2 comments about Earthworks: Art and the Landscape of the Sixties.

1. Flipping through Ms. Boettger's vitae my first impression is that she has been selling art history door to door, I began humming Willy Nelson's On the Road Again, as I scanned her long typed hodgepodge of one-night stands in whatever backwater bog had a check to write. Like the circuit pastors before her wherever the stagecoach stopped she hopped out and preached the gospel of contemporary art. A night course here, a lecture there, an awkward critique, the odd fifty-buck panel. I suspect all of that is behind her now: in this stunning debut it cannot be overstated that Ms. Boettger has produced a major historical document, one on which a McEvilley or a Krauss would be proud to place their stamp. It is meticulously researched-the sixty-nine page bibliography and notes alone are thick enough to bludgeon a thesis advisor-given that most art writing sings the rhythm of a rental lease I dreaded the 316 pages in front of me. But this writing does not drone like an academic sermon rather it engages with the timbre of a joyful story teller, I found myself in ClancyLand grabbing handfuls of pages in each sitting and looking forward to her next tale. Still her immense research underlies the imaginal prose and Ms. Boettger writes with a staggering authority, if I had not known better I would have assumed that this was her tenth book and not her first. I cannot imagine another art historian brave enough to dare a modification for at least a generation.



2. Earthworks is simply the best contemporary art critical text I have read in years. Suzaan Boettger ambitiously sets out to integrate aesthetic issues with historical analysis, and she succeeds gracefully and adroitly. Her writing style soars. The choice of illustrations is wonderful and the level of discussion is at all times intelligent without ever becoming murky or jargon filled. Yet Boettger does not shy away from linking the various schools which contributed to Earthworks, which requires significant explanation of terms and of labels. To read this book is to gain a significant education in minimalism, post-minimalism, conceputual art, process art and even body art and the author is careful to consider each group at an international level. The author endows this book with the excitement of the times. Even a casual reader will come away with the feeling of really have been there with Robert Smithson as the Spiral Jetty was built. The distinct personalities of the players in this arena come through yet the presentation is never gossipy. The author pays enormous attention to detail when it matters, but the focus is never petty. Boettger takes chances, like including a timeline at the end, which is rare in an art book of this sort, and she succeeds magnificently. I can't say enough good things about Earthworks. There is not a disappointing page in the entire book.

3 comments about Stubbs & the Horse.

1. This book is outstanding. The plates are all in color and large enough to see easily. Stubbs anatomical drawings are very detailed. I had been having trouble understanding how horses moved before I saw those drawings. Seeing the skeleton and muscles helped considerably. When I took it to class and showed my professor, she got online and bought one for herself. She draws/paints horses beautifully and owns horses herself.
   
   Reading the background information about George Stubbs and the symbolism used in his paintings was very interesting and educational.



2. Excellent purchase. I saw this book in the National Gallery, London having just viewed Whistle Jacket. I wanted it because my own passion lies in painting Horses. The book is full of fascinating information on Stubbs himself, his love of horses and has his excellent illustrations / studies of equine anatomy. A useful and beautiful book filled with his striking paintings.



3. Although arguably the greatest painter of horses to date, British artist George Stubbs (1724 - 1806) would never imagine the prices his canvases would some day command. Some 40 years ago the late Paul Mellon added to his collection of Stubbs's work with a check for tens of thousands of dollars, today anyone lucky enough to come across an available Stubbs had better have a million to spare. London's National Gallery paid 11 million pounds for a life-sized painting of the thoroughbred "Whistlejacket," a monumental work breathtaking in majesty and beauty.
   
   Those fortunate enough to visit the Fort Worth's Kimbell Art Museum though early February of this year will be able to see not only this incredible piece but the finest works of Stubbs in the first major collection to fully capture his genius as a painter of horses.
   
   Almost as good as being at the Kimbell is leafing through "Stubbs & The Horse," an exquisite 256 page volume holding 200 illustrations. Authors Malcolm Warner and Robin Blake present a comprehensive portrait of Stubbs, as Warner discusses the low regard in which the British held horses in Stubbs's time, the surprising connection the artist's horse-and-lion compositions, and the evolution of the English thoroughbred. Offering a different perspective Blake tells us of the Whig nobles who were Stubbs's initial patrons and offers insights into the inclusion of the grooms, jockeys, trainers and other figures in the artist's paintings.
   
   As Warner notes in his Preface, "The horse was at once the mainstay of Stubbs's success and a problem for his reputation. In his lifetime he attracted much praise for his abilities as a painter of horses.......But this won him little prestige in his profession." In fact. During Stubbs's time British artistic tastes ran to paintings of historical events, myths, the Bible, and allegory. A painter of horses was rather low in popular opinion.
   
   Nonetheless, Stubbs persisted in his study of equine anatomy eventually rendering remarkable ink drawings which presaged his later paintings. He would later take these anatomical drawings to London where they were well received, and resulted in several commissions. Eventually he acquired an enviable reputation as an equestrian painter and earned a comfortable living from equine enthusiasts.
   
   Stubbs lived to the age of 81, and died in 1806. Throughout his life many considered his incredibly beautiful lifelike work to be second class. History has deemed it quite differently.
   
   - Gail Cooke

1 comments about Degas' Drawings of Dancers.

1. This book is worth every penny you pay for it, and then some. It gives you a full page of information on Degas at the beginning of the book. Just 1 page. The next 44 pages are his sketches. You get 47 of these, most of them fill the entire page. Each plate is of the highest quality. It's almost as if you're looking directly into Degas' sketchbook. Alot of them even show where he made changes to what he originally drew. Most of them have his notes. Nearly all of them have his signature. Printed under each plate is it's title, size, and year it was drawn. This is, for the most part, the beginning of his wonderful paintings. The sketches from his studies of the dancers.
   I highly recommend this book to anyone who even remotely likes Degas, or anyone who likes good art. The sketches are just beautiful, and there isn't a whole lot of history overshadowing the art. This book is just amazing. A must have!

5 comments about The Old Way of Seeing: How Architecture Lost Its Magic - And How to Get It Back.

1. The first several pages of this book were good, and showed
   comparisons of old and new buildings, and reinforced his premise
   that missing regulating lines and the lack of attention to the
   arrangement of elements are responsible for much of the
   decline in architectural quality.
   
   However, much of the rest of the book devolves into a disjointed
   grabbag of architectural topics, along with comparisons of how
   the human face or maple trees match the golden section with very
   little concrete in the way of design guidance or examples.
   
   I'm sure Hale is a good architect, and I would hire him in an instant,
   (especially after my architect put windows randomly all over our house
   and didn't understand why I didn't want 4 styles of windows),
   but this book is poorly organized, doesn't make his point properly,
   and wanders far off topic.



2. I have six shelves filled with books on architecture, design, urban planning, and proportion, including several books by Christopher Alexander, Andres Duany, Jim Kunstler, Philip Langdon, Peter Katz, and Jane Holz Kay. This one's my favorite. It's the most accessible and useful. What differentiates it is that it provides abundant photos, with lines overlaying them, that very clearly illustrate the author's point. His writing style is easy and generous. It's been a while since I read it, but I'm pretty sure Hale does not advocate brutal Le Corbusier-inspired design. He might have used one picture to illustrate that these ancient principles can also be used in modern architecture.
   
   Hale focuses on illustrating things like the proportion of individual windows and how their proportion and placement do or do not harmonize with the side of the house they're on. I believe the principles Hale explains perfectly complement those that Andres Duany writes about. The biggest difference is that Duany focuses on design issues at the larger scale of street widths, building heights, and walking distances. I think if Duany added design harmony at the building level, one very coherent, unified theory would be the result.
   
   One take-away of this book for me is this: You're looking at a house or building and something about it pleases you, but you can't put your finger on exactly what. He clearly illustrates what those things are for you, which satisfies your logical left brain. On the other hand, he strongly encourages designers to use their intuitive right brain, which instinctively knows what proportions and details are pleasing in a building. In the end, you design with the right brain by letting it loose to play with form, and then you can fine tune using the regulating lines the left brain loves so much.
   
   Far from advocating the "architect as auteur," Hale reminds us that almost no old houses were built using architects. Ordinary people, like farmers, built things of great beauty just by using the wise right brain to "eyeball" things like proportion, balance, harmony, and placement.



3. I purchased this book on the recommendation of a woodworking magazine writer I have come to respect. Though the book is on architecture I can see how many of the principles apply to furniture making as well. I understand what this author is saying, but sometimes thought that his geometric "hidden" relationships were somewhat stretched. I think I could probably do the same thing with any building if I looked at it long enough. It sometimes felt like a real tough read for me (it certainly helped me go to sleep many nights). Given this book appears out of print and he hefty price I paid for it, I would certainly look elsewhere if you are coming from the same direction I came from on the purchase. An understanding of the golden ratio, shadow lines and looking at some classic pieces (shaker, federal, etc.) will probably yield equal or better benefit to your own furniture design making. Though out of my league, I would stretch to say the same exact thing to an architect.



4. This book is quite good and contains some surprising revelations on why buildings look the way they do. It's an excellent book but can be vague in some areas as the author attempts to convey some very theoretical concepts.



5. Jonathan Hale's book so truly reveals the source of the hidden 'feel' in older buildings as also described by Christopher Alexander in 'A Timeless Way of Building', and which also draws parallels to other aspects of life.

   Hale cites the turning point in society away from the honoring our human 'intuition' to the honoring of 'rational' or 'calculating' thinking which so drastically altered the 'feel' and look of architecture, and he puts this date around 1830. Alexis de Tocqueville also described the 'calculating' way of thinking in America which he encountered after that time..and who is also cited by Hale.

   Truly worth the read, and it will probably change not only the way you look at buildings from now on, but also the way 'calculating' thinking dominates so many aspects of life now. I personally find when I get back into situations where the people and their decisions operate more from the basis of intuition, I feel a lot more human and natural, and no longer feel obliged to say the 'accepted' things which so many of us find ourselves saying, but not really believing. Hale's book has helped me understand why this is, and made me feel more comfortable with being natural and intuitive.

5 comments about Handbag of the Fabulous.

1. Great title but not a great resource at all. No real "new" or valuable information. Very few pictures that are in black and white and not very detailed.



2. I honestly think that this book was a waste of my time and hard earned money. It offers no information that a Hermes Handbag owner does not know.
   Would not suggest this to anyone.



3. The author of this book has multiple online outlets of selling "authentic" birkin bags. She is in fact selling FAKE HERMES/BIRKIN bags!!! LOOK IT UP!!! I would not trust her. Here's another fact the publisher of her book is owned by her husband.
   
   PLEASE BE WARNED!!!



4. After receiving the book I was informed the author is selling fake Hermes bag. So I found the book to be a huge disappointment.



5. I PURCHASED THIS BOOK USING MY MOM'S ACCOUNT AND GAVE IT TO HER AS A SURPRISE. SHE WAS REALLY EXCITED AND DIDN'T KNOW I WAS GOING TO GIVE IT TO HER. SHE LOVES THE BIRKIN BAG AND PERSONALLY OWNS 6 IN ALL. TWO BLACK, ONE RED, TWO BROWN AND ONE BLUE JEAN. SHE WEARS THEM DEPENDING ON HER OUTIFT.
   
   SHE TOLD ME TO WRITE THIS FOR HER. SO HERE ARE MY MOM'S THOUGHTS OR OPINIONS ON THE BOOK. SHE LIKED IT BECAUSE:
   
   1. IT CLEARLY EXPLAINS HERMES
   
   2. IT TALKS ABOUT THE HISTORY OF HERMES
   
   3. THERE ARE A LOT OF EXPLANATIONS ON HOW BIRKINS ARE MADE
   
   4. IT TELLS YOU HOW TO BUY THESE BAGS ONLINE, WHICH MY MOM HAS DONE
   
   5. THERE ARE PHOTOS OF BIRKINS. MY MOM EVEN COLLECTS PHOTOS FROM MAGAZINES. SHE IS REALLY CRAZY ABOUT THESE BAGS
   
   MY MOM DID NOT LIKE:
   
   1. THE BOOK DID NOT HAVE ENOUGH HIGH QUALITY PHOTOS. SHE WANTED TO SEE MORE
   
   2. THE BOOK WAS FAIRLY SHORT AND COUOLD HAVE GONE INTO MORE DETAIL ABOUT WHAT OTHER STYLES OF HERMES BIRKINS ARE OUT THERE
   
   SO, THERE YOU HAVE IT. MY MOM'S GIFT FROM ME TO HER WAS THIS BOOK. SHE LIKED IT A LOT AND WAS THANKFUL THAT I PURCHASED IT FOR HER.
   
   MY MOM HAS PURCHASED BAGS FROM HALEY'S COUTURE GALLERIA, CREATUERS DE LUXE, MONTECARLO CLUB, POSH STYLE AND PIECE UNIQUE. SHE RECOMMENDS THESE SITES TO HER FRIENDS WHO WANT TO BUY A HERMES BIRKIN BAG AND DON'T WANT TO WAIT ON THE WAITING LIST AT AN HERMES BOUTIQUE.
   
   I'M REALLY GLAD I PURCHASED THIS BOOK FOR MY MOM. ESPECIALLY BECAUSE IT MADE HER SO HAPPY. SHE WAS VERY HAPPY TO HAVE ONE MORE ANYTHING TO ADD TO HER STUFF ABOUT THE HERMES BIRKIN BAG. SO, THIS IS OUR SIDE OF THINGS. THANK YOU FOR LISTENING.

No comments about Six Picasso Postcards (Small-Format Card Books).

1 comments about Modern Masters Volume 11: Charles Vess (Modern Masters (TwoMorrows Publishing)).

1. Charles Vess is just such a treasure. Not only is he a stunning artist whose 30+ year career has produced huge body of visual narrative work in at least four mediums (painting, illustration, sculpture, and, of course, comics) he is... one of those bright souls spilling out all over, with warmth, sincerity and art like candles, lighting up the world. Maybe that sounds over-the-top, but you only have to have one conversation with Charles to know that it's true! Or you can read one -- the interview contained here is an excellent example of what I'm talking about.
   
   Vess gives us a backstage peek into his career, including his humble beginnings as a lonely young comics fan in 1950s Virginia, his experiences as a struggling artist in New York City, his breakthrough work with DC Comics and his latest work on the STARDUST movie. It's an absolute hoot to read, with Charles' kindness shining from every page. As one of those sensitive writer types, I tend to stockpile interviews such as this one - they're the amulets I reach for when the demons are messing with my creative spirit. Charles has always been one of those pick-me-up artists for me -- he reminds me why I love this stuff so much, why I do the creative work that I do even when it's fighting me.
   
   Art-wise, this 120-page book concentrates on Vess' work in the comics field, with lots of art samples from Heavy Metal, Epic Illustrated, Spider-man, Swamp thing, The Books of Magic and, of course, Sandman and Stardust. In addition to the generous selection of the work we know and love, there are some delightful, offbeat Vess rarities here, including a Transformers cover and a commissioned sketch of Spiderman in a kilt (!). I always get a kick out of checking out my favorite artists' earliest works, and there are a few of those as well. The depth and true diversity of Vess' talents are truly striking in this presentation.
   
   If you're a fan of Vess' work, this is not to be missed. If you love fantasy art, this is not to be missed. And the price is right!

No comments about Picasso and Apollinaire: The Persistence of Memory (Ahmanson-Murphy Fine Arts Books).

1 comments about The Beast Within - The Art of Ken Barr.

1. I think my first exposure to Ken Barr's art was back in the mid-70's with the many fantastic covers that he did for Marvel Comics' old black and white line of magazines. As a young teen, I was struck by just how spectacular these painted covers were compared to the typical comic book covers. They were so lush and so realistic. One of my favorite Barr covers was from Marvel Preview Magazine which featured a cover of Thor, my favorite Marvel character, standing on a pile of defeated warriors and thrusting his mystical hammer into the air as a lighting bolt crackles down to meet it. Great cover!
   
   Barr got his start in the early 60's doing covers for British war comics such as Commando before coming over to the United States in 1966. Barr first came to notoriety with his work for Warren Publications on titles such as Creepy and Eerie. Over the next thirty-five plus years Barr would go on to work for both Marvel and DC Comics, do movie posters, book covers, trading card series, and even a collectible plate series for the Danbury Mint.
   
   This book from SQP features 48 pages of Barr's work in full color. The subject matter includes science fiction, fantasy, adventure, superheroes, and horror. These are culled from the sources I mentioned. Barr did a number of covers for Marvel's Planet of the Apes Magazine and several are reprinted here. From issue #12 we see one of the apes in a space craft watching in horror as the Earth explodes. From issue #16 we see a mother ape carrying her baby and fleeing a helicopter that is trying to shoot her. Great stuff!
   
   Rampaging Hulk #6 contained another great Barr cover, this one showing the Hulk battling Prince Namor, The Submariner, and about to smash him with a marble pedestal. Also included from Marvel's magazine line is several of ken's covers to the Doc Savage Magazine.
   
   This collection of Barr's art shows that he was a fantastic artist no matter what genre he was working in and its great to finally see this enormous talent recognized.
   
   Reviewed by Tim Janson

1 comments about Crucifixion.

1. This collection has four books (Annunciation, Last Supper, Crucifixion, Descent) which will be a treasure to all those who love great art, and especially those attracted to religious art. Each book is beautifully bound in its own brilliant metallic color: gold, silver, bronze and copper. The unique size and color of the books make this set aesthetically pleasing. It is a wonderful collection to display on any shelf. The prints, more than 100 in each book, are of superb quality. Phaidon, the publisher, is recognized for excellence and elegance in all their printing. There is scant text; each book has a New Testament scriptural preface, then a brief caption accompanies each image.

   As the titles project, a central event in Christ's life is elucidated by the world's best artistic masters; each brings their own commentary to the selected Christological theme. Most enjoyable, and educational, is the progression through time, starting with early art pieces and finishing with contemporary masters. From beginning to end, each book is a wonderful journey through time.

   Stunning. macabre, painful and finally humbling were some of the feelings I experienced as I journeyed with the masters through the 120 plates that depicted the crucifixion of Christ. Unlike "Annunciation" and "Last Supper", two other books in this Phaidon set, where you can see the changes in the artist interpretation of the event through the ages, the image of the painful and gruesome death of Christ in "Crucifixion" changes little over the 1600 years covered here. The inhumanity of the crucifixion travels vividly through the ages; from the earliest picture, painted by the monk Rabbula in Mesopotamia (586 AD) to Lovis Corinth's (1907) and Stanley Spenser's (1958) disturbing images. You can not come away from viewing this book without realizing the pain and suffering that occurred on the cross. This is a book I will return to as a devotional, especially during Lent, to rethink the cost of redemption. Excellent. Highly Recommended.