2 comments about Black Paintings of Goya.

1. I haven't bought this book, but I saw the paintings this week. Really affected me. So...black. Most of the subjects in the paintings have grotesque faces that are merely smudges of black, grey and silver, as if they were gargoyles that had been burned alive. With subjects sometimes grouped together, they composed "the mob" which Goya detested so much--from seeing mob atrocities from the Napoleonic-Spanish war. As disturbing as they are, they are painted in such a powerful manner that it was hard to turn away from them. Several of them lack real focus, as if Goya had grown so disgusted with humankind that it wasn't worth the effort to have his subjects actually doing anything. But he is at least painting for himself, not indulging the vanity of the Catholic Church or rich members and patrons of the Royal Family. So much artistic talent wasted during this period on overweight Dukes on horseback...



2. So it may not be the most alternative book of the great Spanish artist Francisco Goya (1746-1828), but stile, for the while a very important one. This because he is the only book in the catalogue dedicated too the Black Paintings. Written by Spanish art historian Juan Jose Junquera, who recently claim that actually Goya did not paint the black paintings, but his own son. So it is an interesting saying, and also a refresh one. Still I believe that Goya and not any one else paint that madness exhibition.
   
   In any way the present book by Jose Junquera is a fascinating one, and any one finding Goya late works interesting will be reworded to read at him. The book publisher, Scala made an excellent production. The front cover has I received (and not how it show in Amazon.Com) present the painting of Saturn, eating his child. An impressive way to start a journey into Goya mind. Eight chapters filled the book and through out the book there are many close up to the paintings. The book runs out at about 96 pages, not like Robert Houges well filled edition, for many the best certainly available on Goya. Still the book contains many details on Goya life and the paintings themselves so you will probably wouldn't fill there is something missing. Although the close details are very well presented there are still points I fill to disagree with them. Like the way Jose Junquera say to give meanings to couple of the paintings. To much pretentious for me but sourly not for all. Another important mention is the book size, and I would really wish the plates of every complete painting could be larger, maybe like the big close ups.
   
   Still, an interesting study on Goya masterpiece exhibition, and at his low cost I believe you will be more then satisfied to having him.

4 comments about Arab in America.

1. As an editor of a collection of creative nonfiction writing about the Middle East (Encounters with the Middle East, Solas House), I've read a lot of personal narratives set in or about the Middle East and its relation to the U.S. and Europe. Arab in America is among the best I've read. It could do for the cause of better awareness of Arab Americans in the U.S. what Persepolis has done in better explaining the Iranian revolution and its effects to the West.
   
   Toufic El Rassi lays out for us the pernicious and normative cultural prejudices facing Arabs, Muslims, and others in the U.S., in ways that make visible to readers common social practices and beliefs that may have seemed fairly harmless. And he tells a very good story while he's at it. I hope this book sells--would make a great text for high school and college courses about identity issues, politics, US foreign and domestic policy and cultural affairs, writing, art, Middle East studies. Looking forward to the sequel in Lebanon, another poorly misunderstood place.



2. I'm glad that Arab in America is the first graphic novel I've read because it demonstrates what illustration can add to an absorbing text. The author's drawings make the reader experience what the immigrant experiences: that the product we Americans advertise--open arms and a welcoming smile--is not always what we deliver. As the writer tells us, Americans are so ill-informed about the geography, history, and religions of our neighbors across the sea that we don't even know whom we hate! This is a valuable book published just at the time when we need to read it. Besides which, it's a fascinating read.



3. The Guardian
   
   On the defensive
   Craig Taylor rounds up recent releases
   
   Saturday March 22, 2008
   
   Arab in America: A True Story of Growing Up in America by Toufic El Rassi
   
   Those looking for lush artwork and nuance will do well to skip El Rassi's autobiographical tour of his troubled American existence, but Arab in America is more complex and rewarding upon closer examination. The scrawled black and white drawings track a journey from El Rassi's birth in Beirut to his struggles with and in America. He understands he's different after a childhood production of The Wizard of Oz places his face among his classmates - a "dark splotch" beside the white. From there he examines his family and his role in this eternal war against terror that seems to have shuffled him into the opposing camp. Why do they have to be referred to as "our troops", anyway, he asks. Not only does El Rassi feel the sting of racial slurs, but he often receives the wrong ones altogether: "Americans don't even know who they're supposed to hate."
   
   He explores the different degrees of Muslim activism through the reactions of the friends around him. Throughout El Rassi remains an inert figure, held in by the contraints of his personality and his culture. The struggle to find an identity is kickstarted finally by Rage Against the Machine and a reading list of revolutionaries. Even then El Rassi questions the best intentions of the liberals around him. He decides to become a US citizen to save himself from a possible one-way ticket out. The work is most powerful when El Rassi is recounting his own failures, his missed opportunities and outrages, petty or otherwise. The post-9/11 context he's gathered to illustrate his thesis seems to be snipped from newspapers. At its best, his personal history is enough to illustrate a life lived constantly on the defensive.



4. I absolutely loved this book! My question is- where's the second part?
   
   The author does a great job of interweaving his personal life with historical events which serves to make the narrative an engaging and valuable read. The writing style and images work together seamlessley to deliver a story that wil stay with you long after you finish it.
   
   I recommend this book for educators, students, or just anyone who loves a good story (and doesn't mind learning a little bit on the way).
   
   Most importantly, the book is about Arab experience in the U.S. In this post-9-11 world, we need more of this kind of literature.

2 comments about pressPLAY: Contemporary Artists in Conversation.

1. This book gives great insight into how contemporary artists really think about their work. It will be a required text in the university art studio class that I teach. This is not a book for information on the "how to" of art, but rather about the "why to". The careful reader will learn much about the motivations of contemporary artists, and the attitudes that allow them to pursue directions that range from straightforward painting (e.g. Katz, Mangold) to political (e.g. Kabakov, Simpson) to the unartful-looking (e.g. McCarthy, Kelley) to conceptual (e.g. Weiner). However, this will not be an easy read if you are not already familiar with the work of these artists. I'm suggesting to my students that they look at online resources to provide greater context for the interviews (but there are two color plates for each artist).



2. Many words, little said. How could so many say so little. That being said, I'm hopeful that the book will be a good reference for my contemporary art and artists lectures series. Here's hoping for hope.

5 comments about Goldsmithing & Silver Work: Jewelry, Vessels & Ornaments.

1. This, like the other Jewelry books by Codina have great visual content and show interesting techniques. Unlike the others, some of the information is nearly useless to the average studio jeweler. Some chapters are more like Mr. Rogers where you go see how something is made, but you would never make it yourself because of the equipment required.
   Small chapters on Image and Photography were happy little additions.
   Over all the book was more "look how" than "how to" but it's still a nicely put together book at a great price.



2. The book is very interesting and the pictures are descriptive and fun to look at. The book covers many different things like Casting, Silversmithing,Jewelry making and more. Nice and stylish items shown in the book with direction. Very different than many Jewelry books. I am glad that I added this book to my collection.



3. In the herd of recent books, this one distinguishes itself in it's quality of images, concise accurate descriptions and scope.
   This work seems to be the product of much labor, research and maybe even love. I have to hand it Codina, he's the kind of person that should be writing books.
   Among the outstanding pieces represented is a North African bracelet made step by step by two Algerian women. Definitely not the kind of entry you find in many American publications flooded with "art school" drivel from self promoting arrogant twits so prominent in publications today.
   The alternative casting techniques section is a seminar in itself, and just when I thought I new everything!
   Don't get me wrong, there are a few downright ugly pieces, though I can easily overlook them if favor of the splendid work that predominates throughout.
   Telling, is a closing statement where he thanks the contributors and gives a bit of insight into the writing of this fine book.
   If you don't have this publication, then buy it. Trust me on this.



4. I have bought many many books and some I will never open again! Then some I can't keep the pages in they are used so much. This will sure to be one of those this book by Charles Codina is awesome. This book is a RARE find. It is imformative and visually stunning. I suggest not missing out on this one!
   
   Happy jewelry making!
   
   THIS BOOK WAS EDITED BEAUTIFULLY!



5. This book is a favorite of mine. There are many types of smithing to learn in this book. Although the pictures and descriptions are limited somewhat, the book does give enough information to get anyone who works with metal started on any of the work in this book. The pictures are excellent in layout and design. This book not only makes a good instruction book for the metal worker, but it is also an excellent coffee table book as well.

No comments about The Expanding Discourse: Feminism And Art History.

2 comments about Florence (Art & Architecture).

1. This is a wonderful little volume for an overview. The text doesn't provide enough detail for a school project or art history buffs, but it is a great review. The book is too heavy to use as a tour book, but I bought it after our trip to Florence as a wonderful little reminder of a fascinating city. The overall size is also too small for a coffee table book.



2. This book is worth its price for the superb illustrations. It has high-quality color illustrations of the most important Renaissance art, sculpture, and architecture, in Florence. They are a joy to look at and well selected. Of course, everything is not here--there is just too much fine art in this one city, so many masterpieces cannot be included. But it's a fine selection.
   
   The illustrations rate 5 stars. But the text rates only two to three. Various chapters are written by nine different Florentine art-historians. Some are tedious to read--they discuss in excessive detail, and with appallingly long sentences, who did or did not paint/sculpt/build a particular piece; whether or not that piece is or is not one of the greatest; and (most importantly to some of the writers, it seems) whether or not other art-historians are right or wrong in their attributions/criticisms of the piece. In other words, material of interest only to other art historians, with very little on the beauty of the pieces, why they are inspiring, and on how they were made. However, several of the later chapters are well written and interesting.
   
   Annoyingly, the text refers to artworks without saying whether or where they are illustrated in the book. There are no cross-references. I wasted a lot of time going back and forth in the (very good) index to seek illustrations. Some turned out to be in the chapter I was reading, some were in the first introductory chapter, some were in both, and some were not illustrated at all. Zero stars here.
   
   The time period covered is from Medieval to modern, but the bulk of its coverage is on the periods of the antecedents to the Renaissance and the Renaissance itself--exactly the period of most interest.
   
   The book comes in large hardback (12.5 x 10.9 inch, '19896 ISBN) and slightly smaller (10 x 8.5 inch,'0678 or '34096 ISBN) formats. Both are identical in pagination--text and illustrations are simply enlarged in the bigger version.
   
   The illustrations alone are worth the price.

No comments about Whitney Biennial 2008 (Whitney Biennial).

1 comments about Isaak Levitan: Lyrical Landscape.

1. Superb book - as a guide and as a reference. Isaak Levitan was a real master of Silver Age of Russian painting - apart from excellent skills, he was able to capture the mood. Highly recommended

2 comments about Visual Forces: An Introduction to Design (2nd Edition).

1. This book is good for beginners. It has the basic design principles to consider when creating art. It doesn't take the place of class, however. A good instructor is more helpful because they can look at your work and assist you hands on. The book is still pretty good but not very flashy.I've been looking for design books and haven't found very many good ones. I liked this one better than any of the others.



2. Circumstances are such that I've been forced into a crash course-type study of composition for the past two months. I've been buying many books and checking them out from the library as well. I find it amazing that there is so much original information in each book, given that they are all discussing approximately the same thing. My conclusion about this aspect is that composition is an extremely complex and rich subject. (That fact is probably supremely obvious to any seasoned artists reading this.)
   
   "Visual Forces" by Benjamin Martinez is one of the books that covers many design AND composition topics well and also has much that the other books I've read so far didn't cover. Or at least you don't have to dig to find the information. The payoff for time invested is high. With two pages per topic and excellent illustrations, the point is made and then you're ready to go on to the next point which is logically connected.
   
   One two-page topic that stands out is the one on using depth cues to control eye movement. It uses an illustration that shows how the eye rests briefly at each spot where a different level of depth occurs. With two pages per topic and 228 pages, Visual Forces is a great value and a vital addition to any collection of books on design and/or composition. The concepts it illuminates can be applied to many design disciplines, including furniture design, drawing, painting, sculpture, multimedia creations and so on.

1 comments about Designerly Ways of Knowing (Board of International Research in Design).

1. Cross's book presents an updated collection of essays analyzing design behavior. Each essay furthers the argument for the value of design with insight into the inner workings of the design process. This is done by relating government research, comparisons of designers at the same task, and interviews with world class designers. The book elevates design thinking to an intrinsic cultural value and a basic human intelligence which should be taught to everyone alongside numeracy and literacy. Most importantly, Cross provides a challenge and a framework to advance design education and the discipline of design through the study of design thought, design activity, and the cultural artifacts of design.