5 comments about Picasso & Lump: A Dachshund's Odyssey.

1. I really liked looking at how Picasso, who is bigger than life, interact with Lump. It's so refreshing to see that we all love dogs!



2. This fine art photojournalism coffee table book will put a lump (no pun intended) in the throat of Dachshund owners everywhere. The close friendship between the photographer, Picasso and Jacqueline is incredibly obvious from this book. Lump was Dave Duncan's pet, who only came along for the ride in Duncan's fabled, custom-made 300 SL Mercedes futuristic-looking sports car that after trading some photos for the car he drove to assignments all over the world for more than 40 years and 300,000 plus miles. After they arrived at Picasso's estate, Villa La Californie, Lump made himself at home and stayed with the Picasso family for the next sixteen years. He was the only pet to whom Picasso ever really showed affection. Picasso memorialized their meeting by painting a ceramic plate portrait of Lump during their first meal together in 1957. The dog seemed to enjoy looking at the new plate Picasso had made in his honor, although he was probably hoping for something meatier? Their time together would last until 1973 when they both died and moved on to another home beyond the stars.
   An incredible access to Picasso's private life, his subject's complete relaxation in front of the camera and the skill of one of the 20th Century's great photojournalists combine to make this a truly marvelous book. The book's reader/viewer can't help but feel that they are right there observing the private world of Picasso as unnoticed as the room's interior walls themselves. Because the subject is one of the greatest artists of all time, the book is more than just a tribute to a loyal family dog; it's a peek into the mind of the dog's master. Picasso was noted for "working, working, working." Lump provided the artist with some amusement and unconditional love and loyalty. Only Lump had total run of the house. Picasso also had a boxer named Yan, but he was practically ignored by the "Maestro." Yan and Lump kept each other company, when none of their human masters were around and looked all the world like the "Laurel and Hardy" version of dogs at Villa La Californie.
   This is not a book that will give the reader much information about Dachshunds. It's a very well done and personal family album and tribute to a family pet. It will probably bring a tear to the eyes of the reader. This seventeen-year photo essay is the measure by which all such books in the future will be judged. I felt like Duncan must have been floating around in an invisible bubble recording his pictures while the subjects remained totally unaware of his presence. Since that obviously wasn't the case, it's an even greater tribute to the photojournalistic talents of this book's creator. Duncan and Picasso were kindred souls both of whom truly loved dogs.



3. Don't expect much text, but the photos portray a great history of a unusual man "Picasso". It is worth the price!



4. I purchased "Picasso and Lump" for what turned out to be a most welcome gift for Dachshund lover/owners. Before giving it to them, my husband and I both read it and found it totally charming, as well as revealing of a side of Picasso's character that is little known. A delightful book for Picasso fans and dog--especially dachshund--lovers.



5. I ordered this for a friend, who has dachshunds and is an artist. Before I wrapped the book, though, I looked through it. It tells a visual story of their special relationship, which is clear in the pictures. I was captivated by the sentiment of the book and looked forward to hearing her response to the book. I recommend this to anyone who loves dogs. Very special!

3 comments about Eric Fischl: 1970-2007.

1. wonderful paintings herein, still the arbiter of what art should do, and the deepest place to do something,although with the vagaries of performance art and mixed photography within our sensibilities now, painting has become a recluse art;painters laways need to find a more extroverted aspect of their Being;Fischl however seems to have had a good run thus far; with suggestive narratives of desires of the flesh, the the act, cunninglingis capturing the attractions, the magnetisms in the air,as in his early work, human forms beachside, gazing, with eyes to absorb what is avaiable for the imagination, relaxing waiting for a naked body to pass, with a bathing suit on, nothing more sometimes less,Fischl is always subtle with this material;he makes you make the connections,leaves his work open; it is these games and attractions that has fascinating us n' Fischl, as the budding learning scenes, "Birthday Boy", sitting as at the altar of desire with a voluptuous unknown woman, perhaps 'Mommie' perhaps 'Auntie', or a friend of the family, all quite natural,never explicit; later He discovered the vacuous-nesses of middle class surburban life, sitting, contemplating your portfolio,or rotting your brain with aimless thrills; doing nothing for hours, basking in the self-conceit of your money,or last night's fellatio beside the pool,, there are both female and male sex toys in Fischl, players of no sense of worth except self-personas; the naked woman-body draped over her lover or benefactor or agent in his suburban bedroom,or the paunched boyfriend with a small member ready to serve; and always money is assumed to be part of the narrative; Fischl likes to stay away from the complexities of the city,too encumbered; his art is universal and timeless,so it covers this, the history of painting has attracted attractions like these,uncaptured feelings, premonitions of what the body needs,pure perceptions, spectacles,intense situations, pure colour as in Rothko,or the after-violence in Goya or Pollock attracts the representative body to participate as well as the mind, the mind alone and its various intellectualisms can get boring after a while, and we get tired of reading the lauded critics,who have their own career horizons to pursue anyways;Fischl suggests this as well, the after-event, something has already happenened or will happen, future tense, subjunctives, indicatives, or his art is nonsensical. . .



2. This publication is an expanded edition of "Eric Fischl 1970-2000". In the opening essay Arthur C Danto helps us see the artist in context from his student days in the 1970s, when painting was almost an anathema, through his early work and to his notorious painting, "Sleepwalker", which brought him to the public's attention, and to his mature paintings. Selected paintings are discussed in more detail mainly with reference to their content and meaning. The discussion covers forty years of the artist's work and is supported with many quotes by the artist. The second very short essay by Robert Enright further discusses Fischl's work with specific reference to the artist's aims.
   
   The bulk of the book "Fischl on Fischl" comprises examples of the artist's work accompanied by his comments taken from an interview with Robert Enright conducted in 2000 and 2007. The comments sometimes relate specifically to the painting alongside which they appear, but often are more general.
   
   Finally there is a short and witty personal commentary on the painting "Barbeque" by collector of Fischl's work, the actor Steve Martin. The book concludes with a Biography; Exhibition History and a list of Collectors. There is no general index, and no index to the paintings illustrated in the book.
   
   The book is illustrated almost entirely in colour throughout and contains over 250 examples of Fischl's work from his early efforts through to his mature work. The main section "Fischl on Fischl", pp 31 to 338, contains the bulk of these, with picture on virtually every page; most approach full page in size (allowing for margins), but a few are reproduced unnecessarily quite small. While most of the work consists of paintings in oils there are also some drawings, water colours and a few bronzes. Fischl's work is figurative in both senses, and often provocatively sexual in nature, but irresistibly appealing with his free approach and strong sense of light and shade.
   
   This is certainly a very fine volume. I would like to have had more about Fischl's practical approach to his work, although it is very good to have his own thoughts on several paintings and what he was aiming for; and given the often large scale if his canvases it would have been informative to have had a few examples of close-up detail, I also found Danto's frequent references to himself distracting; but these are minor criticisms, although the omission of an index to the paintings is rather more irritating. However it is superbly illustrated with an abundance of Fischl's output; and well worth it for that alone ~ highly recommended.



3. Fischl must be one of the world's greatest living figurative painters and this fantastic collection of his work has been well worth the long wait for publication. It's that rare thing in an art book, top quality reproduction of the artwork with decent sized plates on quality paper, a fairly informative text and not overflowing with the gibberish commentaries that plague many artist's monographs,
   
   I first became aware of Fischl's work some fifteen to twenty years ago when I came upon a reproduction of The Pizza Eater in a cheap book of one hundred paintings of merit or some such nonsense and was immediately struck by both his sheer physical TALENT and the raw and challenging nature of his subject matter. A young pre-pubescent girl wanders naked on the beach, eating her pizza, oblivious to the leers of two teenage boys in the foreground. It's like walking into a meld Edward Hopper, Balthus and Lucien Freud with the savagery of Francis Bacon thrown in for good measure. Talk about being blown away!
   
   Anyway, over the years I've found more work by him, slowly building up a knowledge of his painting, holding him up as a master to aspire to, and, for the last six months, waiting for this book to be published and delivered and it has finally arrived, and I feel like a junkie being let out of rehab with a thousand pounds in my pocket. Seeing anyone's entire output at one sitting is breath-taking, seeing Fischl's is just too much. I have to keep shutting the book and going back to it, indulging in sheer unashamed gluttony after years of famine.
   
   If you only buy one art book in your life think about buying this one!

2 comments about Techniques of the Observer: On Vision and Modernity in the 19th Century (October Books).

1. HUGE thumbs up. Crary historicizes technological vision and illuminates an underrepresented point: things we're taught to think of as objective, such as cameras and vision, are in fact quite subjective and historical. They're ideas first, which means social/cultural ideas, from design to usage. Gradually these cultural ideas plus economic and technological possibility fuse into 'things'. The social aspects get invisibly embedded into these 'things' through myths of objectivity and modern people's desire to be taken care of by machines. When cultural values become things we are conditioned not to see the subjective part. Why? Our primary way of thinking is still the way of the Enlightenment -- from the 18th century -- which loves measuring and equating and separates 'myth' from 'science'. [Which is which? as Roger Waters asks, Do you think you can tell?] Western high culture privileges thinking and seeing over affect and body, imagining they are separate and valuing one over the other. Really it's just an excuse for laziness and cultural arrogance.
   
   Read this book along with Eric Michaels' _Bad Aboriginal Art_ and Adorno and Horkheimer's _Dialectic of Enlightenment_ to begin to see glimpses of Western cultural values and narratives embedded in today's supposedly 'objective' media such as photography, video, TV, vision, etc. Do the work and eventually technology will be a mirror of your own social/historical context.



2. Crary presents some interesting views on the perception of art. I found that it took a while for his ideas to formulate - the writing tends to be a bit wordy. I would recommend the book with reservations - really only for the serious academic reader. Not a casual bedside book.

5 comments about True Colors: The Real Life of the Art World.

1. This review is written long after I have read it, about 9 years !
   
   As it is the first book I have a glimpse about the contemporary art world (focused mostly on US and a tiny part of Europe), I enjoy reading it. I did not (at that time) find any book with simiar nature. It looks like there are more books in the same category now.
   
   Have fun reading it at your leisure time!



2. 
   Although certainly with the pages are these words, these purpose built spores, like
   feilds or kansas. And although again, like a cousin. I read this book and yet somewhere there were people outside the cover, some other story. Perhaps is pehaps is a juice box, what is needed here are vitamins. Such bitter health.
   
   Read about art maybe?
   
   for more secret reviews visit secrettechnology (add the normal web page bit to the end of that).



3. This book really has provided me the insight into collecting that I had always wanted to see. It was a fantastic,important and redefining period for art and collecting. Tremendously well done.



4. Trashy & obsequious. A gossipy journal of obliquely connected anecdotes about characters from the 80s and 90s art world, most of whom have lost most of their importance, and some of whom are even dead now. Begins with a section on the 70s minimalists and conceptualists, etc., by way of introduction. . . Not lacking in intelligence, but not employing much of it either. Haden-Guest places himself more strategically in the narrative than he most likely was in reality, but what journalist doesen't? Don't expect anything memorable or important (except perhaps the section on Donald Judd's various amusing feuds with native Texans and his rich European benefactors). I suppose it makes for good beach reading for those with a taste for the lurid. Be advised that it's also hopelessly dated (not documenting anything after the mid-nineties), which puts it in a strange position: it offers little information of historical significance, yet in the terms of the world it documents is now filled with ancient history! In short, an ephemeral amusement.



5. With only the most banal of polemical perspectives and no aesthetic undepinning, this journalistic description of the recent fluctuations of the art market and its suppliers falls sadly short of the potential interest and excitement of the subject. It's readable. That's it.

3 comments about Lift Off: Air Vehicle Sketches & Renderings from the Drawthrough Collection (Air Vehicle Sketches).

1. I'm no 3d master, but when I wanted to get back into it I was looking for some inspiration. This book didn't let me down. It's filled with mind-bending stuff from really talented people.



2. Scott Robertson is an educator as well as a designer. That shows in this book, editorially, since he reveals early thumbnail, development sketches and final renderings. If you want to see a designer's process laid bare, here's a helpful resource. Don't forget Scott's Gnomon DVDs, as they further expose his process and techniques.



3. For those craving more futuristic design books, the Robertson works are highly desirable. He's no Syd Mead or Ron Cobb, but his works are slick, and well-rendered. A note of caution however; he is a much better artist of ground vehicles than aircraft. Most of his air vehicles are obviously derived from passenger car sketches, sans wheels. If you have the funds for both of Robertson's books, great. If you can only buy one of them, buy his book on ground vehicles.

5 comments about Wood.

1. All the books featuring the works of Goldsworthy are stunning. His work is unexpected and a joy to anyone who loves nature.



2. It's a big and invigorating book. If you like earth art this book (and there are others) offers some of the best of Goldsworthy. The concepts and execution are as inventive as they are cerebral. While I've never seen his work in person the photos and narrative of this book really feel like they capture the detail. In other ways the book itself is as well presented and printed as any book of art I've seen. If you can't afford it (it was expensive for me) try and get your local library to invest. It would be a great contribution to your local enclave.



3. Goldsworthy's art isn't what he makes. It's what he does to things that are already there to make them fresh and beautiful to the jaded eye of an average human. Simple things work best in his art, evoke more raw emotion and longing: he lines tree branches with dandelions and red maple leaves; he hangs large snowballs in trees; ribbons of leaves trail off into the water and spiral icicles circle tree trunks. It's all so simple and captivating, it's really quite astounding. Goldsworthy's art is fleeting. The only reminders of his non-permanent works are photographs. In Wood, Goldsworthy goes beyond the confines of this material and shows us his mastery with the entire spectrum of natural media - snow, ice, rock, leaf, etc. The book is subdivided into sections dealing with each specific medium, the last being Tree - each work is centered around a low-lying branch of a large oak. Nevertheless, I must say that this collection of Goldsworthy's art is slightly inferior to his Collaborations with Nature, which is a better first choice if you are unfamiliar with his principles.



4. This book is so cool! I studied about Andy Goldsworthy for Art, and he is my fav artist. What he does is different and is not boring. When you look at his art it makes you think. They look so beautiful and peacful.



5. Andy Goldsworthy creates forms that echo the patterns of nature so completely the viewer is almost convinced that mother nature herself made them, rather than human hands. Goldsworthy's sculptures are more than works of art. They become integral yet fleeting parts of the lanscape that surrounds them. His shapes are fluid and delicate, and his ideas are deceptively simple,yet appear to defy both time and gravity. His experiments in Wood are gentle and thought-provoking, and prove that beauty exists all around us. Looking at his book makes me appreciate the trees, rocks, and water all around us. Andy Goldsworthy honors the earth with his quiet, sculptural meditations.

5 comments about Your Career in Animation: How to Survive and Thrive.

1. A fantastic book that gives you concrete areas on which to take action. Both practical and inspirational, this book will help you combat creative inertia. Just buy it...it's way more helpful than a few lattes or a movie ticket plus popcorn...



2. This is a definite keeper. The insights and insider tips, the personal stories and motivational powers of this little book are not to be underestimated. I'm about halfway through and just finished the chapter on "independent animation projects". It's like being reborn, knowing that others have gone through the dark tunnel and sweated their way through personal projects using every spare second they have.
   
   I would recommend this book to anyone needing a motivational boost or info on how to succeed in the animation industry. It's insightful and personal, the latter point being where most of its educational value perspires; especially when giving interview tips, how to play it safe in the workplace, not burning bridges, personalities, choosing which battles to fight and which to lose..
   
   I haven't read anything about samurai jack yet... which im kind of hoping is in the book. still... half of the book to go, so who knows.
   
   thumbs up



3. This is a wonderful book for the starting artist as it will show some incite on the life of an full/freelance employed artist. I state artist as the term animator seems to narrow the field of what and who this book really points at. Read the book make your own option.



4. As an Animator going to SVA in NY, David Levy was my professor. He recommended us to get the book for class. It totally gives you all the great advice and inside look in the animation/film industry, like how he would normally talk to us in class about it, but the book definitely adds more in detail. He is an awesome teacher, great in his field of work and a great author. If it weren't for him and this book, I wouldn't be so confident and in the know on getting a job in my field. Very inspiring and not at all a boring read. There's also advice from other working professionals in the industry in the book.



5. Just finished this book a few days ago, read at a leisurely yet studious pace. Wow! There are so many insightful observations presented in an anecdotal and conversational nature, as opposed to a thesis type structure. This will help me immensely as I segue career-wise into the animation field. Great illustrations throughout too. The author is that rare combination, a gentleman and a scholar. Your Career In Animation will cause you to have many imaginary lightbulbs (ideas) floating over your head in rapid succession. My only complaint is that this book does not come with a highlighter marker. All kidding aside...a great read. Highly reccomended!!!

5 comments about Cartooning for the Beginner (Christopher Hart Titles).

1. I bought this for my 10 year old. This is a great book. Easily understandable and lots of illustrations of how to. I'm sure he will be able to use this right from the get go.



2. Christopher Hart's books are really good. I had borrowed the one for Comic Strips (How to Draw Cartoons for Comic Strips) and I like that one better, but this one is also good. It has a lot of drawings and it's easy to understand.



3. I am an elementary school art teacher and my students love Chris' books. Their favorite is "Cartoon Cool", and this one is a close second. As a teacher, I like this book because it reinforces many of the basic principles I teach about drawing portraits and figures. Chris' simple step-by-step instructions make it easier for kids to understand how to create cartoon characters; many other cartooning books have so many steps that budding artists get frustated and give up. I'll be adding several of Chris' "Kids Draw" books to my art room library this semester, and I'm sure they'll be a big hit. Keep up the good work, Chris!



4. i llllllllloooooooooooooooovvvvvvvvvvvv
   his books they are great i have stated my own collection this one is a great addtion



5. I bought this book last year, and it's really one of the great ones. However, I don't think it's appropriate for someone who's looking for a "how to draw" book. If you are a beginner, I'd reccomend a good artist's atlas or an art class...
   Mr. Hart is not trying to teach you how to draw his characters, but how to perfect your own. I think most of the beginning is just filler; It's weak on form and the instructions are a little confusing. HOWEVER, it's chock full'o goodness in the form of tiny details that a beginner might be unfamiliar with; The fact that a woman's high heeled shoe sticks out at the heel, How the tilt of a nose can change personality, etc.
   I have yet to see a better chapter on perspective. Although he does have the obligatory "This a box, these are the box's disapearing lines, etc", he goes much farther, showing how to place a character in relation to the horizon without having to use three rulers and a protractor. Very concise and easy to understand. If you're past stick figures but not quite happy with what you produce, this may be the book for you.
   It should be called "Cartooning for the Intermediate" :)

5 comments about Graphic Design That Works: Secrets for Successful Logo, Magazine, Brochure, Promotion, and Identity Design (That Works).

1. Really inspiring!!! QUality of pages, beautiful design (of course!) and great insights! With this book (and others from ROckport), we can learn from the best and successful creative minds in a non-academic and pratical way!



2. Gives a fresh new look at add placement in print media along with logo development. There are a lot of ideas in this book utilizing innovative design from brochures, magazines, and powerful marketing tools. Shows conceptual designs and rough drafts to the finished product. Use of photos in bold ways. You can't have too many of these books laying around to spark new ideas. A must have for a graphic designers library.



3. I recommend this publication for all Graphic Artist/Designers. I also use this book as as a teaching aid for my graphic design students. Very educational and the historical data is so simple but yet detail.



4. I love books from Rockport as they are always concise, informative and well illustrated, and the most affordable design books I've come across. I regularly refer to this book for devine inspiration to clear the brain fog I sometimes get when developing ideas - especially late at night :-)



5. very complete and well explained, with interesting comments. It gives you ideas and opens your mind if you are a not-so-expert person on the subject

2 comments about Complete Art Curriculum Activities: 150 Easy-To-Use Art Lessons in 8 Exciting Creative Media for Grades 1-8.

1. This is one of the worst art lesson plan books I have ever seen. It claims to have lessons for grades 1-8 but after I looked through the entire book, the lessons seemed geared only toward elementary ages. The lessons were very generic and left absolutely no room for creativity. They have no multicultural ties whatsoever and are just plain boring. Do NOT waste your money on this book! I wouldn't even recommend it for an elementary teacher who has to teach art in their room, you can do better than this.



2. This book was given to me as a gift and I have enjoyed using it as a jumping off point for my kids in elementary art lessons. It is well organized and even helps teachers out by categorizing the chapters by type of art and then from simple to more complex projects. My only complaint (and this is small) is that it would include better examples and descriptions of the steps to get to the finished product. All of the projects are shown in one page with a simple black-and-white picture on the opposite side. I would have liked to have seen the more step-by-step examples. most teachers will not have any problems using or adapting this book to their needs! Overall, it was well worth it and evne better that I got it as a gift!