No comments about Elmer Bischoff: The Ethics of Paint.

1 comments about Fun with Rock Painting Kit (Art Start!).

1. Grandkids absolutely love it - bought one first and had to immediately order three more. Plan to get more to have on hand for birthday party gifts. (grandkids are 7 to 13)

2 comments about Twelve Degas Dancers Bookmarks (Small-Format Bookmarks).

1. It's hard to review bookmarks - they have such a simple job to do. However, I admit that not only are these bookmarks visually inviting, but are quiet useful coming in a book of twelve. It's nice to have a spare ready - particularly when you tend to juggle several books as I do!



2. I loved these book marks. I am a teacher and I plan to use them in my classroom. What better way to introduce your students to great works of art. I love Degas and I am sure my students will learn to love him too.The price is also right! You can afford to give a few away and still have plenty for yourself to enjoy.

5 comments about Photography: A Critical Introduction.

1. There's a reason why people say this book reads like a textbook: it _is_ a textbook. As stated in the blurb on the back cover, it a college-level introduction to photographic theory. The theory in question is not that of optics or photochemical reactions or analog-to-digital conversions. Rather, it is the Theory with a capital T of academic postmodernism - "pomo" - the same Theory that presents itself in Film Theory and Literary Theory and the all-encompassing Cultural Theory.
   
   You may have encountered postmodernism in school or in your personal reading. If you did, you will have some idea of what you will find in this book. If not, don't worry about it. The New York Times photography critic Andy Grundberg declared the death of postmodernism in 1990, film theoreticians David Bordwell and Noel Carroll followed suit in their book Post-Theory in 1996, and A-list literary critic Fredric Jameson drove the final nail into the coffin in a New York Times article in 2003. Postmodernism, as the dominant academic fashion, is a thing of the past. It was on its last legs when this book was originally written and it is now definitely over. As such it's not something that you should feel you need to invest in, just make enough sense of to follow what the book is saying.
   
   Though only one name, Liz Wells, appears on the cover, the book is actually the work of six authors, each of whom, including Wells, contributed a chapter or two. All the authors appear to be English and all are (or were at the time of writing) affiliated with British regional universities. The book was originally published in 1996. The third edition, reviewed here, was published in 2003.
   
   The book contains seven chapters, an overview chapter and six chapters on individual topics. The chapters present surveys of articles and books (especially British ones) written on the topics, with lots of quotes from academics and relatively few from practicing photographers. There are bibliographical and other notes in the wide margins of the main text but, rather surprisingly for an introductory textbook, no annotated bibliography or "Further Reading" sections either at the ends of the individual chapters or at the end of the book. Several chapters include one or more case studies, which amount to extended sidebars purporting to demonstrate the application of the theory under discussion to specific photographs or photographic genres.
   
   Based on a single quick read I would say that the quality of the chapters is uneven, ranging from pretty good through OK down to questionable. One or two of the case studies were interesting but most seemed to contribute little if anything to the book. Here, for what they are worth, are my impressions of the chapters (my headings; actual titles can be seen in the Amazon "Look inside this book" pages):
   
   Ch. 1 Overview by Derrick Price and Liz Wells - unstructured, rambling, surprisingly poor; I would recommend skipping over it on the first read and going directly to the topical chapters. However the case study on Dorothea Lange's iconic Migrant Mother is the best in the book and should be looked at even if the rest of the chapter is skipped.
   
   Ch. 2 Photojournalism by Derrick Price - one of the best in the book, very clear, well connected to the history of (British) photography, interesting.
   
   Ch. 3 Personal photography by Patricia Holland - pretty good, genuinely thought-provoking at times, for example in its discussion of the tension between the idealized representation of domestic life in family albums and the often less than ideal realities hiding behind (and occasionally peaking through) the pictures.
   
   Ch. 4 Photography of the human body by Michelle Henning - attempts to present a feminist perspective but tends to get stuck in the rhetoric and not reveal much about the actual work being talked about.
   
   Ch. 5 Advertising (esp. fashion) photography by Anandi Ramamurthy - not as compelling as it could be but makes some interesting points, for example relating to stock photos and image banks and the commercial need for photographs created without, or later detached from, any specific context or meaning. The case study on the controversial Benetton ad campaigns of the late 80's is worth reading.
   
   Ch. 6 Photography as art by Liz Wells - pretty good but focuses on historical debates and doesn't consider the forces that have caused recent changes in art photography (new objectivity/deadpan, influence of cinema, aftermath photography, etc.). The case studies on Surrealism and Landscape photography (one of the author's specialties) could have been among the most interesting but are actually very lackluster.
   
   Ch. 7 Photography in the digital age by Martin Lister - the oddest chapter but in some ways the most satisfying. It's the one chapter that was significantly changed for the third edition. The author seems to have left the earlier version more or less as it was but added what amounts to an extended postscript that says that what comes before it is wrong. The change of heart centers around the question of the impact of the advent of digital imaging on the connection between the photograph and reality. In the original version of the chapter he says that digital imaging invalidates the connection and ends photography as we know/knew it. In the postscript he says that things actually didn't change that much, that most digital images retain their connection to reality and that, even if some clearly don't, there have always, since the earliest days, been photographs that present something more or less different from literal reality - a theme that actually runs through the whole book and may be considered its central point.
   
   My main feeling about this book is that I wish it were better. I wish were clearer and better structured, I wish it were more up-to-date and less encumbered by the intellectual cruft of academic postmodernism, and, finally, I wish it were less Anglocentric and paid more attention to photography of North America, Europe, and the rest of the world. Still for all that it is not a bad book, and I give it three stars.



2. This book should be required for all photo students and art history and criticism students. I found the writing incredibly reader-friendly, though it helps to have an art or photo background already - this book does read like a textbook (because it is one!) but this is to its credit as it is incredibly organized, clear, and informative as an overview of photo criticism. One of the best features is that it includes detailed bibliographies at the end of each chapter, faithfully cites sources, and has side notes in the margins citing sources for further reading and adding more information, explanations, or qualifiers to the general discussion (the margins are great for writing your own notes, too). It does NOT have extensive illustrations - so do not buy this book for the images. However, the author explains in the introduction that she did not include so many except to clearly illustrate the text where needed in order to keep the cost of the book affordable. I feel that she made good choices in imagery and that there are plenty to support the text. I am starting a graduate program in visual and critical studies and work in photography, and I am sure I will use this critical introduction as a reference again and again, especially to find sources for research. I plan on buying the Photography Reader by Liz Wells as soon as I am able to.



3. This review is aimed at photographers and not social scientists or philosophers.
   
   Photographers are often like the allegorical blind men, each of whom examined a different part of an elephant with his hands and then concluded that the elephant was a snake, or a leaf, or a tree. Photographers tend to see the world of photography through their own viewfinders without stepping back and looking at all of photography, even though doing so might provide new insights in handling what they see in their viewfinder.
   
   This book is a textbook that examines photography not from the point of technique, or learning how to read a photograph, but from the point of view of the social sciences and philosophy. It is primarily aimed at British society, but its lessons are applicable anywhere pictures are made. Many photographers will recognize the discussion of the truth of digital photography as opposed to film photography, but I wonder how many have considered how family photographs may actually shape family dynamics.
   
   The book is divided into several chapters that are neither all inclusive nor exclusive. There is a general discussion of photography debates over time (e.g., "Is it Art"?), and then the book focuses on particular areas, including documentary, popular, body, advertising and fine art photography. It finishes with a chapter on electronic imaging.
   
   The authors often describe movements historically, with a general recap of the main points of each issue (is photography by its use or nature demeaning to women?) but seldom go to the point of showing enough pictures and explaining them to prove either side of an argument. Instead they provide references and footnotes in the margins and leave it up to the reader to further explore the question. At the same time, some of the ideas, even though self-evident upon deep consideration, are provocative. For instance, the authors suggest that the fact that "private photography has become family photography is itself an indication of the domestication of everyday life...." What implications does this have for photography in today's multi-married, multi-divorced society? Often the discussions reverse on themselves, repeat ideas and jump backwards and forwards in time. Some readers may find the jargon of semiotics and deconstruction off-putting. The book is boring.
   
   And yet a photographer cannot escape being humbled by realizing that the photography that he deals with is just one little corner of a wider universe, and humility may be good for a photographer. This volume may contain more intellectualizing then some photographers may be willing to tolerate, but even at the risk of being bored, a photographer may benefit from understanding the larger context of his or her work.



4. As a Visual Arts student coming to terms with the whole conceptual ideology in contemporary art, I found this book an excellent choice for delving into the theoretical side of contemporary photgraphy. This book is definitely not bedtime reading. Trust me, I tried it and kept myself awake! There is also an excellent reference to archives, journals and other books to peruse. I found the book easy to understand and has helped me immensely in my quest to understand what constitutes Visual Art in current times. An excellent choice for all those contemplating a Visual Arts career using photographic images



5. The other reviewers have hit the high points. This book is dry, lacks illustration, is academic and difficult to read. The writing style is highly academic with major points all but hidden in convoluted sentences. To complicate matters the chapters are written by different authors so the writing styles vary. There is much to be learned from this book but as the other reviewers have pointed out, it will be a painful process.

5 comments about Digital Manga Workshop: An Artist's Guide to Creating Manga Illustrations on Your Computer.

1. I was looking for a book that would help me learn digital art with Photoshop Element 6 (the program was given to me as a gift) and thought I would give this book a try since I am serious about this particular hobby (down with Microsoft Paint!). One of the most important tools they mention (Freeform pen, which is what you use for shadowing) is not an included tool in the updated Element version! I've tried web searching to see if there was a pen tool, or how to shadow manga artwork with a different tool offered in Photoshop Element... so far I have found nothing! What a huge let down!
   
   There was nothing wrong with the book itself, but I didn't have the old Photoshop version to utilize this manual... so I wrote this review as a warning to those who have the same program as I do and are thinking about buying this book. It would be helpful if there was a manga digital art book out there that was updated and showed users how to use photoshop element program.



2. Don't let the title fool you.
   
   While the subject matter covered within the book is aimed at "Manga" based characters, there is a lot of great information contained within that can be easily applied to ALL cartoonists seeking enlightenment on using digital techniques to create their work.
   
   The book covers many subjects, including the required tools (hardware and software), the pros and cons of digital drawing vs. analog, and, of course, useful techniques for scanning, inking and coloring your work. There are many color examples to look at and study, and the text is easy to read and digest - making it a great book for younger artists.
   
   Experienced traditional artists who are considering digital workflows should also consider this book. The nuts and bolts of getting started are sure to get any artist quickly up to speed.
   
   Many of the techniques are presented using both Photoshop and Corel Painter, so if you have one or the other, you should be able to progress through the techniques with no problem.
   
   I highly recommend this book for artists young and old who wish to learn more about creating their work digitally - whether its in the Manga style or not.



3. When I first got Photoshop, intent on learning how to color my drawings in that comic book style, I didn't know where to start. So, I started surfing Amazon for computer coloring books, and bought a few. Some of them were good, some just plain awful, but of all of the ones I bought, this is certainly the best.
   
   "Digital Manga Workshop" is an excellent introduction for amateurs looking to get their work colored via computer. It provides handy, step-by-step guides on the process, and is extremely useful. Even the novice Photoshop user (much of the book focuses on the use of Photoshop, much to my delight) will have no trouble following their instructions. I cannot recommend this highly enough.



4. As many have already stated, this book has little to specifically to do with manga. I personally think the title and drawing style were probably chosen to be more catchy and specific than just "digital coloring." There's no shortage of digital artwork out there that has nothing to do with manga or anime style, and this book is relevant to anyone wanting to learn to color their artwork digitally, regardless of how it's drawn.
   
   Whereas many web coloring tutorials are either very locked in about techinque or horrendously general, Digital Manga Workshop covers several specific options. It shows not just how to color in the typical cel style of a lot of digital artwork, but also airbrush, painting and watercolor styles as well.
   
   The book gives instruction in both Photoshop and Painter depending on which is best suited for the style being covered and even offer some low-to-no cost alternatives to those programs.
   
   The book also covers the important step before and after the coloring process, such as scanning and digitally inking drawings so you have god base to start with, and export so all your hard work doesn't end up as a blotchy web graphic.
   
   Digital Manga Workshop definitely isn't the be all/end all book of digital coloring, but considering the wealth of information covered for such a low price, it's surely a worthwhile book to have around



5. I wish I could give this book a good review. Unfortunately, I can't. The title is very misleading. If you expect this book to teach you how to draw manga images digitally (as I did), you will be very disappointed. 99.9% of all manga images are black and white, and use frames, speech bubbles with text, sound effects, black and white line effects, and tones (black and white patterns that read as gray when printed). This book does NOT cover any of this.
   
   It also contains some ludicrously incorrect information. For instance, it says that unlike American comics (where you have a penciler, inker, and letterer), Japanese artists do everything themselves. Nothing could be further from the truth, as any interview with a mangaka (Japanese manga artist) or perusal of the copyright page will tell you. In fact, most manga are created by a primary artist and several assistants.
   
   Here's an even worse example. In the introduction to digital inking, they say, "In manga-style artwork, inked lines are usually contour lines...the linework of a character's hand would depict the outline of the fingers, but wouldn't show shading, wrinkles, or folds in the skin. It is up to the colors to show depth and texture." Um, except, manga is published exclusively IN BLACK AND WHITE. There are no colors! Have they ever read a manga? My mind boggles. Pick up any manga and open it and you will see for yourself. They go on to say, that "inking techniques such as hatching, stippling, and spotting black...are atypical in manga style art, but can be employed for stylistic purposes to achieve a distintice look."
   
   This would be news to CLAMP, the studio that created many manga bestsellers, who are famous for their beautiful black and white line work. Or to, well, any of the mangakas, really.
   
   This book teaches very basic color, digital techniques in anime `cel' style. It focuses on Photoshop and Painter, and ignores Illustrator and the manga-specific software (such as ComicWorks and Manga Studio) completely. They don't even cover the fact that most Japanese mangakas as well as most American digital art, is done on the Mac platform.
   
   I gave it two stars because it does teach some simple techniques to create layered, color digital art, but these techniques are better covered in the many free online tutorials available on the web or in other, more comprehensive art technique books.

2 comments about Sound Art: Beyond Music, Between Categories (Book & CD).

1. This is one of the worst books on sound art I have ever read. Its like reading an article in college newspaper. The research is incredibly week, it is as if Licht referred only to The Wire for his information. He makes many mistakes concerning John Cage (who made Sound Art in the early 60s and NOT just for "the stage") He takes cheap shots at Stockhausen of whom he seems to know NOTHING about (Cardew was wrong by the way). There is more to sound art than what can be found on Forcedexposure. This book is just awful, and I am afraid it will be used and referred to by teachers and curators in the future, which is a crying shame. And if you think I'm wrong, do some research on Sound Art and you will see that there are many many many books better than this one. After I bought it, I brought it right back and got a full refund I then used that money to order a Stockhausen CD. Please shop around before you buy this book.



2. Years ago, a critic remarked that so-called Performance Art might have been called either Theater or Dance if those media were less uptight. That's how I feel about sound art - if Music were more open as a discipline, we wouldn't need to have a special category of stuff called sound art. We would simply recognize that for most of the 20th century, music and visual art blurred into each other, and the artistic use of so-called non-musical sounds became increasingly important. Today, in the age of the sample, where Foley artists and composers are often one and the same, and most undergrad art students have made at least one sound piece in their lives, it's useful to have Alan Licht's clearly written, well-illustrated, handsomely designed volume on how composers and artists have worked with sound in the 20th century. Licht hits all the significant movements (Futurism, Dada, Fluxus, etc.) that contributed to sound art, and does a good job of exploring the range of possibilities (from sound sculpture to sound installation to Christian Marclay's floor covered with vinyl records). While I might wish that some of the younger contemporary artists working with sound got more space, you can't have everything. A few years ago, the Pompidou Center in Paris did an exhibit called Son et Lumiére, and if you can find the catalog (and read French) it provides the history of the connection of music and visual art missing in Licht's book. But until that's available in an affordable English version, Licht's book is probably the best available on the topic. And the handy CD included means you can use your ears as well as your eyes to consider the topic, a welcome addition.

5 comments about Vibrant Watercolours (Collins Artist's Studio).

1. She is a good artist, but I don't really like her style. Good instructional material on the whole, though.



2. Unfortunately, this book does not have the technique instruction of her earlier book, "Taking Risks with Watercolor". Her paintings are wonderful, and her complex compositions have a style that is unique and fascinating, all her own. But it is difficult to understand the techniques, colors, glazes, etc., that might have been used. Disappointing, as I was very keen to learn more.



3. If my paintings had half the bold freedom of those of Shirley Trevena, I'd die happy! Her strokes are loose and confident, her color vital and transparent, her compositions original. The pictures alone are worth the price of the book. But it gets better. She is a generous and competent teacher as well, imparting inspiration and instruction through well conceived exercises designed to get you to put brush to paper. Read the book from cover to cover or sample tips at random. Either way, this is a lovely workshop in both color theory and watercolor technique to challenge the experienced painter and encourage the beginner.



4. Trevena's artwork is daring and unconventional--just exactly the opposite of my own--so naturally I am intrigued and fascinated! There is nothing boring here. This beautiful book illuminates her methods of working, some individual colors she favors (all of which were new ones for me), and best of all, her own personality. I like her admission that sometimes she doesn't feel like painting, but has ways of motivating herself. I can't say I can now think like she does in terms of duplicating this style of painting, but that is probably not the goal. We need to take what we learn and use it in our own style. I look forward to acquiring her previous book also!



5. I've found in this book what I expected. Shirley Trevena's art has always bewitched me for she has a way of putting things together in still lifes that are amazing. In this work she has gone further than in "Taking risks in watercolor". This is exactly what it is, taking risks: thinking, designing and painting watercolors in a somewhat different way. Watching the arrangement with favorite colors which she explains why she chooses them and how she combines them on npage 76 on, how to mix them on page 56 and how to achieve maximun impact-as she puts it- on page 88.The paintings are mainly florals and still lifes but she also introduces works by other artists which differ from hers. Still, these other painters are nothing but outstanding. Mrs. Trevena is honest and generous in offering this work of hers. If you`re craving for an extra-ordinary experience, take this trip through colour. You won't regret it.

3 comments about I AM This Book PG: (One Show).

1. Some really good ads. Nice ideas. But I was hoping it would be full of ideas you wished you had thought of. Still inspiring.



2. If you plan on reading the creative in this book, you might want to invest in a Sherlock Holmes-esque magnifying glass (and maybe the hat for fun). Better yet, save your 40-some-odd bucks and pick up the Design Annual instead. Thoroughly, thoroughly disappointing edition.



3. Ok, we have a bunch of advertising festivals. Some are good, some are bad. I think the One Show is the best one around. It's annual book is really good. If you are getting just one advertising book this year, pick this one.
   I only wish that the dvd came with the awarded tv spots....

5 comments about Cézanne's Composition: Analysis of His Form with Diagrams and Photographs of His Motifs.

1. Many of Cézanne's paintings are essentially composed of flat, homogenous planes. He has no interest in textures and takes great freedom in choosing colours and distributing them patchwise. He also disregards proportions and perspective, making receding objects such as roads, mountains and hills stand up straight, so to speak, to the picture plane. Thus each plane in the painting "remains comparatively flat and parallel to the picture plane", but still the painting has a definite feeling of depth because of "the three-dimensional effect that a sequence of the same planes creates through overlapping" (plate XIII). "Cézanne's genius in organizing three-dimensional space is the basic foundation of his composition" and doing so by the plane colour patch approach agrees with the principle that a painting "must remain faithful to its own structure, to its fundamental two dimensions" (section XV). The organisation of space is achieved by the "tension" or "movement" created where planes overlap, and this is Loran's main framework for analysing Cézanne's paintings. With some imagination and many useful geometrical diagrams we can sum up the effects of the overlaps to a general movement; usually some sort of circular movement, always staying within the picture frame. Loran is very faithful to this point of view, even blaming Cézanne when it doesn't apply. In his analysis of a Sainte Victoire painting (plate X) he finds such a circular movement and concludes: "It is this circular movement that gives the painting it ultimate 'closed' effect. Actually, this canvas has many elements of open form ... personally, I find these latter elements insufficiently resolved and somewhat disturbing." Besides this analytic framework, Loran also makes more traditional analyses in terms of balance, dynamics, etc., and he also spends far too much time nagging about two pet topics: Cézanne's famous colour modulations are in fact of incidental importance and Cézanne anticipated Picasso and Braque.



2. When I first read this book, over twenty-five years ago, I thought it was the most remarkable book ever written on how an artist composes and organizes his or her creative process. Over the years, I've returned to it many times. Having recently re-read the book I find I am still thrilled by Loran's ability to illuminate the special qualities within Cézanne's canvases. As an artist and art educator, Loran was in a unique position to comprehend how this artist balanced the formal, intuitive, and experiential aspects of composition. All of this comes through admirably and clearly. Although I imagine some people might find the graphic diagrams cold and remote from the vitality of Cézanne's painting, I think a close reading of the book demonstrates that an illustrative graphic can help us reach a deeper understanding of the artist at work, in this case Cézanne. If you are a fan of Cézanne, definitely read this book! If you are interested in understanding the artistic mind, definitely read this book.



3. Pages 17 to 24 are a so called "Illustrated Glossary" and are worth buying the book for. The classic rules of space and depth and planes are explained in most of their complexity. Then he discusses many many examples of Cezanne's work and how they use the principles of space, planes, and depth. A masterpiece and extensive in its scope. If you really want this type of abstract picture understanding you will not be disappointed. Very highly recommended.



4. The book is trully great.... very well written and thoroughly analized...My only problem with it was the lack of colour plates (understanding that the study of his technique is concentrated on the orchestration of planes and volumes). I believe the study of this master requires colours... in order to fully appreciate his methods but also becuse of the pleasure of merely being a spectator and enjoying his art for what it really is...a ballet of fantasy and life!
   Appart from that I do believe it is a must for any lover of art.



5. This book is a must read not only for students of Cezanne and Cubism, but for anyone who would like to understand how a composition is put together. By comparing photographs of subjects painted by Cezanne, to the paintings created, one can see what interested the master in his own work. Cezanne's classic remark about Monet ("He is only an eye. But what an eye!")is clearly relevant here: Cezanne is not only an eye function, but a meditation on the process of visual construction per se. A stimulating and important book.

5 comments about Beginner's Guide to Community-Based Arts.

1. I love this book.
   (Of course, I read all the Keith Knight cartoons first, then went back and read the book.)
   
   Lots of good information here. It's a wonderful resource in these times of massive budget cuts for the arts.
   The lesson is: DO IT YOURSELF (but get help!)
   
   This book will get you started, and teach you to allocate the few available resources and align with like-minded activist folks to get the job done.
   
   Should be required reading in every high school and college.



2. This book is wonderful; it's accessible, fresh, and inspiring. Its playful tone will appeal to young adult audiences. The illustrations are dynamic, the language is clear, and the structure is elegant.
   
   Having taught reading and literacy for many years, I am suspicious of books that teach "methods." (There is always a new method or 'miracle program' out there being foisted on teachers.) Methods almost always become stale and tired and eventually end up constricting learners and teachers. What I like about the Beginner's Guide is that in lieu of a "method" the authors present a sound philosophy in which they make a connection between art and community. This is presented in a charming and informal manner and without needless complication or fuss. The authors' philosophy seems to be based on common sense, a deep feeling for humanity, and an understanding of art as a vital expression of that humanity.
   
   The authors present their ideas in a clear and simple framework that can be used by artists, art students, and community members in any number of situations and for any number of purposes. It's difficult to imagine such a process becoming 'stale'; what you can do with this book is only limited by the energy and imagination of your community.



3. Great stories that provide models for meanigful arts programs. One reviewer here on amazon referred to the book being political and not arts centered. I found that to be way off base. What I got from the book is how art becomes a reponse to the struggles of different communities, and in turn helps to address those challenges. So, art is both an end in itself as well as a tool for articulating and facing the world. The drawings and the approach itself is grounded in how art is practiced with everybody, how art is powerful for everybody to engage in (not just those who get to call themselves "artists' and lead the "artistic life" of writing grants to arts councils). Keith Knight's comics in particular rock!



4. "Community Based Arts" is new slang. It basically means, how to get someone who is so far outside the political realm of reasonableness to be politically influencial by using art as the method of empowerment. Art? Not important. Political impowerment..according to the general message of this book is important. It really goes into the face of what art is, and has been for a millenia.
   
   Make no mistake about it. Schwarzman is a political activist that does not understand art, nor does he have a background in art.
   
   This book is NOT for artists that want to learn how to write grants, because there is NO practical information about how to do anything except to teach non-artists about using their political beliefs to be artistically inspired.
   
   If you are an artist and you need some REAL advice about how to get work and survive, then I'd go to the local arts council or to the web to other professionally oriented resources.
   
   If you are an artist and you need to seek new sources of inspiration then you should read Robert Henri's book The Art Spirit, published in 1923. It's a beautiful book, and it has inspired artists of many mediums since its publication.



5. This book can be used to formulate a grant, jazz up the funders, get students to learn about community work through comics, to teach college art students how to get out and get to work. I am so excited about this book because of how it outlines and lays out in simple forms the organizing process. They want you to be able to repoduce the processes. It's not high falutin art or theory gobbldigook. It is, on the other hand, a highly engaging funny cool and groundbreaking book about art. Comics of real artists doing real art. Great for artists, teachers, organizers, and people who work for social change.