2 comments about Portrait Painting Atelier: Old Master Techniques and Contemporary Applications.

1. This book imo has become the standard for learning to paint portraits in the indirect method. First, because other texts are outdated, shallow, and don't reflect the ascendancy of classical realism, many beautiful examples of which are shown in this lusciously printed work. Second, because the major thrust is to recapture the almost-lost fundamental techniques of the Old Masters, before our infatuation with the Impressionists and their greater circle largely blinded us from that very different world. Third, because the techniques shown help to go beyond the epidermis from the camera, yet with similar clarity, to let us become more as one with the spirit of the sitter, in the transparent modeling of the shadows, the emotions from color/temperature counterpoints. It is not gross hyperbole to say that painting a portrait can be a dance with the divine, to care so deeply not just about a likeness, but about the persona upon whom we lavish meticulous effort, because the devil is in the details, and this book goes beyond all others in making sure the artist avoids all the little technical things that bedevil the final image. Pivotal examples and names.
   And finally Madame S does so in a very well-written, gentle style that is both a pleasure to read and a training in patience of technique. The very feminine way to select a blending filbert, for example, with springiness just so, nearly parallel to the work, just so, to make the small circular blending just so, to follow the curves of the face just so. And thereby get very thin layers that allow the toned grounds to glow through. Rather like a lover with a slow hand. Beautiful brushwork that leaves no pits to doom the final glazing. A spiritual translucence. To go beyond a photograph.
   It is no surprise that her paintings do not photograph well, perhaps this is an attribute of most artists with whom we really connect, from Memling to Mattelson and many others, you have to be in the painting's presence to get the full effect. It reiterates the critical importance of having a mentor who can show how it's done and critique one's progress in learning. Not even this book can replace that, but it makes a very helpful head start or companion to any who would paint to the highest standards.
   Weaknesses? Not really. This is a seriously helpful book. You won't get her colorful language, and I would have liked to read a thorough introduction to lighting, posing, digital photography, post editing, color management, since there is no such adequate book for us, but the publisher already cut nearly a hundred pages to get this price point. She ah, feels rather strongly about the evils of some things, such as the use of alkyd soy oil, gesso panels [prefers canvas], PSE printout over transfer paper [a shame imo because gridding is great for really big works, but too slow for the usual sizes]. But better than being wishy-washy; when she knows what will work for you, you listen. Intently. The strongest teachers have the highest standards, strongly held. Follow them and you won't make a mistake. Experiment later with other approaches. For slow eye-learners such as moi, this book is essential.
   Sure, there are other great teachers, Frank Covino, Marvin Mattelson, followers of the Boston School, etc. with whom she shares many aspects of theory, materials and techniques, and there is no substitute for having such an experienced artist to critique your work. But you may not be able to just waltz in to their courses and get educated. Now you have a chance to get a good start until that day comes, for I'm sure she will inspire the same artistic hunger in you as well toward better painting. When you can deliver a truly beautiful image to the one who in essence has entrusted you with a vision of their soul then you can be happy too. But not until you learn. Here is the real deal. Strongly recommended to intermediate painters and up. Likely to be a classic, and now a screaming buy.
   
   
   Portrait Painting Atelier: Old Master Techniques and Contemporary Applications



2. The author presents a coherent approach to painting in traditional "Old Master" style. To absorb the wealth of
   valuable information takes several readings, as well as working through the exercises and much practice. Techniqes
   are clearly described.
   There are some impressive examples of painted portraits -- but not by the author. The step by step demos she herself
   does are not inspiring and result in stiff, "tight", uninteresting images.
   This book will be most useful to painters who have some experience and have already encountered the technical issues the author describes. Beginners will probably find it overwhelming.
   Incidentally, the author's mentor Domenic Cretara, who supplies the introduction, is a modern master in his own
   right, and his work is well worth looking up online.

5 comments about The New Drawing on the Right Side of the Brain.

1. Hello customers, i just want to let you know that the book i purchased was very good. Despite that there were some highlighted pages, which i really didn't mind, the book was in great conditions. I really like the service, so i really recommend others to buy their books or other products from my friendly vendor.



2. I by no means have read all of the art books out there, but I have read a few and as far as I'm concerned this blows them out of the water. Seriously I read this on a whim while I was trying to learn to animate and the results have astounded me. I still am not a great artist as a result of going through this book and doing the exercises but I have improved vastly. Not only that I also feel like this book profoundly changes your mindset and the way you see things in an almost disturbing and very amazing way. There was a few exercises that involved handwriting that I found intriguing because I never considered handwriting art really but after I did the exercises I found myself able to write in a way I and other people found beautiful. Seriously my writing wasn't even legible before, that short little exercise made years of handwriting practice in school obsolete(my handwriting was atrocious and I had years of special classes on it which had no effect whatsoever). That alone was like insanely valuable to me and just everything in the book is like that. You will find yourself seriously amazed at how you change and improve and just see things differently. I urge everyone to give this a try, even if you have no interest in art because I have a strong feeling that the practices in here on different modes of thinking will drive you to use both sides of your brain to effectively solve problems in not just the artistic sense.



3. I have not finished reading this book, but I felt compelled to do an early review for fear that any skills I gain while reading the book might dissuade me from leaving the negative comments that are just dying to burst out of me at this moment.
   
   I am well into chapter four, and so far there has not been a single line of drawing instruction delivered by the author. There has been one exercise to establish a baseline, and one exercise to try to acquaint the reader with the feeling of left-brain - right-brain competition. I read some reviews of B. Edwards that noted her use of "psychobabble." I have a B.A. in Philosophy with a minor in Psychology (M.S. in Computer Science) and as such, I am not opposed to psychobabble, nor am I opposed to B. Edwards interest or exposition about dichotomous brain functions and the duality of processing. What does piss me off is the fact that I have faithfully drudged through four chapters of her repeating essentially the same thought OVER and OVER and OVER. Seriously, she has told me that the left-brain thinks serially and in words and symbols, and that the right-brain thinks holistically and spatially. And she has told me almost nothing else. So far, it reads like an infomercial.
   
   At the moment, I do believe that the point of this book is valid--that its a slow starter--and that its going to win me over through results in the end. The fact that my faith still holds is why I have given it two stars instead of one. The fact that this does not make up for the absurd repetition is why I am reviewing it early.



4. I bought this as a gift to an artist, who has just started looking at it and the first reaction was very positive, as there are many things one can learn from that book.



5. This book presents a very ineresting take on art theory. It is the authors opinion that Anyone can learn to draw, somthing traditional artists would tend to take issue with. She seeks to train the eye and not as much the hands. If you access the right brain mode of truly "seeing" she feels anyone can draw. And might I say IT WORKS. Try it!!!

5 comments about Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs).

1. a good intro on how to work with type and what mistakes to avoid when formatting type



2. This book talks about the history and elements of type. As a part-time designer I really enjoyed reading this book and learning about some of the creative people behind typefaces.



3. If you're looking for an instructional guide to typography, check out The Elements of Typographic Style or The Complete Manual of Typography. After revisiting this book, I've upped it to 4 stars, realizing that while it doesn't serve as a typographical reference, it is thought-provoking.
   
   This book, while it does contain some practical dos and don'ts, is more useful for: seeing good examples of interesting typography; learning a bit of history about typefaces, layout, and grid; and for learning about how typographical grids and other techniques apply to web design.
   
   I agree with some other reviewers that the design and layout of the book at times is overwrought, and distracts from the content. This is most evident in the first chapter, Letters, which I found very difficult to get through. However, the second (Text) and third (Grid) chapters aren't laid out so busily, and are much stronger.
   
   I wouldn't recommend this as a first or only book on typography, but is worth reading after more complete, nuts-and-bolts volumes.



4. After reading all the glittering reviews (and realizing that I could probably do with a little more typeface history and design knowledge), I purchased this book from Amazon. To be honest, I found the inside of the book to be laid out in a very ADD manner, with varying multi-colored, different-sized, intersecting sections of what-not COMPETING FOR ATTENTION. The information itself was good, but to be honest it was so badly laid out that it hindered me from reading any further, and had to force myself to read to the 20th page. As a Master's level Graphic Design student, I am APPALLED at the design or lack thereof of the pages of this book (with the exception of the cover), and even more shocked that this is considered one of the best typeface textbooks there is (and even more so that it was written by a PROFESSOR who is currently teaching in this field). There has to be a MUCH better and reader-friendly textbook on type out there.



5. Good learning material. I needed it for my class and i like the ease of reading it and the useful amount of knowledge it has. since i am a graphic design major, i found it helpful. Good condition when i bought it as well.

5 comments about Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice.

1. Mitchel Abala's Landscape is an outstanding new text on the art of landscape painting. It's going on my shelf right between John Carlson and Edgar Payne. Abala is well organized. He progresses through rudimentary concepts, constructing layers of information on which to build more complex ideas. He presents ideas clearly and concisely and uses illustrations for each idea that are very helpful. Mr. Abala is obviously an outstanding and experienced teacher. I found his presentation of spatial clues and compositional decisions especially helpful. And..... the book is beautiful. Abala has used the work of mostly contemporary artists instead of just his own. These are obviously some of the very best landscape painters today. Buy this book---it's worth it!



2. I purchased this book because it contained a painting by Gavin Brooks, whose work I enjoy and learn from. Little did I know the vast wealth of information that Mitchell Albala so generously included. This book is a must for anyone (new or seasoned) who's first love is plein air painting.



3. Not only is Mitchell is a great artist, he is a generous and wonderful teacher.
   This book addresses all of the concerns for the landscape painter at ALL levels. There is much information discussed in this book that I have never read or heard discussed anywhere else and he communicateds it clearly. He gives other gifted artists a boost by using their work to illustrate the concepts in this book. Most artists who write art instruction books only use their own work and perhaps some old masters for this purpose. I haven't read every book on this topic, but so far I would say that this is the BEST BOOK EVER!



4. An excellent instruction book that covers all the basics, as well as discussing more advanced painting techniques in later chapters. From the start the author acknowledges that there is more than one way to make a successful painting, unlike many art books which use a "my-way-or-the-highway" approach to art instruction. The book also provides the best explanation I have read on how different artists approach color and the many different strategies employed to use color to create the desired effect.
   
   Using artwork examples by many different artists to highlight the concept or technique being discussed is much better than if the author had tried to "fit" something of his own or created something simply to illustrate the point being made. Excellent quotes from many artists and creative thinkers, as well as the author's insightful margin notes, are helpful and inspiring.
   
   The chapter on working with photographs and using digital effects as a tool for creating better paintings is refreshing. However, the book also acknowledges that photos and the computer are not replacements for painting outdoors, directly from nature, but provide a way to learn and grow as an artist using the tools currently available.
   
   The chapter on abstracting nature will be helpful to anyone who has yet to try pushing their paintings in this direction.
   
   One thing that would have made the book even better would have been to include more painting exercises, like the three on massing. However, this is a minor point. There is enough information for painters at any skill level, beginner to advanced, to study and then try out on their own.



5. This book is a blessing for the beginning, intermediate, and even advanced painter. It is thoughtful and considered. The writing style is one reason I enjoy turning to it for guidance--Albala wastes no words relating essential information, while imparting a calm, pointed knowledge. I am sure to re-read this book many times: not the case with the half dozen other contemporary "how-to" painting books that seemed rather thrown together and which I've wound up reading less than half of.
   Albala's use of his own and other artist's work is both inspiring and deeply instructive. Each photo is married to a caption that explains why he is using this work to illustrate the sectioned concept. These are high quality examples, as unlike...you know.
   Being a book designer myself, I'd also like to commend the book designer of Landscape Painting. The design is as clean, thoughtful, and useful as the words. A different design would have changed the experience of this book. Kudos to you.

5 comments about Understanding Comics: The Invisible Art.

1. I've first see this book in my friend's home. I was amazed by colors, quality of paper and last but not least the content. I've never thought about the comics books in the way this one explains. and the form the explanation takes is adding a flavor to the reading experience. i'm enjoyed reading it (i did it already twice). this is a book that you can take from the shelf at any time, open at any page and read. of course, to do it you need first read it once from the first page to the last... :)



2. Scott McCloud has written a 216 page comic book to explain comic books. The artwork, language, humor or social criticism of comics are obvious to most comics readers, but McCloud delves deeply into the underpinnings of this world--the technical, invisible paradigm that supports the creation and consumption of comics.
   
   Understanding Comics is a comic appreciation book. I was impressed with McCloud's grasp of the discipline's history, the psychology of the art and his own creativity when explaining his topic. For me, entering into this paradigm was very much like Thomas Kuhn discovering paradigms, when he said, "The scales have fallen from my eyes."
   
   Those familiar with comics have recommended a couple of alternatives in their reviews, but still end up suggesting that this book deserves a place among the serious works about comics. I agree.
   
   Jack H. Bender, author of Disregarded: Transforming the School and Workplace through Deep Respect and Courage



3. Let me begin by saying that I am very design and artistically challenged. I enjoy art passively. "Understanding Comics" introduced me to concepts in art and comics specifically. Scott knows as much, if not more about comics as anyone else. This is a brilliant book which presents really complex concepts to the readers in a way that a reader can understand, appreciate and remember these concepts.
   Why are we not taught these books at school. There is so much about design to learn from the book. I had borrowed the copy from a library but I am buying a copy now.



4. During these holidays friends were going to visit the Petroglyph Park in ABQ. I remembered this book, reread for the 4th time and when done gave it to my friends, and bought another copy. This book should be required reading for anyone in the visual arts, including those involved in websites, video, internet, gaming etc. Saying it is a book about comics is a great disservice to the book. It explains and dissects everything from symbols to how we read the visual and written medium. This book has helped me in my photography work...I really think about how an image I shoot can forward and represent what I want to say. I can't say enough positive things. The greatest thing about this book is that it seems like Scott is in the room with you explaining extremely complex ideas in the most simplistic and fun manner. If half my textbooks in college were this fun it would have cut my education time in half.



5. McCloud - to my mind - stands with Edward Tufte as an illuminator of visual information - and along the way, in reading all three of McCloud's books, I got a bit of art history, cinema history, graphic design - the connections between them - and more than enough to make me want to know more about all of McCloud's connected territories.

5 comments about New Drawing on the Right Side of the Brain Workbook: Guided Practice in the Five Basic Skills of Drawing.

1. Purchased the book as I can not draw. I did the first exercise and
   it looked like George Washington (self Portrait), the second drawing
   looked like me! The book keeps getting better. I am very impressed
   with just the workbook! However I did buy the book to go with it.



2. This is a wonderful book and method, along with small part on theory, for young people, young adults. Great exercises. Helped me a lot to get into art, to learn to drawn, to turn off the left side of the brain analytical chatter. I feel it is an excellent method and recommend it very much. Overcoming ADHD Without Medication: A Parent and Educator's Guidebook



3. The company sent the textbook, not the workbook. I would rate them as unacceptable



4. I do have her original book and her "new" Drawing on the Right Side of the Brain, and each time I picked them up I found the exercises useful but was quite turned off by her fairly incessant, and often physiologically incorrect, psychobabble. Now this exercise book provides you with her exercises largely shorn of the right brain/left brain psychobabble. The exercises are good and do help release and train your creativity and are designed to improve your "vision" of the surrounding world, and in this it succeeds. The workbook has blank pages left for you to draw in the book itself, which is useful since it leaves you with a permanent record of your progress. I do wish they had used better drawing paper for those pages, but then I can be fussy about my materials and since many art students use newsprint for their practice exercises and since the book is meant as a set of exercises rather than as finished art work, I guess I am nitpicking here.



5. I have taken many classes in drawing. I have learned that one really learns how to draw when one learns how to "see". Betty Edwards leads the reader through steps that (if followed carefully) can enable one to "see". I have used this book in a fifth grade classroom with remarkable results. If one looks at objects the way Betty Edwards suggests, one can "feel" one's mind "shift" to the right side.

5 comments about Keys to Drawing.

1. The best drawing book out there! I recommend this one to all of my adult and teen students.



2. Watch Video Here: http://www.amazon.com/review/R27B82B4AIGAX3 Here's a pretty good book for anyone who's thinking of picking up drawing. Bert Dodson has written it in a crisp straightforward manner. The are 55 keys of drawing, introduced at a very comfortable pace. Alongside are 48 easy-to-follow lessons.
   
   The examples are all sketches from Bert Dodson, his students and selected pieces old art masters. They are all pretty sketchy but this book isn't about techniques on realistic drawings. It's also not about specific technical rendering techniques, although some are briefly introduced.
   
   This book is really about the approach to drawing, which aims at helping students tackle any subjects confidently.
   
   The principles are very similar to The New Drawing on the Right Side of the Brain: A Course in Enhancing Creativity and Artistic Confidence. I prefer this book as the lessons are shorter but effective, and the book can be picked up at anytime after reading for some inspiration.
   
   This book is recommended to beginner artists.
   
   (More pictures are available on my blog. Just visit my Amazon profile for the link.)



3. I have purchased this book enthusiastically reading all the excellent reviews, and it is with mixed feelings that I write this review, since I was fooled by the good reviews which all lacked a neutral point of view. One thing that is crucial is do I want my drawing to be artistic, similar to painting, or do I want it to be illustrative, as in comic books? It is the difference between art and illustration. This is a book for illustrators, there is no doubt about it, and the author is an illustrator. This does not mean that the book is bad, but the book is a bad choice if you try to be an artist in the classical sense--it lacks information of the drawing's decomposition, upon making correct lines on the first try, detailed analysis on the changing of angles and on drawing the change, and it lacks the detailed discussion of the scope of the drawing tools, as would be needed for academic drawing. On the other hand, the author does not try to hide that this is a book on illustrating, and moreover that is a book mainly for beginners, so in a way my criticism is a bit unfair, since the ones to blame for the ill purchase I made of this book is not the author, but the reviewers.
   
   Anyone who draws for some time know not only how to draw with an HB and a 4B pencil, but also how to draw with a songle pencil on any surface, but this could be a better subject than simple perspectives.
   
   Or better to say, a book dealing with the analysis of the traces made by Escher or Kokoschka, i.e. what pencils did they use and how on which drawing would be more in the line of what I was looking for, and what the title suggested-- keys to drawing in my mind means tips on drawing, not drawing for beginners.
   
   This book offers none of that. In my opinion, a better title would be ''Illustration for beginners'' or something similar, and in that case I would give it five stars, but the title is too badly misleading,and most of the reviews do nothing to correct the wrong impression one could have, so my final verdict is three stars: one star down for the misleading title and one star down for taking in account only the illustration part of drawing



4. This book, is probably the best drawing book i've ever read. Not only does he cover so much, but Bert Dodson also goes into detail with out boring the reader to sleep (unlike drawing on the right side of the brain)
   If you used amazon.com's online reader and see some drawings that look childish inside, don't let those discourage you. I was discouraged by those and immediately saw a new light when I actually READ the book. Many books that have fanciful pictures haven't covered NEARLY as much as Bert Dodson's book. I am ordering his other book, Keys to Drawing with Imagination: Strategies and Exercises for Gaining Confidence and Enhancing Your Creativity
   
   Keys To drawing covers things like drawing what you See NOT WHAT YOU KNOW. Drawing from your mind or knowledge tends to be the problem with most people, it is not that they necessarily know that they are doing this because that is how the human mind is. It is by that, that we as humans think we can't draw. Because our minds dont take in as much information and detail about the subject as we think it does.
   It also covers things like restating, self critiquing, analyzing, the power of squinting to flatten objects around you, mapping, light sources, shadows, negative space, merging shapes, proportion and so on (all of which I thought weren't going to help me the least bit, but were actually the mistakes i made in drawing.
   
   Has anyone ever read those get rich quick books that always promise you that they know ways to make YOU rich, but always disappoint you anyway? Those people sell those books to you so that they could make more money, they don't have any wealth of information stored in them. Well, keys to drawing is definitely the opposite. He breaks the stuff down clearly and doesn't encourage you to draw one specific way or clone someone else's style of drawing. Some artists or authors have a hard time explaining themselves but him, oh he definitely knows what he's talking about.
   I'm only thirteen so please excuse the lame review and just hold my word to it. I drew little people who were far from realistic, but with this book, along with Carrie Stuart Parks books (Secrets to Realistic Drawing, Secrets To Drawing Realistic Children, Secrets to Drawing Realistic Faces) I can already see drastic differences. I would also recommend Lifelike Drawing with Lee Hammond. But lifelike drawings with lee hammond probably doesn't break it down as easy and have as much detail as Bert Dodson because she tried to squeeze so much things into the book without putting much detail for each subject.
   
   All in all i wish i could rate the book higher. I can not begin to describe how pleased i am with this book.
   P.S the book is about the size of a textbook with less pages. (REALLY BIG) and I got my own (new book btw) for a really low price because I don't buy from amazon, i buy from the sellers within the amazon website.



5. I love this book so much, that I recommend it to my friend and bought one for my grandkid who loves art.

5 comments about High Voltage Tattoo.

1. I loved this book. The pictures of all the art in are amazing. I got this because I love tattoos and LA Ink. I was not disappointed. It was a well put together collection of photos and stories. It is also nice enough looking to leave out, such as on a coffee table. Kat Von D is very open and straight forward. A quick, easy but very enjoyable read



2. I really enjoyed the art and all of the personal stories within the pages of this book.



3. I have always been fascinated by tattoos, and love to look at them as beautiful examples of art. I watched Kat Von D, first on Miami Ink, and then on LA Ink, her own show. She is very beautiful and talented. I saw this book, and had to have it. It is only makes me a bigger fan. It is a delightfully written autobiography. The photos are awesome, and show every detail of the tattoos. If you are even thinking of getting this book, "BUY IT", it won't disappoint.



4. I am often disappointed in tattoo books with little story and the same old coverage of the history of tattooing. I've also regretted purchases of books by high-profile folks with something to sell. This is neither of the above. This book is entertaining, visually stimulating, inspiring and packed full. I'm really thrilled with this book. Congrats Kat. It's a winner.



5. Kat is a cool lady.
   For anyone who likes her show,
   enjoys good artwork, or simply
   likes Kat, then I would definitely
   recommend.

5 comments about Persepolis: The Story of a Childhood.

1. "Persepolis" is a widely acclaimed memoir/graphic novel, it was rated highly by several of my fellow readers and therefore I've had my eye on it for a while. Sadly, now, after reading this book, I am a little underwhelmed by it.
   
   As a graphic novel, it is a notable work. The cartoonish style of the drawing is superb, the subject matter is very current, the combination of tragedy and humor is clever.
   
   However, as a political memoir, "Persepolis" lacks. I don't know exactly why, but I never got a grip on what Satrapi's personal views on the politics within her country are. In fact, I am not even sure if she really knows what what was happening in her country. Maybe it has something to do with the fact that this memoir ends when the author is 14 (although writing it as an adult, she should be able to present her views clearly). Or maybe it is because Satrapi herself never personally experiences any hardship in this book. I find it very interesting that in times of turmoil, during the civil war for democracy, during the rise of religious fundamentalism, during the war with Iraq, Satrapi's family never seems to experience any discomfort. Quite the opposite, when people die and suffer, the writer's most hardship is to hide the liquor at a party (which they are not supposed to have), or to wear a headscarf, or to get an "Iron Maiden" poster through customs. This narration from a perspective of a person in power is a little disheartening and has a bit of a fake tone to it, as if the author doesn't know what is really happening in her country and writes about from her million dollar mansion while being served by one of her maids.
   
   It's not a bad book, especially for younger readers who want to know a little bit about Iran and its current political events. It is presented in a very appealing, easy format. But for me personally this book appears to be too superficial to leave any kind of lasting impression. I will however read the second part of the memoir. Maybe it will have some more insight.



2. This quirky and intense autobiographical b/w graphic novel tells of the author's childhood in Iran beginning during the fall of the Shah in 1980. In the opening scene, Satrapi and her schoolmates romp in the playground, using the veils that the school has just issued them as toys.
   
   Her parents are active in the revolution against the Shah's government. Satrapi herself is a descendant of the last emperor of Iran. Her wealthy socialist parents attend demonstrations and educate their daughter in Marxism even as she daydreams of becoming a prophet.
   
   But as the revolution progresses, the Islamist forces turn sentiment against the wealthy and the intellectuals, and Satrapi's family becomes the target of repressive forces.
   
   Satrapi listens to smuggled tapes of Michael Jackson, Iron Maiden, and Kim Wilde while the war with Iraq devastates the country and her parents become increasingly desperate to find a way to protect her.
   
   The black and white art, in small simple panels, is stark and effective, conveying a world that has become a bizarre and unfamiliar cartoon to a girl whose childhood had been one of love, learning, and safety. Much of what Satrapi experiences is the same for teenagers everywhere, and the mix of the familiarity and the surreal is what gives this story much of its power.



3. perfect condition couldnt be happier. actually turned out to be a good book, though i had it done in a day :(



4. I have been wanting to try reading more graphic novels for awhile now. It can be a daunting task picking from a new genre of book to read, but thanks to twitter, I had a ton of great suggestions. Persepolis stuck out in my mind because I remember the film adaptation of it being nominated for an Oscar. I dove into this book, and had a hard time coming up for air.
   
   Once I started reading this book, the artwork stood out as interesting, unique, and not at all what I would have expected from a graphic novel. Many of the images need no words to express what the author is trying to get across.
   
   What stood out to me the most though, was the amazing story of growing up in revolutionary Iran. I would argue that one of the best ways to understand a period of history, is to hear the story from the people who lived it. Marjane describes so many aspects of her childhood during such unstable times. I love when she talks about getting cassette tapes on the sly, and how her parents sewed pop culture posters into her dad's coat to smuggle them into Iran for her. Moments like that in the story remind the reader that she wasn't just a child living through a war, she was a child just like any other child. She wanted posters on her wall, the latest music, and had crushes on boys.
   
   Interestingly enough, I was reading this on the bus to work one morning and a man asked me how I was liking the book. He then told me that he was a teenager in Iran during that time, he told me a bit about his experiences and how very frightening a time it was.
   
   An absolute must read for anyone and everyone! I loved this book and can't wait to start the second book Persepolis: The Story of a Return.



5. Wouldn't recommend. I like to read a story, not look at pictures. Author's unlikeable.

5 comments about Seven Days in the Art World.

1. I'm of two minds with this one. On the one hand, I'm glad someone's done it; harangue the art market (if that's what you want to call it) in their own ecosystem. In retrospect however, the effort lacked either (or both) objectivity and personal judgement. If anything, it appears Thornton was swallowed by the mesmerizing beast of the art market, and taken to its lair for re-education. Where is the feeling of the hunt? Where is the aftermath of conflict? Even sarcasm or beat writing would have made it more interesting. On the other hand, Thornton didn't appear to be distanced enough from her subject to capture serious data, and thereby extending academic knowledge. It appears as if she couldn't make up her mind which of the flies on the wall to be. If it weren't a book, it would pair well with an east coast USA Martha Stewart type magazine; but as it is, I found it to be a story minus a bit of story telling.



2. 7 days in the art world is a classic. It doesn't pretend to be (or make) art history, nor critical essay.
   Nevertheless it is art history on the original sense of Vasari's life of the artists. Therefore providing a revealing account on the current state of the western art world and the relations it spawns between free market economy, the media, universities and cultural institutions or events. An essential reading for anyone interested in the backstage of contemporary art beyond appearances.



3. I just started the book but it's very informative for artists, like myself, to read. I think it puts a perspective on different cultures that exist within the art world itself. With this book, artists and those who don't make it but still enjoy it can really know what it means, not soley based on status, when art makes it into an auction and gets sold for large amounts of money. I'm about to begin chapter 3, but I can tell it will just as informative as the previous two chapters.



4. This book is the most accurate representation of the art world that I have ever read. Sarah Thorton has a keen eye, a sharp intellect, and an objective stance. I read The 12 Million Dollar Shark just before this, and was put off by the judgmental tone and subjective treatment of some artists (Warhol in particular). This book was a sharp contrast to 12 Million, even though both books cover many of the same subjects. Her ethnographic approach allows her to write about the art world with such nuanced detail that I found myself nodding my head again and again in recognition. I used this for my graduate level "book club", it's a fantastic primer on the complexity of the art world, and I highly recommend it.



5. Sarah Thorton does a remarkable of job giving you a front row seat to the greatest show on earth as well as exposure to the often cynical belly of the beast. A great read for any artist who feels out of touch with what is considered the upper echelon of the art world. I would not say it's an inspirational piece of work but undoubtedly interesting from chapter to chapter.