3 comments about Art Office, Second Edition: 80+ business forms, charts, sample letters, legal documents and business plans (Art Office: 80+ Business Forms, Charts, Sample Letters, Legal).

1. It is precisely what is needed and so easy to use especially for artists venturing out into their own business. It's a great business resource for organizing, selling, marketing and simply learning how to get out there and get noticed as a serious artist! Looking professional is the first step and this book focuses on that.



2. This is a must have for any artist wishing to sell their art on their own, and for any start-up art gallery.



3. Constance Smith has been assisting fine artists in their business efforts for more than 25 years. In the space of some two and a half decades, her professional networking in behalf of her clients has familiarized her with virtually all facets of the business aspects of the art world. Now Constance Smith has collaborated with art marketing consultant Sue Viders (who herself has more than 38 years of experience in the field) to publish "Art Office", a comprehensive, 'user friendly', and confidently recommended guide to running a business in the fine arts. Now in its fully updated and expanded second edition, "Art Office" offers a compilation of more than 80 easy to use and invaluable forms and lists that range from a twelve-month planning calendar; sales agreements; customer-client records; marketing plans; and monthly project status; to checklists for a juried show; the press release; pricing worksheet; bill of sale; model releases; competition record; target market chart; and more. From daily office forms, bookkeeping forms, and legal agreements; to inventory forms, customer forms, marketing plans, sample letters; and sales documents, "Art Office" will readily and quickly enable any artist, gallery owner, or art representative to launch an organized, legally compliant, and profitable business in the fine arts.

5 comments about The Art Spirit: Notes, Articles, Fragments of Letters and Talks to Students, Bearing on the Concept and Technique of Picture Making, the Study of Art Generally, and on Appreciation (Icon Editions).

1. Any artist who does not have this book in his or her library is being cheated out of great insights:
   
   "There are mighty few people who think what they think they think."
   
   "Be willing to paint a picture that does not look like a picture."
   
   "...pictures which do not represent intense interest cannot expect to create an intense interest."
   
   "Effects of perspective are made or defeated by sizes of strokes or by their tonality."
   
   And this is just the teaser.



2. George Bellows, Edward Hopper, Patrick Henry Bruce, Stuart Davis, Rockwell Kent, Guy DuBois, Alfred Maurer, Carl Sprinchorn and countless others studied with Henri and went on to do great work. There are too many for this to be simply coincidence. The "Art Spirit" is the closest thing we can get to the Kool-Aid that flowed in Henri's classroom. One can glean quite a bit from the pages of this book. It is both practical and inspirational. I have to say that it can be a bit frustrating not being able to see anything or ask a question, but its much better than nothing (thank you Ms. Ryerson!). Buy a copy and read it.



3. 
   The Art Spirit. Now there's a bold title. The implication is not only that there is such a specifically identifiable thing as an "art spirit", but also that the author, painter, and teacher, Robert Henri knows these specifics; a bold implication indeed. The difficulty (wherein lies the boldness) whenever one attaches the word spirit -or spiritual- to anything, there are, of course, as many understandings or perceptions of that word as there are hearers and readers of that word. This may exist to no greater degree and appear no more obvious than in the world of visual arts. Henri himself acknowledges this, writing in the forward, "...the opinions are presented more as paintings are hung on a wall, to be looked at at will and to be taken for what they are worth. If they have a suggestive value and stimulate to independent thought, they will attain the object of their presentation..." And later, "There is no idea that anyone should agree with any of the comments or that anyone should follow the advice given. If they irritate to activity in quite a different direction, it will be just as well." Although he embraces this free thinking, to-each-his-own, take what you will from it approach, it is merely one of the specific personality characteristics evidenced in the Art Spirit. Henri intends to show there is an "art spirit", and it is the province of every human being.
   This is the crux of the issue for Henri, his point of departure from other artist/writers, and the chief value of this book: The Art Spirit is attainable by anyone, can be exhibited by everyone.
   Other works on the subject tend to be either the less specific, more nebulous notions where we are expected to buy the fancy explanations and just accept that there is something spiritual, or of the spirit, going on here, or the very specific, artist-only oriented varieties. For example, consider Mandarin's grid "composition" series and his writing about them. While his theosophically induced explanations may help some to a degree of understanding, we are essentially left to take his word for what we are supposed to be seeing in the canvas. In his "Concerning the Spiritual in Art", although Kandinsky presages Henri -discussing psycho-emotional, expressive, and contemplative states of artists out in the real world and before the canvas- he ultimately leaves it with the artist, not really taking it out of the studio and into the factory, construction site, or office cubicle as Henri does. Whereas Kandinsky seems to digress at times into a sort of "how -to" instruction guide for defining and placing spiritual elements into a picture, Henri takes it further, defining his Art Spirit, then setting about showing us how to tell when it's present. This every-man definition is offered at the very beginning of his book:
   "Art when really understood is the province of every human being.
   It is simply a question of doing things, anything, well. It is not an outside, extra thing.
   When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible.
   The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others. He does not have to be a painter or sculptor to be an artist. He can work in any medium. He simply has to find the gain in the work itself, not outside it."
   Henri then spends two hundred and forty five more pages illuminating and reiterating how one is -or can be- an inventive, searching, daring, self-expressing creature; how to live life to the fullest. The Art Spirit manifests itself in the appreciation of the non-material things in life; in the "true student" who self-educates and explores feelings, meanings, who contemplates, who really sees, who learns to express "who is you"; in what comes from the external world and inside you; in the full enjoyment in the living of life; in doing a thing well ... anything.
   Henri accomplishes a difficult task here; a book with specific and important information for the artist, yet within that structure filled with insight and compelling ideas for the non-artist. One is urged to make a full reading, since quite often both are mingled in the same sentence or statement. For example, a non-painter might be tempted to skip the ten-page section on brush strokes (pg. 62-72), seeing no need for it. The unfortunate reader would then miss out on many little gems of insight and information. What is a brushstroke but a purposeful committed action by an artist? So then, consider the message in these statements when you substitute the word "stroke" with "action" or even "attitude" (parenthetical insertions are mine ):
   "Strokes carry a message whether you will it or not. The stroke is just like the artist (person) at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littleness are in it."
   
   "There are more strokes which laugh, and there are more strokes which bind laughter, which freeze the face into a set immoveable grimace."
   
   "(There are) bad strokes which are bad because a brush (a method) or a condition of paint (situation) were chosen which could not render them."
   
   While Henri plays to both artist and non-artist audiences, it is at these times when he addresses the artist more directly he more closely aligns himself with Kandinsky. Both men bring their great passion for the subject into their text in their strong, clear, and pleasing voice. Kandinsky, sounding alternately-yet only slightly more- poetic here, technical there; Henri with a bit more enthusiasm. They share the same territory on many issues, such as the shape, direction, and function of line, intention of every stroke, careful planning followed by exuberant expression and more. Yet, while they may travel the same road, they do not share the same vehicle. There is an important distinction in each man's approach to spirituality, or the art spirit. For Kandinsky, there is a spirit world out there, and a spiritually inspired painter can -and should- find ways to represent both that indwelling spirit and that exterior spirit world to which we are all connected. Henri says (when) we search the external world with appreciation and wonder, and we search within ourselves, and when we become more self-expressing creatures, we have the art spirit...we are the art spirit. Kandinsky believes only non-objective images can reveal the spiritual, Henri says it matters not what you paint but how you paint it-compelled by the spirit. So while Kandinsky can use the "psychic effect" (pg. 24) of color to manipulate the viewer's emotional state toward a comprehension of the spiritual, Henri says the artist's mark itself can manifest the Art Spirit. While, in both cases it takes a more or less purposeful opening up to the notion of the spirit, for Henri it is not trying to grasp the spirit and record it, it is about internalizing and building the spirit inside ourselves, and our resulting expressions will, by definition, represent the Spirit. And it is possible for all of us.
   The long quote above (from pg. 5) is written exactly as printed in the fifth edition printing not only as expository text, but as a means of illustrating Henri's bright, clear and energetic voice that runs throughout this book. The subtitle for The Art Spirit reads, "notes, articles, fragments of letters and talks to students, bearing on the concept and technique of picture making, the study of art in general, and on appreciation," and that is exactly how it reads. Much of this is due to Henri's considerable gift of communication, and the balance is credited to the physical layout of the book. There are no chapters, even very few headings to sections, lending itself very well to opening to any page and beginning to read. At times, a lecture, or perhaps advice to a single student goes on for five, six, seven pages. Other times, pages are divided into two or three sections, or set up in individual sentences which concern the same subject, yet stand on their own. The resulting effect is the feeling of being in the very classroom of Professor Henri. There are also considerable instances of repetition here, albeit in subtle variations. The index, however, is usefully repetitious as well, helping to differentiate between those subtleties when one may be in need of a specific quote or reference.
   The last thirty pages are exact notes taken by Margery Ryerson, a Henri student who eventually compiled the notes, fragments, etc.(in the revised edition, she is credited as Editor). This is an excellent addition to the book. Reading Henri's comments and insights in her necessarily abbreviated, note-taking style provides fresh psychological weight to the reality of Henri's classroom.
   One area of disappointment concerns the photograph illustrations of Henri and his work. In the fifth edition, the plates are in black and white. Although understandable at the time of inclusion (1930), they do not allow for close comparison with Henri's ideas and techniques about painting elaborated in the text. The real disappointment is to find that the current edition available from booksellers has not updated to colorplates, but jettisoned the pictures entirely, save for the full color cover.
   I recommend The Art Spirit to anyone involved in the creative process. It is a must have, particularly for those times when one may be experiencing a creative burnout, or to shake off the cobwebs. I am recommending The Art Spirit to non-artists as well -anyone who is looking for a little spark, a little positive push toward self-actualization.
   For the artist, I am not recommending The Art Spirit over the Kandinsky classic; I see Henri's work as more of a continuation, or a rounding out of what Kandinsky started years before. Artists and aspiring art appreciators must read both if there is to be any hope of understanding



4. If you are an artist, have an interest in art or even just like to read thought provoking quotes then you could do a lot worse than have this on your shelf. The book is collection of conversations, thoughts, writings. There isn't much of a structure to it - more a random collection although the index helps somewhat. It lends itself to just opening the book at a random page and reading whats there. It contains one salient point after the other on the how's, whys and wherefores of painting, drawing and sculpture. This book should be on every artists shelf.



5. Finally a review of art, for the sake of art, without becoming cluttered by commercial concerns. Paint color, composition, line...The book is written as a painting with no particular beginning, middle, or end. It needs to be absorbed as a whole to fully appreciate its contents. The pedantic English can tire but it does not subtract from the freshness of the message and the pleasure it provides to every student of art.

No comments about The Carlyle.

5 comments about Practical Casting: A Studio Reference, Revised Edition.

1. Like all of Tim's book this is a keeper. What a great reference to have on hand. I had no prior background in casting and this covers it all from the very basic to the more advanced. A great buy.



2. Very good information put in easy to understand language and tips to cast on a budget.



3. Don't let the sub title Studio Reference throw a scare in you. With its lay flat binding and clear and concise steps, you will be using it in the studio as a ready reference book. As somebody who owns and have read over 25 books on casting and foundry work. This book was a light read compared to some it doesn't get bogged down in to much tech for tech sake. If you just want to find out about what it takes to do a little casting or jump in and go all the way this is the one book for you. I own it.



4. This book, like McCreight's other books on working metals, divides the subject into easily digestible portions and treats each topic separately (often on a separate page) with a short discussion. Line drawings help clarify important points. The focus is on the tools, materials, and techniques of lost wax casting, but also covers sand casting, the use of flexible molds, using the services of a foundry, and other topics of concern to the studio metalsmith. It's a great reference tool if you need to look up the proper sequence to use in a particular technique, or a formula for making your own crucibles. Learning to cast almost requires hands-on instruction, and this book alone cannot provide that. But if you're already familiar with casting, it's a wonderful reference.



5. Tim McCreight's books are always excellent, and PRACTICAL CASTING
   is yet another gem. I especially appreciate it's easy to follow format and the author's generous "make-it-yourself" directions for tools and gadgets that can be easily put together by the jewelry crafter. These tips really come in handy and save having to buy yet another expensive doodad to complete a process.

2 comments about Reality Through the Arts (6th Edition).

1. I used this for a fine arts class. It is a very nice book and has lot's of pictures too look at while the prof drones on and on.



2. book was needed for friend's class at college.
   she is quite pleased with it.

1 comments about Gardner's Art Through the Ages: A Global History (with ArtStudy Printed Access Card and Timeline) (Gardner's Art Through the Ages).

1. (Please note that this review was written by Cigdem Gokce, medical doctor and amateur artist.) Hello fellow Amazon lovers! I returned this book the day it arrived because it was, quite briefly, a HUGE DISAPPOINTMENT! Amazon was great and caused me no trouble in the refund process. I am writing this review to warn other potential buyers. Misled by the fancy and lengthy comments provided by the publisher, I thought this book would provide me not only with an excellent text on the history of art, but with extra learning materials as well. The truth is very different from the advertised. The text is basically a very superficial and simplistic summary of art; it does not help increase the aesthetic appreciation of art or provide the means to see different forms of art within their historical, socioeconomical and cultural contexts. The images are of low resolution and most are only 1/4th the size of the page. Furthermore, there is NO CD INCLUDED AND NO SPECIAL MEANS TO ACCESS ITS COMPANION SITE. On the contrary, access to the publishers site is open and does not require any code number from the book!!! However, the supposedly companion site itself is NOT any more useful than the book; it contains some of the images of the book in addition to some test-type questions to be answered in text again and sent to teachers for grading and some links to museum sites, which are free to access anyway. I therefore would suggest that, unless you are an art student specifically requested to buy this book, you shouldn't waste your money! I would suggest the excellent reference of Marilyn Stokstad, entitled ART HISTORY, the latest edition of which comes with a CD containing many images. Another wonderful alternative would be the DK reference on art history, entitled Art, A World History (Millenium Edition). This is my first negative review for Amazon and I generally try to see the better part of books if only for the sake of the effort they represent; but I really do think that this latest edition of Gardner's book is nothing but an unfair abuse of what once must have been a useful reference, when it was first published. The latest writers and editors should be ashamed of failing to achieve the ideals and aspiration of the original writer, Ms. Gardner.

3 comments about Design Secrets: Products 2: 50 Real-Life Product Design Projects Uncovered (Design Secrets).

1. Got this as a birthday present for my fiance (who is studying industrial / product design), and he loves it. It takes you step-by-step through the design process, and includes pictures/illustrations. It includes a variety of products (from kitchen products to snowboarding products), which he appreciated.



2. I was actually looking for a book to help me with my portfolio development... though it doesn't cover rendering techniques (it doesn't claim to) this book actually gives you such a clear idea of the entire design process, there are hardly any doubts left in your head after that. and it's so well written... oh and the pictures! they are just fantastic. This book is the second in the design secrets - products series... so it is very up to date and covers very recent products. I recommend this to anyone, not just aspiring designers, if products in general interest you. you'll never look at anything you buy the same way! it's just a brilliant book. and as for anyone looking to pursue design, you NEED it. if its too expensive for you, at least get a used copy!



3. I recently purchased this book for one of my design drawing classes. The teacher had specifically asked us to find examples of product design sketches. After looking everywhere for books on the subject this one turned out to be the most up-to-date in terms of techniques and the most complete. I also think it's a great reference book and gives a good overview of the product design process. I recently purchased this book for one of my design drawing classes. The teacher had specifically asked us to find examples of product design sketches. After looking everywhere for books on the subject this one turned out to be the most up-to-date in terms of techniques and the most complete. I also think it's a great reference book and gives a good overview of the product design process.

No comments about The Everyday (Documents of Contemporary Art).

1 comments about Ralph Rucci: The Art of Weightlessness.

1. Terrific. I've bought his clothes for years and love his timeless works. Looks as if he has been discovered which is great for him and costly for me.

5 comments about The Return of the Real: Art and Theory at the End of the Century (October Books).

1. Granted, I'm not a Phd. in art history, so I can't claim how much of Foster's thinking is his own and how much he "borrows," but these essays, all interrelated and commenting on each other, carefully dissect postwar art, culture, politics, theory. I've read these essays four or five times and come away with a different insight on art each time. The definite highlight for me was the essay on traumatic realism (which ranges from the opposing simulacral and ideological readings of Warhol, to the tearing of the screen in Cindy Sherman, to the abject in art, to the opposing needs to deconstruct the subject and also reaffirm the subject in racial/sexual/cultural discourse.) Whew! It's a daring essay and is the rosetta stone, I think, of the entire book. His insight on the loss of critical distance (which accounts for why the Left and Right sound so much alike these days)needs to be heeded. Long live all the October writers!



2. A quite interesting book about visual arts since '1960 written by the author and editor of "Anti-Aesthetics".@Especially the analysis of the recent relationship between Art and Anthropology/Ethnography is unique and suggestive.



3. The book is full of productive suggestions for writing on contemporary visual arts. For a foreign reader, it provides a cogent overview of different moments in recent art; a fine sampling of commentary on theoretical writing, and valuable insight into current art criticism in the U.S. "The Return of the Real", meaning by that the Lacanian "Real", is a thought-provoking, stimulating idea that runs through the book and has refreshed my own critical work. I am indebted to this book.



4. Foster is a good synthesizer on contemporary art, but ... when you read the footnotes, it feels like he's doin a lot of borrowing from other, less known work. And he never really discusses about the art he mentions, it's all allusions and side comments. And photos of pieces he never even mentions in the text. Still, it's about the best book-lentgh work I can think of on this, and some of the essays are killer.



5. It's a little conplex but appliavle to many kinds of contemporary art theories.