4 comments about Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage.

1. Some ancient art belongs to the world, not necessarily to the present nations who now claim it. Several times over the years, I have seen, studied, photographed, and talked about the Elgin Marbles in London's British Museum. During my long life I have heard about and have read about the Parthenon, but I have seen it only once--two years ago. Should I now try to go to Greece to see the Elgin Marbles? At age 81 and here in California I think of the Elgin Marbles as being from ancient times that are basic to our civilization and not just to the present Greek nation. Should the British "give them back"? I don't think so. The book, "Who Owns Antiquity..." by James Cuno ©2008 legitimately takes the museum point view which I enthusiastically share. John L. Sommer.



2. The book underlines the attitude behind Cuno's outspoken cultural superiority. In a recent AP interview, Cuno said: "Cuno: I think any of these modern nations can exercise a greater claim than any other nation on antiquities found within their jurisdiction. But not in terms of an identity with those ancient people. It is not on the basis that they are the modern heirs to the achievements of these ancient peoples, that they descend from them in any kind of continuous or natural way and that the modern culture is akin to the ancient culture."
   
   This is a century old canard that claims an ethnic group has only a tenuous tie to their ancestors. His words about a "continuous and natural" descent are offensive and bigoted, reminiscent of some particularly odious racial theories from the 19th century which read a mixture of bloodlines as reason enough to dispute strong connections with ancestral pasts. What, after all, does Cuno mean by "a natural way"? Is language not enough for him? That some nations use artifacts for political reinforcement of nationalist goals is not reason enough to dismiss a people's ethnic and cultural affinities with these same artifacts.
   
   Take the case of the Elgin marbles, for instance. He worries that cultural artifacts may be destroyed if located in a singular place. Yet Lord Elgin destroyed the marbles themselves in removing them, lost many in the Mediterranean, and the British Museum allowed patrons to spill wine on them during fundraisers. To insist on spreading the wealth of the Parthenon marbles is as smart as perhaps cutting Lincoln's face off the memorial and giving it to Singapore, or amputating the arm holding the torch on the statue of liberty, and sending it to Uruguay.



3. Cuno is a defender of the so-called "universal museums", now called "encyclopaedic museums" and perhaps more correctly, imperialistic or totalitarian museums. The museum that never has enough of anything and seeks a total control of all cultural objects by all means, including the use of force by the army of the country where the museum is situated-Louvre, British Museum, The Metropolitan Museum of Art and the Art Institute of Chicago. These museums now lament the end of the imperialistic and colonial period in which they amassed most of their stock. This was the period when the Europeans could take virtually from any country whatever cultural object they desired. That period is, mercifully, at an end and Cuno and co are agitating for the return to that system, so-called partage system which enabled the Europeans to take away massive archaeological objects from countries like Egypt. Cuno labels those who seek the return of the stolen cultural objects as nationalists but what about those who fight to keep the objects in the museums of the West, are they internationalists or what?
   This new book does not advance in anyway the debate about the restitution of cultural objects. On the contrary, it will only help to solidify the known positions. That leading museum directors do not understand the desire of Africans and Asians to recover their stolen cultural objects, is a sad commentary on the cultural landscape of the world. The perspective would have appeared better without the addition of this book which will only serve as additional object for heated controversies and it comes from a museum director of one of the leading museums of the Western world.
   Kwame Opoku. 22 May,2008.



4. Anyone who has ever been enthralled visiting one of the world's great archeological museums would benefit from James Cuno's book. So would archaeologists, museum directors, curators, antiquities dealers...and journalists who have signed on to the out-of-control drumbeat demonizing museums and collectors. Source country bureaucrats and power-wielders should read it as well, but they probably will not. Cuno's is a refreshing, insightful and intelligent counterpoint to mainstream misinformed denigration of the world's great archaeological museums. It convincingly argues that nationalistic retention laws for antiquities neither preserve sites nor objects, nor do they benefit the larger interests of civilization and mankind. There is probably more here than the non-specialist is interested in, but the beginning and end of the book are more than enlightening, and the reader can go back to middle chapters for background and revealing histories of the modern nations of Turkey, China and Italy. This book is an eloquent plea to save the inspiring fragments of mankind's long history which belong to us all. Cuno believes using them for nationalistic agendas is not the way.

5 comments about 1000 Journals Project.

1. If you have ever kept a visual journal or are thinking of starting one this book is a real inspiration



2. This was seriously a huge disappointment. I was hoping to see interesting art journal pages, but instead I found uninspiring, un-interesting journal pages. If you want to see what other average (mostly non-artistic) peoples' art journals look like, then read this book. But if you want to look at cool, exciting, interesting, artistic pages, then keep on looking...you won't want to see these more than once. I read this book once and immediately knew I would never look at it again. It's going on eBay sometime soon.



3. This is a very interesting piece, and an even better conversation piece. Leave it out at a party for your friends and family to view and then discuss. My girlfriend has a couple pages in this book. T.Z. Take a look!
   Enjoy!



4. After seeing the film doc I was excited to order the book to see many other entries that were made in the many journals.
   A simple little image book...lovely, I was surprised by the added feature of stitching on many pages...really made it feel like more of a homemade piece.
   
   If you're in to visual journals, buy this book! (It's priced way under value too.) Love it! So many ideas form so many people.
   
   Thanks "some guy"!



5. A wonderful book for those who think they have nothing to say, be it written or visual. All beginner journalist should take a good look at this book and take heart that you too can add to the conversation of art.
   If you wanted to say something to yourself and didn't know where to start, a journal is a great place to begin. You can look at this book and think, this is just someone elses ramblings, but it is the structure of someones unique thoughts on paper. Jump around inside 1000 Journals Project and elevate your own mind. Grab a pen, paint, crayons, whatever, and using this book start on your own journey. Many happy enteries.

5 comments about American Fashion.

1. All the glamour.
   Great photography.
   Great shots.
   Rich.
   Beautiful colors.
   Stars!
   The whole nine yards!
   I love it!!!



2. American Fashion....finally a fashion book based on American fashion trends and beauty. This book really illustrates the ever changing trends of the past beautifully. I encourage anyone who is in love with reading about fashion to get this book. It is a great add to your fashion library collection.



3. If fashion is your addiction, meet your quick fix. This book is beautiful, accessible and comprehensive. For all students, followers, trend-setters of fashion design and style, it would make a wonderful addition to your library.
   It must be stated that the book is more a look into American fashion designers, from the end of the 1920's to 2007, than American fashion itself. After all, the book is published by the Council of Fashion Designers of America. The best way to analogize how this fact affects the book is to compare it to a history of American Cinema, published by the American Academy Motion Picture Arts and Sciences (the Oscar-awarding organization.) This absolutely colors, biases and focuses the approach the book follows into what is by definition a vast subject. Throughout, it places the designer as the determining and dictating factor of style within the culture. Whether it makes a good argument for this is up to you to decide... Nevertheless, I am of the opinion that this helps keep the book focused, yet detailed.
   The photography included in the book is exquisite and sharp. Especially true of the mid-century photography, it far exceeds the quality of that available in vintage fashion magazines.
   Whether you are a novice/hobbyist or an established member of the industry, this is a delightful, insightful and thorough look at the subject. Even if its true title should be "American Fashion Designers: An Illustrated History."



4. This is a beautiful book, with stunning pictures and the text no doubt forms an authoritative picture of the evolution of American fashion from the 30's to the present. I was disappointed, however, that there weren't more "nostalgia" pictures, for lack of a better term. Everything was so artistic that there weren't the pictures of, say, Cybill Shepard in classic 60's mod taken from Glamour, that I would have liked to see and that would have made things more accessible. This is more a book for fashion professionals or students than the casual reader which still makes it an excellent buy and great book, but just not for me.



5. What a lush, lovely, can't help-looking-at volume! If you like fashion, you'll find something to oooh and ahhh over on all 318 pages of this coffee table gem, an opulent history of fashion in America.
   
   We begin with 1930s Hollywood and New York at a time when there was much to celebrate - the end of Prohibition. Nylon stockings were first introduced, and Eleanor Roosevelt, who supported the fashions of the times, was First Lady.
   
   Moving ahead to the 1940s our country is at war, and Rosie the Riveter is the iconic image of American womanhood, while 1946 Paris saw the first modern style bikini. The 1950s were a showcase of opposite modes from Audrey Hepburn with her model figure and dancer's grace to the eye-popping Marilyn Monroe, both influenced what women wore.
   
   TV's Charlie's Angels set the standard for glamour in 1976, and Diane Keaton gave us Annie Hall complete with trousers, tie, and vest. Donna Karan introduced her first women's collection in 1985; about the same time that one more bombshell made a sometimes outrageous fashion statement of her own - Madonna, of course.
   
   Enriched with some 250 illustrations American Fashion reminds us of the truly glamorous and the unparalleled debonair - a young Katharine Hepburn in a black Hawes gown posed for Harper's Bazaar, the unforgettable Marlene Dietrich smolders in a black velvet coat embroidered with white. And, of course, even now Fred Astaire remains the epitome of the well-dressed American man.
   
   This volume celebrates the work of over 100 American designers with photographs and illustrations by the finest artists of our century. Our country is a proud melange of colors and ideas as is our fashion.
   
   Enjoy!
   
   - Gail Cooke

5 comments about Palestine and the Arab-Israeli Conflict: A History with Documents.

1. I assure you that this book is nowhere near as dry as Smith's lectures, and I also assure you that he is extremely (almost insanely) knowledgable on this topic. His lectures are unbiased and I find it hilarious that a lot of reviewers said that this book was biased against Israel. After reading this textbook, I think that only biased people would say that this book is biased (against their own side, of course) because Smith isn't afraid to point the finger at all sides. He clearly shows that the road to peace (or the lack thereof) is a two-way street.
   
   I highly recommend this book to anyone who wants to get into the nitty gritty of this topic (details are PLENTY in this text), as long as you're willing to consider that America (as well as others) hasn't exactly been an angel in the past.



2. The Arab-Israeli conflict is one that touches on so many painful emotions and biases that no book will be deemed fair or unbiased by all concerned. However, Smith's book does a very good job of attempting to be as close to unbiased as possible. It is often used as a textbook in upper-level modern Middle East history courses for just that reason. It is good choice for someone who is new to the subject (other than the inescapable news coverage) and really wants to understand some of the issues invovled throughout the history of the conflict.
   
   One of the strongest things about Smith's book is the inclusion of a number of primary sources. Other than disputing the translations, no one can deny that primary sources are as close to an honest look at history as we can get. Documents are included from many sides of the issues involved and no side comes out either squeekly clean nor as pure evil.
   
   Another strength I found, to differ with another reviewers opinion, is that the book starts quite far back in the history of the conflict. As the mythologizing of the roots of Israel as a nation has been worked into the official stance of all sides, each for their own purposes, understanding what happened at the beginning is of utmost importance if you really want to grasp the subject. This is a good book that does it's best with a difficult subject and goes into some depth in addition to excellent primary source material.



3. Like some other reviewers, I too bought this book for a college course and I too find it overly biased toward the Arab point of view. The author has the right to draw his own conclusions, but like any non-fiction book, readers must use their own judgement to evaluate those conclusions carefully. I don't know if there is an author without bias on this topic due to its sensitivity.
   
   It is also horribly dry in my opinion. I know it's supposed to be, but certain sections just drag on and on, it seems, uneccessarily.
   
   Read critically, not literally. If you have a choice (i.e. don't have to buy this particular book for a course or something) choose a more balanced author, if you can find one.



4. The book is a fairly concise and accurate overview of the Arab-Israeli conflict. It covers ancient Jewish history, the beginnings of Zionism, the emergence of Israel, the Arab Wars and the Israeli-Palestinian conflict. Most of the coverage is well researched and documented.
   
   The closing chapters of the book are undoubtedly biased towards the Palestinian account. One example is the coverage of the Barak-Arafat-Clinton negotiations in 2000. Smith portrays Barak as a man whose intentions were not to conduct honest negotiations but rather "carefully calculated, intended to appear more amenable to the United States." Smith writes that "there was never an Israeli offer." Further, Smith asserts that Barak was manipulating the media in order to force them to present a positive account of Israeli negotiations. Arafat's refusal to make any counter offer, or contribute to the negotiations -- as asserted by President Clinton and the U.S. chief negotiater -- are not mentioned. Smith also does not fault Palestinian terrorism -- the systematic, often daily suicide bombings experienced by Israel -- for turning Israeli public opinion against further peace talks. According to Smith, the blame lies solely on Sharon and his visit to the Temple Mount and Palestinian frustration.
   
   Smith's discussion of the Intifada speaks in terms of Israeli attacks and Palestinian "armed response." In fact, Israel had been initially very reserved in its replies to suicide bombings. Israeli interests do not lie in a military occupation of the Palestinian territories, unless necessary to alleviate security risk.
   
   Admittedly, I have an opinion about whose fault the failure of the Camp David II was. It is acceptable for the author to take an opposite view. However, in a book that claims to be a non-biased textbook for college use, the topic should be presented with acknowledgement of differing opinions. Especially, when the book presents an account that is largely a contrast to the established narrative (a narrative that there is no reason to believe is inaccurate).
   
   My rating is still positive because the book is a valuable resource in its coverage of earlier time periods. However, this book should be used with other materials for balance.



5. A perfectly balanced, non-biased, facts only, well documented, concise and detailed account. An excellent book to be read by all who wish to have an in-depth knowledge of what went and goes on in that part of the world.

4 comments about Manufacturing Processes for Design Professionals.

1. About time someone made a book this good! Most of the other books on the subject are incomplete, out-of-date, or just plain butt-ugly. This is the new standard! In fact, I just recommended it to the department chair at the design school where I teach, so we can make this part of the curriculum. I give it six out of five stars.



2. This is the best book I've seen so far about this subject. Attractive for (industrial) design students, but also for professionals. Very good graphics, photography and printing quality. The choice of examples is not too technical -mostly consumer products- and therefore recognizable for designers. Low price for such quality, the only disadvantage is that with 2,6 kg the book is not easy to carry!



3. It is an excellent book on manufacturing processes and materials. Not overbearingly technical, just the right thing for designers. A step in the right direction, like Ashby and Johnson's book Materials and Design: The Art and Science of Material Selection in Product Design



4. As an industrial designer and a professor of ID at a Furniture Design college, I am very pleased with this book. It is probably the best book of its kind, so far, covering most processes and describing them in the most excellent manner (with nice diagrams, case studies etc). I would love to see bigger pictures in the next edition. This can be used as a great reference textbook! A big "thank you" to Rob Thomson and the publishers!

3 comments about Pattern Motifs: A Sourcebook.

1. While the drawings in this book are beautiful, I cannot use this book at all. The back cover states that the images are copyright-free, but the copyright inside the book states otherwise. I e-mailed the publisher and was told that I could only use the images for personal use, not commercial use. As I had purchased this book to create digital scrapbooking supplies to either sell in an on-line store or give away for free, I needed the images for commercial use. I am very disappointed in this because the images are indeed wonderful. If you want this book for personal use, go for it. But if you plan using it for any sort of commercial work, I do not recommend it.



2. BUY-IT! If you are a designer looking for ref books for inspiration, this one and 4000 Flower & Plant Motifs: A Sourcebook are amazing books for inspiration! Cannot stop browsing thru them!!!!



3. This book would be great for anyone who likes to applique. The bold pictures are easy to copy. There are many varieties of designs with these chapters: Stone Age Europe, Neolithic Europe, Mesopotamia, Egyptian, Minoan, Mycenaean, Greek, Chinese, Early Celtic, Barbarian, Byzentine, Romanesque, Gothic, Japanese, and Art Deco. I can also see someone who likes to make their own stencils use this book also.

5 comments about Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials.

1. This is the best book if your looking for that edge when diplaying your images. I have all these wonderful images but really coudl'nt get them into a gallery, I have already been offered a place in a gallery because of this book.
   
   There are so many ways to diplay here. Getting through your printer is easy, I found finding the polyproylene in Australia was a little hard but the net is good for that. The directions are so simple and if you need help I have found the girls are only to pleased to assits if you ask.
   
   Thank you so much girls for this wonderful book.
   
   Once I have dealt with the Dry Emulsion Transfers I will move onto some of the other chapters.
   
   Kind Regards From Helen



2. This is a classic, and a must-have in the list of mixed media books. If you're a professional artist who is looking to stretch and try new techniques then you'll enjoy Digital Art Studio.



3. This is a wonderful book... written by artists and for artists using digital photography, image manipulation [IE; pshop] and digital printing to create artworks. Every stage of the process is explored... and tips and tricks are freely given.
   
   So refreshing to see artists encouraged to grab these tools and run with them. Over and above the multitudes of print-techs with flash machines selling "giclee" prints.
   
   Congratulations! Artists in the digital age... buy this book!



4. This is a superb book for any photographer who likes to experiment and explore various print making techniques. The artwork in the book is phenomenal and the instructions are detailed and easy to follow. I highly recommend this book for anyone who wants push the creative boundaries.



5. I purchased the book Digital Art Studio approximately a year ago and couldn't wait to start reading it. I was familiar with the beautiful work of the authors, Karin Schminke, Dorothy Simson Krause and Bonny Pierce Lhotka (Digital Atelier), and had always wanted to know their "secrets" and how they produced such beautiful work.This book spells it out with descriptive copy and great illustrations.
   As a thirty year veteran Advertising and fine art photographer, I have found that this book has taken my work to another level. I have created countless pieces using the techniques described in this book and have found it very easy to follow and understand.
   I can highly recommend this book for anyone wanting to learn alternate art processes. It will light a fire under your creative spirit!Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials

5 comments about The Urban Treasure Hunter: A Practical Handbook for Beginners.

1. No matter what your treasure, be it coins, bottles, or somethisg else, this book has great tips on where and how to find it. I originally bought a copy for my son and was so impressed that I bought another copy for myself.



2. I am just beginning my hobby with a metal detector. I purchased several books on treasure hunting and this is by far the best. It has a broad range of extremely useful information. By all means start with this book if you too are a beginner. Most of the other books I bought had a lot of fluff. This book has a ton of useful information and guidance.



3. This book is an invaluable resource for the beginner and even the intermediate detectorist. It has filled me with new ideas of where and how to search for lost valuables and coins. The tidbits on history and archeology were most interesting.



4. This book has a lot of information about treasures all over the country. Tells you where to look, how to go about hunting and what equipment you need and what to do when you find your treasures.



5. I was looking for a book on using a metal detector. This was not it.

5 comments about Making Color Sing.

1. i learned of the book making color sing in an art workshop. It is not a new publication, however 'still in print' and it gives many processes for use of color that i feel any artist would profit by having a copy for reference..and achieving special effects. great guide book. one for the 'watercolorist's personal library'



2. Making Color Sing
   
   I am new to the medium of watercolors and have found this book to be very helpful. The author keeps the selection of colors to a minimum in order to keep your costs down but also helping you to learn the aspects of what each color can do. This is a book that I feel I can really learn and become a better artist.



3. "Into" watercolor? If so, this is a 'must have' reference that will not stay on a shelf, but be nearby your painting/study area as a useful tool in mixing and painting with watercolors. Not only is it written in clear and precise language and well illustrated with examples from the author as well as other artists, but it also is chock full of practical, valuable information on pigments, color theory, application techniques, and tips and hints for problem solving in case of unexpected consequences. I found this book easily readable and useful to both decorative artists and fine artists, experienced or beginner. It covers both the why, the what with, and the how to of watercolor application and much of the theory is applicable to other media as well. Even the non-painter will look at works of art with new eyes after reading this interesting and informative text.
   Making Color Sing
   Making Color Sing



4. This book was suggested by one of my Art Teachers in College. It was in answer to my question in regards to studying more about the use of colour in watercolour painting. It has yielded a wealth of information. I look forward to working my way through the rest of the book and applying the knowledge it contains. Would make a great short course textbook too. Highly recommended for anyone wanting to know more about the use of colours in their painting, regarding of the medium they choose.



5. This book is great but be forewarned that there is a LOT of fairly technical explanation and a lot to absorb. But if that's what you are wanting (I did want that) the author is easy to read and doles out the information in digestible chapters. If you want explanations and content, you'll get your money's worth. And oh yeah...her watercolors in the book are amazing, so she must know what she's talking about!

5 comments about The Complete Guide to High-Fire Glazes: Glazing & Firing at Cone 10 (A Lark Ceramics Book).

1. I bought this book at the request of my sister-in-law who is a potter. It was recommended to her by another potter. She loves it.



2. I found that this book it is very useful and cohomprensive in parts of firing and recipes. There are beutiful pictures; but i find it is not so fluing in the exposition it could be more astonoshing with all the new about the recipes.
   If are a novice I think you could also buy another books to introduce you better in the world of making your own glazes more satifing( it is the The Ceramic Spectrum: A Simplified Approach to Glaze and Color DevelopmentHopper book on glazes spectrumThe Ceramic Spectrum: A Simplified Approach to Glaze and Color Development).



3. Very happy with this purchase. The recipes are all laid out and organized very well. Easy to find what you're looking for and lots of good pictures.



4. The Complete Guide to High-Fire Glazes: Glazing & Firing at Cone 10 (A Lark Ceramics Book) (Purchased on 01/02/2008)
   
   The book has tons of information very useful for a beginner potter and or a professional. Simple to use and has a variety of exercises to follow. Explains very well and has lots of images that makes it easy to comprehend, a must have as a text book.



5. This is a brilliant book with great technical information and fabulous pictures. Most importantly for me though is getting good glaze recipes that have materials that are easily found or can be adapted to what I have. I have trialled many recipes in this book and have found good success. John Britt writes well and gives good firing information. Also most helpful is where he shows the same glaze used on different types of clay, this is a critical factor in the success of any glaze so a most important point that needs to be shown.
   If you are wanting to learn about glazing, then this book is a must for you. If you follow through each section and test as many of the glazes as possible, and follow the different firing methods, you will at the end have a comprehensive understanding of glazes and firing.