one of the most singular artistic personalities of our time. Bacon’s obsessive thinking about how to remake the human form in paint finds unique expression in his encounters with the distinguished art writer David Sylvester over a period of twenty-five years. In these masterfully and creatively reconstructed interviews, Sylvester provided unparalleled access to the thought, work, and life of one of the creative geniuses of the twentieth century. 146 illustrations

“Sillman is in a thin crowd (with, let’s say, Andrea Fraser, Hito Steyerl, Matias Faldbakken, David Salle) of artists who can really write. The evidence is in Faux Pas ... her writings display the same good humor and intelligence of her best paintings.” –Jason Farago, New York Times This new edition of Faux Pas , the acclaimed collection of writings by Amy Sillman, comes as an expanded edition, with the addition of new essays, including recent texts on Paul Cézanne, Carolee Schneemann, Elizabeth Murray and Louise Fishman. The previously unpublished text from a lecture on drawing complements Sillman’s views on color and shape. New drawings from 2020–22 include a selection of works on paper that were part of the artist’s installation at the 59th International Venice Biennale, The Milk of Dreams , in 2022. Since the 1970s, Sillman―a beloved and key figure of the New York art scene―has developed a singular body of work that includes large-scale gestural paintings blending abstraction with representation, as well as zines and iPad animations. Over the past decade, Sillman has also produced stimulating essays on the practice of art or the work of other artists: for example, reevaluating the work of the abstract expressionists with a queer eye; elaborating on the role of awkwardness and the body in the artistic process; and discussing in depth the role and meanings of color and shape. Featuring a foreword by Lynne Tillman, Faux Pas gathers a significant selection of Sillman’s essays, reviews and lectures, accompanied by drawings, most of them made specially for the book. Faux Pas aims at revealing the coherence and originality of Sillman’s reflection, as she addresses the possibilities of art today, favoring excess over good taste, wrestling over dandyism, forms over symbols, with as much critical sense as humor. Based in New York City, Amy Sillman (born 1955) is an artist whose work consistently combines the visceral with the intellectual. She began to study painting in the 1970s at the School of Visual Arts and she received her MFA from Bard College in 1995. Her work has been exhibited internationally, including at the Whitney Biennial in 2014 and the Venice Biennale in 2022; her writing has appeared in Bookforum and Artforum , among other publications. She is currently represented by Gladstone Gallery, New York.

Throughout his long career, Richard Diebenkorn always kept a sketchbook―a portable studio, as he called it―to capture his ideas. Scattered across these books are deeply personal sketches of his wife and studies of the human figure, grand landscape studies, and evidence of the development and maturation of Diebenkorn's signature approaches to figuration and abstraction. Taken together, these sketchbooks offer a nearly complete look at his career, from his twenties to the years just before his death at age seventy. He added to these sketchbooks throughout his life, routinely putting one down only to pick it up again years later, and their improvised nature ensures that each turn of the page offers a surprise. Richard Diebenkorn: The Sketchbooks Revealed provides a unique look into this previously inaccessible trove of images. All twenty-nine sketchbooks are represented, including one reproduced in its entirety. More than 500 full color images show off stunning gestural sketches and glimpses of the artist's lived experiences. Essays by Enrique Chagoya, Alexander Nemerov, Peggy Phelan, and Steven A. Nash offer insights in to the artist's career, working process, and the visual dialogues Diebenkorn forged with fellow artists past and present. And Gretchen Diebenkorn Grant contributes a remembrance of her father and his artistry. This extraordinary collection of Richard Diebenkorn's sketches is unprecedented in displaying an artist's process, and through the collection we can better understand Diebenkorn's style of working. Presented together in this book, the sketchbooks become a revelation of sorts, offering intimate access to the practice of a well-known, important, and prolific artist.