5 comments about Full Bloom: The Art and Life of Georgia O'Keeffe.

1. Well written book and excellent research. Enjoyed very much.



2. Detailed and thoughtful, and a riveting read if you really want to understand this artist's life. After reading dozens of books and articles about O'Keeffe during the course of my own research on New York-inspired artwork, I didn't think another O'Keeffe biography was necessary. But I'm grateful I found this book. I learned so much more about this artist--about her friendships, her travels beyond New York and the Southwest, and her abstract works.



3. I never really liked O'Keeffe's more abstract paintings until I read this biography. Now I can look at them with an improved understanding of what they mean and what she managed to accomplish for female artists everywhere. It's equally nice to see the artist as a person with her own foibles and nuances. The author has done a remarkable job here.



4. Hunter Drohojowska-Philp is a sound writer, one who obviously does her research inexhaustibly, and with a background in art criticism she also speaks with authority and an informed eye. But she does go on....
   
   For those who want to know more about the idiosyncrasies of this American idol then this is the resource of choice. We learn more about the frustrations, self doubt, love affairs, and general personality quirks than in all the other biographies combined. We also learn about each painting in depth which I suppose is like a verbal catalogue raissonne and for that we should be thankful.
   
   It is just that with all great artists not everything they make is of show quality and it is this inclusion of all of the odds and major ends of O'Keeffe's work that borders on tiresome. It is with a good degree of relief that the last page of this nearly 500-page opus is reached.
   
   Hunter Drohojowska-Philp obviously holds Georgia O'Keeffe in a realm close to Valhalla and that is all well and good. She writes with vigor and determination and certainly informs us of the 'full bloom' of her title. In the end this is a valuable volume for the archives, but not a book to recommend for the casual reader who has already grown visually fatigued with the Santa Fe posters of poppies, ox skulls, and datura flowers. Grady Harp, June 05



5. Hunter Drohojowska-Philp is a sound writer, one who obviously does her research inexhaustibly, and with a background in art criticism she also speaks with authority and an informed eye. But she does go on....
   
   For those who want to know more about the idiosyncrasies of this American idol then this is the resource of choice. We learn more about the frustrations, self doubt, love affairs, and general personality quirks than in all the other biographies combined. We also learn about each painting in depth which I suppose is like a verbal catalogue raissonne and for that we should be thankful.
   
   It is just that with all great artists not everything they make is of show quality and it is this inclusion of all of the odds and major ends of O'Keeffe's work that borders on tiresome. It is with a good degree of relief that the last page of this nearly 500 page opus is reached.
   
   Hunter Drohojowska-Philp obviously holds Georgia O'Keeffe in a realm close to Valhalla and that is all well and good. She writes with vigor and determination and certainly informs us of the 'full bloom' of her title. In the end this is a valuable volume for the archives, but not a book to recommend for the casual reader who has already grown visually fatigued with the Santa Fe posters of poppies, ox skulls, and datura flowers. Grady Harp, May 05

5 comments about Why Art Cannot Be Taught: A HANDBOOK FOR ART STUDENTS.

1. As a recovering survivor of an MFA program I can wholly relate to Elkins' criticisms about the failure of critiques to shape art and artists. It is poignant that Elkins is unable to offer up a solution.



2. this book is not for current art students, or graduates (it's simply too late for you to read this)
   
   considering the expensive and time consuming path of art training at the University level ? then i recommend reading (or even just skimming) "Why Art Cannot Be Taught : A HANDBOOK FOR ART STUDENTS" not only because it gives a clear overview of the evolution of the methods of passing craftsmanship in the fine arts through (European) history, but because you'll see that picking a few art classes is probably going to serve you far better than undertaking a full course of study (and the stories of "classroom psychodrama", and students having to explain and defend their work was easily worth the price of the book, IMHO)



3. As a critique of how studio art has traditionally been taught at the university level, Elkins is dead on (pun intended). His portrayal of B.F.A./M.F.A. programs is vividly familiar to anyone who has gone that route. The book is also hilarious and a great read. But since we (studio folk) are the chief audience, we already know all of this, right?
   
   The critique of Elkins' book is not that he misrepresents anything, but that he misses things: namely the field that addresses teaching art, known as "art education." He does not pretend to consider it, but that doesn't excuse the neglect. If that sounds funny to you, meaning you assume Art Education is a joke-field, I urge you to delve into the research published in its premier journal, "Studies in Art Education," and, then, compare this research to that which has recently emerged from Art History and Art--that is, if "Art" (studio professors) produces any research at all. Well, it does here and there, and Art History produces some interesting research, as does Art Education, whose primary agenda is to address issues of critical theory, postmodernism, and visual/material culture. In fact, I understand that the Art department at Elkins' institution is in the process of making this pedagogical shift as well as some other leading Art schools here and abroad, like Yale.
   
   The point I'm making is that Elkin's portrait--that postmodern art is at odds with the outdated mode that exists in art schools--is partly untrue. Cutting-edge Art programs, and certainly Art Education, are exploring interesting post-disciplinary projects that resonate nicely with the sublime mantra of the postmodernist discourse that informs them. In a general sense, the schools that Elkins describes are those whose tenured faculty have rested on their boring Modernist laurels, which died quicker than their 4th-tier universities could pass them through the nominal tenure process, a tragedy that I think is slowly but surely evaporating.
   
   Understanding that Elkins is probably aware of all of this and expecting academic readers to draw this out of the book, it's not so bad. But for those who do not know the inner workings of academic art programs, the book could do a better job of explaining where the pedagogical answer lies. I like to think that for some reason, Elkins had those answers and kept them reserved for another book, rather than that he, like the oldie-moldy prof's he ribs, is a living anachronism.



4. The answer: I think so. The author changed my way of thinking about the subject of what is plausible in arts education in our time. The apprearance of total artistic freedom from judgement as formulated by postmodernists, yet the intrinsic nature of how the academy/school affects an artist, is seriously examined by Elkins.

   This book is amongst the first to pragmatically question some of our common misunderstandings about the methodology involved in teaching the visual arts. The reason for this maybe due in part to modernist and postmodernist intellectualizing of art (e.g.-the endless pages of ink spilled in history books about content free Minimalist paintings and Conceptual Art). Elkins really does an marvelous job at collecting the evidence that studio art teaching and learning is fundamentally different in goals from more conventional subjects such as the sciences, languages and even music...yet, artists should have a somewhat rounded education.

   To the authors credit, the book avoids the idealistic view of the arts, dispenses with the RomanticEra cliches of " the gifted talent" or "starving artist" or "outsider art" and deals with THE pragmatic reality of art instruction. Elkins' surveys are about the historical roots of art instruction: the Medieval workshops, the Renaissance guilds,the Baroque academies, and the 20th c. Bauhaus School are compared and contrasted with one another.

   THIS comparison of instruction models is EXCELLENT!

   The assumed historical 'reality' of the types of artists each system was capable of producing serves as a spring board for discussions on how philosophical discourse influences the instruction model. The book addresses the question of "what body of knowledge is central to the education of an artist?" Is it life drawing, technical and mechanical skills or is it a selected reading and immersion in the liberal arts(i.e.- should an artist have a classical education w/ emphasis on Greek literature -or- postmodernist and shifting in emphasis related to an artist's native culture?_)

   Elkin's book fully illustrates the very real world dilemna that students interested in the visual arts face when choosing between "art schools" and small "Liberal arts colleges." "Art schools" tend to only be interested in art, with a myriad of opportunities to be exposed to the art world, with little if any exposure to core general education courses. Paradoxically, the art schools are also places where one is likely to find the latest art theory in deployment despite an 'art school'student populace that MAY NOT have the educational background to engage in meaningful discussion with instructors. The situation is the exact inverse with students at "liberal arts colleges" (and the university in general) where the student is academically armed, yet, is enrolled in significantly less demanding studio courses. "Liberal Arts colleges" and art departments of universities,while providing excellant general education for an art student -most barely engage in the issues of making Studio Art much beyond the dilettante level. Elkins makes a very fine point of emphasis on what is either impractical or too obscure to teach about art in the general curriculum of both classroom enviroments-i.e.-such things as art that uses obscure techniques, extremely radical and/or conservative methods. He deals with that rarely mentioned art class phenomenon- "the critque"- where the student presents thier work to the class to be analyized. Elkins illuminates 'The critque' of art schools (and studio art departments) in a manner that should deal with every sort of postive and negative experience that could be siphoned from such an ordeal.

   Essentially the heart of "Why Art Cannot be Taught" is to illuminate what works and what makes 'sense' to teach in the pedantic school environment about art. Elkin's thesis ("that art cannot be taught") is a descriptive interpretation of the reality that art education like 'true art', the 100%creative stuff, is something unique and irrational that can't be easily duplicated at the whim of educators. A must for anyone that has interest in the peculiarities of being a student of the visual arts!




5. The author details art instruction through the ages and discusses the question asked in the title. Art and artists would be so much better thought of by society, and art istself would improve, if the ideas in this book were taken seriously. It is a DEEP book, not for casual reading.

3 comments about Performance Art: From Futurism to the Present (World of Art).

1. This book is a very informative. Providing a comprehensive history of performance art. This book gave me information about performance that I never knew before. This book is for a class and I feel personally that this is a very good teaching tool. From Dada to the present it allows me as a performance artist to see what is there before and what is happening now and be even more informed of what my work is all about. This is a very good and informative book.



2. OK, the book was first printed in 1979 and nothing new has been added since then. I would recommend "Outside the Frame" by Robin Brentano instead or Richard Martel's "Out of Action".
   Besiedes, the idea that Leondardo da Vinci made performance art is crap...



3. Goldberg's is an excellent, well-researched, and interesting text that documents the history of a most misunderstood medium: performance art. Proceeding in a sure-footed way from the early, combative, theatrical efforts of the Italian Futurists, then to Dadaism, then on to the dances of Oskar Schlemmer, to the 1960s "happenings", up until the end of the 1980s...Goldberg covers it all. She gives essential and pertinent cultural information that facilitates the reader's understanding of the "how" and the "why" of performance art. This book is a must-have for art and cultural historians, as well as anyone who wants to broaden their knowledge of the key figures and events relating to art of the modern and postmodern eras.

No comments about Design Manual, A (4th Edition).

4 comments about Affirmations for Artists.

1. I believe that making affirmations really help us to achieve our creative goals. Eric Maisel's book is full of affirmations that really work if we work them! I make this book part of my daily reading, and it makes every day start on a positive note.



2. Maisel is one of my favorite authors writing for artists. As in his other books, he shows here great sensitivity to artists' challenges. In his typical style, he doesn't pull punches with these affirmations -- it's clear an artist will never be fulfilled unless s/he gets up and WORKS. These affirmations support that process, without gluing up the works with the mystical overtones (mumbo-jumbo?) often associated with affirmations.

   Arranged alphabetically by subject (Failure, Success, Fear, Anxiety, Inspiration, Day Jobs, Depression, Joy, etc.), each page is devoted to one subject. The page includes quotes from famous artists, a short paragraph to consider, and an affirmation to overcome the challenges and reinforce the positives.

   One thing I stumble on each time I use this book is the wordiness of the affirmations. These aren't pithy sayings to be glanced at and remembered all day. Most are fairly involved paragraphs in their own right (On Inspiration: "I believe I create for myself when I honor my artist's nature and diligently practice my craft. I will work whether I feel inspired or not: I know that if I labor with an open heart and an open mind, inspiration will come. I am ready to create it, receive it, and be swept away by it."). I tend to shorten them, pulling out just those points that resonate with me ("I honor my artist's nature and embrace inspiration"). This can be an advantage, though, since it means there can be different affirmations for each person or each situation. It also involves the artist in the creation of the affirmation, making each one uniquely that person's.

   Highly recommended for living more fully with your artistic self, or as a gift for the artist in your life.




3. This book is crammed with affirmations related to the fears and horrors every artist ends up going through at some point. Whereas I am not too keen in affirmations, I found Mr Maisel's words extremely conforting and intelligent. Although the affirmations are inspiring, this is a book with practical advice as well, unlike so many others that adress similar questions. It also contains a lot of quotations from famous artists who apparently went through similar ordeals. "Affirmations for artists" adresses many different kinds of disciplines and is definitely a great gift for an artistically inclined person. If it ever gets translated into Spanish I'm definitely giving it out to my friends.



4. Don't be fooled by the deceptively simple title. Affirmations for Artists is a smart, practical and irreverent toolkit for deepening your creativity and enhancing your life. Unlike most of the annoyingly ethereal affirmation books I've read, this one yanks affirmations down to earth, tackles misconceptions and pitfalls, and demonstrates how to use affirmations effectively.

   The author cuts straight to the heart of the problems artists of all stripes wrestle with and serves up realistic strategies for problem solving. Crafted with wit, grace and no-nonsense compassion, Affirmations for Artists is a generous and elegant book.

5 comments about Art Explained (Annotated Guides).

1. This is another fine entry in the "Eyewitness Companions" series. A lot of material is packed into each of the volumes. These publications cover the waterfront, such that the tradeoff is breadth of coverage at the cost of depth. But, whether the subject is beer, cheese, wine, cheese, opera--or art, the end result is a nice reference work.
   
   Here, the focus is art. The author, Robert Cumming, begins by noting the four questions that he is so often asked about are (page10): ""What should I look for. . . . What is going on? What is the story?. . .What is its value?. . .Is it any good?" He goes on to note that (page 11) "I have tried to capture that kind of involvement [that his readers enjoy with art] and to address the four basic questions. . . ." The book begins, appropriately enough, with a discussion of what art is, and other interesting facets of the subject (record prices for artists' work, best art museums, etc.). Then, media and materials of art. This is followed by an historical organization of the history of art, from early art (3,000 BCE to 1300 CE) to contemporary art (1970-present).
   
   Many have seen the art work associated with Tutankhamen's burial; this is one example from the era of early art. Within that larger category are displays of art work from ancient Egypt, the early Aegean world, classical Greece, and so on. Other eras of interest: Gothic and early Renaissance, Baroque era, romantic art, modernism, and contemporary art. Within each of these eras a selected group of artists is singled out, information about them presented, and examples of their work displayed.
   
   Some of my favorite artists are included in this encyclopedia coverage, such as van Eyck and da Vinci (I still remember the thrill I got when I entered the gallery at the Louvre and saw for the first time his Mona Lisa). One of the nice features of this book is represented by the discussion of da Vinci, where Cumming speaks in an understandable way of the artist's life, his techniques, what to look for in his works, and so on. Many other artists are represented, from Brueghel to Rubens to Rembrandt to Delacroix to Courbet to Monet to Rodin to Chagall to Pollock to Kiefer to Lichtenstein to. . . .
   
   All in all, a nice little book to curl up with when you want to just enjoy the fruits of the human artistic imagination.



2. Like all books of this nature, this work is not the beginning nor the end all of all art books. It is though an absolute delight. I paint, granted, I do not paint well, but that is not really all that important. For me the study of art and the participation in art is a way of making my life richer and it causes me to become much more aware of all that is around me; shapes, colors, shades, details and the ability to observe all these things. This work helps greatly in these areas...it simply has made me more aware of just what is in any given painting and given me more of an appreciation for what I am looking at.
   
   Robert Cumming has given us an insightful look at some of the greatest of our paintings and works of art and some of our greatest artist throughout history. Bruegel, El Greco, Caravaggio, Rubens, Rembrandt, Poussin, Steenwyck, Claude, Vermeer, Monet, Hunt, Picasso, Degas and quite a number of other. An example of each artist's work is shown and a detailed description is given along with a short history. Inset notes are abundant and point to items and parts of the painting that the normal observer might well overlook. I know I have been guilty of that time and time again. Techniques such as under painting, symbolism, composition, background details, the angle of a hand, the set of the eyes, color combinations and contrast, imagery, all are addressed and much more.
   
   Now this book is not an advanced text suitable for the advanced student of art or even art history. It is not a guide book to be lugged around to help identify different paintings. It is not all conclusive as there are hundreds of artists, both male and female, who are not addressed. Good grief, that would take several thousand books and a life time of reading and study. What the book is, is a very good overview. It is something to stimulate, to cause you to look at art a bit differently, to be more observant, to motivate you to further study. Only 45 paintings or studies are given here, but I did like the selections the author choose. All of the paintings are in color and as true to the originals as it is possible to get with mere photography.
   
   For an enjoyable and informative read, I cannot see how you can go wrong with this one. Just remember to place the book in its proper prospective, and do not expect to become an instant art expert after reading it. Do expect to learn and do expect to enjoy. I highly recommend this one.



3. Leaves out Rosa Bonheur, Judith Leyster, Helen Frankenthaler completely, only a small space for Cassatt and Morisot.
   
   As Frankenthaler is the creator of Stain painting, and Rosa Bonheur's "The Horse Fair" is in EVERY art history book, it is hard to believe this is an oversight.



4. Very basic book to reference painters. I bought it for use while traveling in Rome and Florence but when it came to packing--this little book is far too heavy. Too heavy to bring out for a day of sightseeing in another country when there is so much else to carry.
   If you're into art history, it's good for a quick reference.



5. "There is something in painting which cannot be explained, and that something is essential. You come to nature with your theories, and nature knocks them all flat." ~Pierre-Auguste Renoir
   
   If I had not been reading this book, I may have never seen the little black cat standing at the end of the bed on the pictures of Olympia by Edouard Manet. The cat is almost invisible, blending in with the background and only visible when you realize those are two little eyes peering out at you.
   
   Each chapter of this compact book on art is color-coded. The chapters include:
   
   Materials and Means
   Early Art (2000 BCE-1300 CE)
   Gothic and Early Renaissance (1300-1500)
   High Renaissance & Mannerism (1500-1600)
   The Baroque Era (1600-1700)
   From Rococo to Neoclassicism (1700-1800)
   Romantic and Academic Art (1800-1900)
   Modernism (1900-1970)
   Contemporary Art (1970-Present)
   
   Key symbols are used throughout to indicate birth and death dates, nationality, countries were the artist was active, principal media in which the artist worked, where to see main collections of an artist's work and record prices achieved at auctions.
   
   Some of the beautiful pages in this book include Claude Monet's Waterlily Pond. Short descriptions of each artist is given and then you can do more research if an artist captures your attention. Perhaps you've always been intrigued by the convex mirror at the back of the Arnolfini Portrait by Jan van Eyck. Here we find Latin text on the wall, a bride in green and a stunningly detailed chandelier, shimmering with metallic luster. Isabella and the Pot of Basil by William Holman Hunt is equally magnificent and the painting is filled with symbols that are fun to unveil.
   
   The "Forked Forest Path," a form of installation art has beautiful lighting effects glowing through a forest of natural wood. The interior of Abbey Church in Ottobeuren, Bavaria is stunning!
   
   While looking at The Birth of Venus by William-Adophe Bouguereau, I noticed the same pose had been used in a painting for a book cover of romantic poetry I'd just reviewed. This book will not only inspire you to visit art museums more frequently, it teaches you about how to look at paintings in a deeper way. You may also feel inspired to go find a museum-quality reproduction, like The Kiss by Auguste Rodin.
   
   The marble statues really caught my attention and if you have any interest in mythology, you may find yourself reading this book and then looking online for more information. I would have loved to have found more information on Cupid and Psyche, or even the mention of butterflies and the soul. Five pages could just have been dedicated to Antonio Canova alone, but we must then go buy another book to do more research and truly, I'm not complaining. ;)
   
   "Art is the path to knowledge." ~Leonardo da Vinci
   
   ~The Rebecca Review

1 comments about Mirror of the World: A New History of Art.

1. Found and ordered the book we wanted. Book arrived in a timely fashion and was as it had been described.

2 comments about Primary Art: It's the Process, Not the Product.

1. Really good book, but I am sorry that the inside is not in color, since it is a art book.



2. Childhood is a time for exploration, discovery, experimentation....thus, the process of art has always outweighed the final product in its value and focus. But it's also true that elementary aged kids are taking a new interest in the results of their explorations. That is, they enjoy the outcomes of their work in art. The art works in Primary Art will be valued as "unique results", not as pre-planned crafts or adult-designed artworks. Kids value aesthetically pleasing art, which can take many avenues as they explore...they use words like fancy, amazing, awesome, interesting, special, and "mine". To say they expect resuls is to reinforce the philosophy of exploring and experimenting with art as they apply their developing skills and abilities to control their own chosen results. So art is still a process for elementary kids, and the product is their own design and making. Art is an exciting experiment that encourages individuals to explore and discover their abilities and expressions, with artistic results that range from astonished to delighted, spectacular to breath-taking, lovely to reserved, and charming to rare. And as the adults who help it all happen, we are allowed the gift of seeing it before our very eyes. Primary Art offers art in three steps...introductory, exploratory, and challenging, all related and building on each other. I love this book!!!

2 comments about The Studio Book.

1. I like this book for its photographic essay anthology on artists and their workplaces - I'm glad I made the right choice of buying it because I needed a full-term book on the subject! Everyone should consider it for their libraries as well as I did!



2. Caveat emptor. A very interesting and well done book that gives an interesting perspective on numerous artists, their studios and the designers of the studios. However, if you have an interest in studios not located in California, you like I will be quite disappointed. Apparently the "sun and sea" reference in the publishers description is supposed to indicate that the studios are all in California and is not just a metaphor. This omission is personally significant enough that for the first time I am returning a book to Amazon as I would not have bought it had it been accurately described.

1 comments about Bad Girls Hotel.

1. I adore Bob Coulters work! I love how he uses colors and sexual fantasy. Not many photographers can put together the camp, kitsch, gloss and lustre that this man can. All of this would be a steal... With the big Amazon discount, you might feel guilty for getting so much for so little. go out and buy it! END
   Great, great, great!!