5 comments about Burning Book: A Visual History of Burning Man.

1. I am proud to have this among my collection of books and Burning Man memorabilia. Jessica has done a beautiful job of capturing the spirit of the playa. You can see the love and dedication she put into each photograph. I love this book, and no I do not personally know the author.



2. Any book about Burning Man is fun, but I would enjoy more pictures less jabber.Anyone who has been there doesn't need the talk to describe it. It's a sensory event. Words only trivialize it.
   OK, if you haven't been, this book might be more interesting.
   If you are thinking of going, definitely just do it. It's the best thing I've ever done.



3. I went to several Burning Mans, since 1992, and once met Michael Michael, from San Francisco Cacophony, when he visited the Los Angeles chapter. So Bruder's account brought back much nostalgia. As she relates, the growth of Burning Man has also led to ever more intricate theme camps and art installations. Several depicted in the photos, I saw. Including the huge ball of ice, containing scores of clocks, that fell off as the ball melted. Or the archway of cattle bones. Along with sundry corporate parodies.
   
   Her accounts of summer desert rainstorms is also quite accurate. Especially for 1995. When the ground turned to a thick mud, and walking was labourious. She shows a nice photo of a rainbox over the campsite. Those of us who were there in 95 remember the winds and rain quite well. Along with the sandstorms that caused visibility to fall to a meter or less.
   
   Art cars are shown in several photos. Fantastically decorated. Surprisingly, Bruder doesn't seem to mention that the art car "movement" was centred around Portland Cacophony. She is from Portland and undoubtedly knows many in that chapter. Granted, art cars now come from all over, and perhaps Portland no longer dominates that scene.
   
   In 1996, the book describes how there were 2 tragic events, that caused later Burning Mans to have tighter safety rules. One event was a motorcycle rider who died on the playa. Another was a vehicle colliding deliberately into a tent and hitting 3 sleeping people, crippling one of them. Unfortunately, there is little elaboration about the events. A reader new to Burning Man might be interested in more information.
   
   One strength of the narrative is the extensive coverage of the first Burning Mans held on a San Francisco beach. Photos of those events are also nice. If you've never heard of Burning Man, you might not notice anything unusual about this. But other histories of Burning Man typically give cursory mention of the SF events, and usually have few or no photos.
   
   The book also covers some other different ground from others on Burning Man. For example, it explains the assorted group of workers who spend several weeks there, doing prep and cleanup. A thankless task, for which they get very little money. Their experience is quite different from the few days that most revelers spend there. Bruder alludes to an esprit de corps amongst the cleanup crew. But that's scarcely universal. Some arrive and are simply overwhelmed by the stark conditions. And it is possible to be cynical about this espirit. Seeing it as a means of garnering cheap labour by the Burning Man organisation.



4. It is an experience that cannot be described. But this book does an excellent job of trying. By including people the the Tuna Guys (and not just the craziness), you get a glimpse of what makes the place magic.



5. There is nothing out there that captures the experience of Burning Man better
   than this book. With its inventive graphics and many pictures, and a very well written account by the author, it seems this book was created for both veterans and the merely curious.

5 comments about Life, Paint and Passion.

1. This book is a must for those interested in the creative process. It is clear, inspiring and very worthwhile for artists of all mediums even though the focus is on painting.



2. I've never been drawn to the concept of "process painting" before. It just seemed too simplistic as ordinarily presented.
   
   But Michele Cassou's ideas - based on decades of hard-won experience - about what encourages the creative flow and what constricts it are profoundly illuminating, detailed and sophisticated. And her sparkling observations are presented in the most enjoyably simple and down-to-earth way imaginable, to boot!
   
   For the most part, each chapter begins with an observation about what creates a block to creativity and what releases it. It then continues on with a vignette from an interaction Michele has had with a student during one of her workshops in which she helps the student release the sort of block just discussed.
   
   Her solutions always involve having students ask themselves a question specific to the block they're encountering. For instance, if a student feels all dried up and as if she simply has no inspiration for a painting, and then bursts out, "It's so childish!," Michele will ask her to question herself: "What would I paint if it didn't matter how childish it was?"
   
   Quite simple and direct. And Michele's questions work with the precision of a scalpel in releasing constricted creative energy.
   
   Through these vignettes, Michele reveals numerous presuppositions, both conscious and unconscious, that we hold about what we're allowed to feel and to do, and how they strangle our creative flow. Even more important, she reveals the way out of each of these strangleholds.
   
   This is not just for painters; it's for anyone who feels they've encountered significant creative blocking or who would like to encounter their own creative core.
   
   This book is simple but far from simplistic, and altogether delightful!



3. Painting, although the medium meant to be the subject for this book, is only a catalyst for inspiring creative thought in any venue. As a writer, I found it easy to replace writing for painting in many portions of the book. One part in particular, many creative people of all genres can relate to where it states: "If you find yourself overwhelmed by your emotions, make your brush move faster then you thoughts. It will help you disengage from the drama." "Brush" can easily be replaced by "pen" and work as effectively.
   
   If technique and structure are what you are looking for, keep looking. This book is for those that want to create freely and be released from the guilt, judgment, and conditioning of traditionalists.



4. This is an inspiring book on letting go and letting art come from you without your internal critic or judgements on meaning or technique. It is about Learning from Art; and letting art take you where it will. It is about discovery and play -- ultimately it is about how to get into the Process of Creating.... and stop worrying about the "product"
   
   This is one of those books that I read and instantly thought of five friends I wanted to share it with. And it also helped jump start me to believe in making what I make; not to worry if it is too dark, too silly, too profane, too honest and vulnerable; and not to try to direct it to what I think it is supposed to be.
   
   The book contains short chapters about challenges and personal accounts. It can be just as beneficial to open the book to any page and read what is there as a jumping-off spot. It does not tell you "how" to create your work -- but it shares why, and it also shares methods for loosening the restrictions and the blocks. "What" you create will come from you.
   
   Sometimes living in the world is a challenge with all the other concerns and critiques of other people...but if we keep growing and learning and making/creating -- it can keep us going! Art is a respite for me; it is what gives me meaning and value in my life, it is what gives me energy. This book puts these ideas in an inspiring perspective with some humor, some philosophy, and some common sense. Don't let anyone keep you down -- and don't keep yourself down!
   
   Artists, writers, educators, and anyone who loves any of the arts would benefit from the viewpoint of this book. No experience is necessary, just the desire to create for the fun of it -- for the play and joy and experience.



5. The title says it all. I would recommend this book to those of us that call ourselves artists, aspiring artists, or anyone of any age.
   Great Book!!!!

3 comments about 500 Self-Portraits.

1. Is an excellenty little book to carry with you to art class. has some famous artists as well assome more obscure so definetly a toll for those who want to learn more.



2. An interesting collection of self portraits commencing with Ni-Ankh-Ptah (c. 2350 BC) through to Maurizio Cattelan (1997). The selction provides an interesting chronology of how portraiture has changed over the years. I'm uncertain as to which edition the previous reader has, as my version has 10 self portraits by Rembrandt. I would have liked to have seen more portraits by recent artists as the variation in how to approach the modern portrait is extensive compared with say the 17th C. The reproductions are good and the quality of paper is also good. The introduction by Julian Bell is well written and could have even been expanded upon further. It provides an excellent overview of how portraiture and art in general have changed over the centuries. A worthy book to have on the shelf - lends itself to random browsing.



3. This work is based on an earlier collection of self- portraits made by the scholar Ludwig Goldscheider. It contains many of the great works in the self-portrait including six self- portraits by the artist whose signature is written most prominently on this type of work, Rembrandt.
   It is difficult to fault a work which has so many great paintings in it, but I do find a couple of problems with the volume. The introduction is small and inadequate and there is no explanatory text whatsoever. I also found disconcerting and unpleasant a number of the more recent paintings selected.
   I would also point, to what it seems to me, is an inherent inadequacy of a book of this kind. Rembrandt teaches us that the true - self- portrait of an artist is a long series of self- portaits, is a history and a life of the person. The single self- portrait made of one time can show a moment of a life, can represent a person as they would be represented, but cannot tell us the whole life.
   Six self- portraits of Rembrandt are not enough.

5 comments about Color Mixing Recipes.

1. Very useful book. Even though I majored in art in college, I didn't learn all that's in this book. It's changed the appearance of my paintings totally. I love it. I'm already ordering the one for portrait colors too. Very easy to use, with quick, exciting results. Someone mentioned that the colors were "out of date," referring to Hansa Yellow in particular. Hansa Yellow is a pretty standard color in the artist's palette, and not out of date. Colors may go out of date in fashion, but not on an artists palette.



2. This is an excellent book for painters just starting out, or painters in general.
   Mixing recipes for more than 450 colour combinations. This book is a Must.



3. Very good quality printing, so you can get a good read. It was helpful, but I ended up making my own charts with the current colors that I keep. Who uses Hansa Yellow?



4. I do like spiral-bound books which feature either brushstrokes or in this case, recipes, as the pages lie flat (there is no spine to flatten or pages which keep flipping at a vital stage). The book starts with a general overview of color theory but doesn't get obsessive about it. Then come the recipes which are clear, easy to understand and there is a plastic color mixing grid at the back to help get the proportions accurate. The book deals with Oils but there is a conversion chart for Acryllics included. At 49 pages and with a hardcover, it is compact and easy to carry. I liked the over all format of the book which also includes a small section on Portrait Colors.



5. This book is great for anyone who loves to paint, but struggles with getting just the right tone...just the right shade...even just the right color! While I've noted that a few "recipes" contain errors (it's pretty clear that mixing one part white with four parts cadmium yellow medium will not yield a "pumpkin" orange), I still find the book useful because it allows one to see what combinations and proportions of colors will result in a desired hue, value, or intensity. While Powell acknowledges in the Instructions that paint colors vary somewhat among brands, I have noted one or two colors that are significantly different from the paint I usually buy (Windsor-Newton oils). Even so, I have been quite pleased with the results, and I believe my painting is all the better for using this guide. I certainly recommend it to anyone who has experienced the frustration of having mixed selected colors only to discover that the end result is totally wrong for its intended use!

5 comments about Pouring Light - Layering Transparent Watercolor.

1. This book is very well organized and visual examples are amazing. She creates these wonderful light-filled paintings by masking off specific areas and then literally POURING paint onto your paper. Layer after layer, the most vivid colors and luminous landscapes appear. Her step-by-step approach makes it very easy to learn and follow the techniques. Her masking maps -- showing the order and placement of her masking layers -- are especially helpful and eye-opening. She also provides a good deal of design instruction. I have used this extensively with my students and in my own work. I have also recommended it to several people.



2. For watercolor technique books I only spend time with the ones with paintings I love. This one is lovely, with results I want to emulate. As other readers have pointed out, the techniques taught in this book are time-consuming so they should be worthwhile. There is a particularly useful lesson on the value study, sketches that capture a range of tone, using white unpainted paper for white, then light, medium and black tones. I found this to be a great exercise.
   
   The book covers more than the pouring technique, with chapters on materials, composition, color among others. When it really gets rolling you can try to repeat her paintings with her step-by-step instructions, or do your own designs. I get most of my watercolor books from the library, and this is one of the few I've bought for my own.



3. The book is nicely printed and formatted and contains detailed well illustrated instructions for creating watercolor paintings by a unique method. The method is tedious and requires careful drawing and use of several layers of masking fluid. This is not the traditional approach to watercolor painting but Grastorf achieves excellent results.



4. I have painted in watercolor over 20 years. The processes described in this book are valid, however, one must have endless patience to spend the amount of time required to complete a project as directed by this author.



5. I was recently introduced to the technique of pouring watercolors to get some fabulous looks. I took a one-day workshop, which is a great way to start. The book is a great way to continue. The author gives her instructions clearly with plenty of pictures of describe what is happening. I've reviewed it a couple of times already and feel better equipped to do my fourth or fifth painting now. I highly recommend this book for use at home.

1 comments about Total Chaos: The Art and Aesthetics of Hip-Hop.

1. Most books on hip hop fall into the music category: not so TOTAL CHAOS: THE ART AND AESTHETICS OF HIP-HOP, compiled and edited by Jeff Chang whose contributors informatively and thoughtful consider the evolution, presence, and impact of hip-hop as a cultural expression and social commentary. From its commercial world to its cultural and artistic roots, TOTAL CHAOS offers students of sociology an excellent survey that runs the gamut from gender issues to artistic conflicts within the hiphop environment. The anthology includes interviews, first-person experience and analysis yet is lively enough for the general-interest library, as well.

5 comments about Ballet Class Coloring Book.

1. I love this book!! I am a middle school dance teacher and I just started to use this book in my class. The discriptions are great for all ages of beginning to intermediate ballet students.



2. This book is a nice version of the pictorial book we found and loved in our local library. I was thrilled to find a version my daughter could color any way she wanted. I felt like it was pretty accurate with how we have experienced starting ballet lessons, including being excited and nervous. The drawings are pretty but simple enough for my preK colorist to handle.



3. Like all the Dover coloring books, this one is an excellent educational tool as well as a fun coloring book. One thing that other reviewers have not noted is that many of the illustrations feature young male dancers. In fact, the dancers illustrated are of different ages and ethnicities as well which is nice to see.



4. I am a dance teacher and I bought this coloring book so that my students could learn while coloring. It is a nice book, with actual steps and definitions - quite thorough. It is not babyish, it is useable for students even a little older.



5. As a ballet instructor, I cannot recommend this coloring book enough for children who are serious about learning about ballet. I use this in my beginning ballet class (ages 5-8), giving them a "memory term" each week. The kids are excited to learn the terms in this book, and they get to color too!

1 comments about Art Heals: How Creativity Cures the Soul.

1. Art does heal, but that art needs touch, feel, look, so on and so forth.
   
   Donot buy this book by its cover. Cover page gives you a colourful and an impressive hyperlink.
   
   Contentwise, it hardly gives an idea of what is that art that can move, inspire and initiate the process of mindfulness, spiritual healing and therapeutic fulfillment.
   
   Academic and arm chair healing narratives apart, the book could have added real pictures of what art makes this healing.
   
   A few black and white images DONOT satisfy any healer, let alone the end-user.
   
   Look at the contents and make your own decision to own it or not:
   
   Table of Contents: Preface ix Acknowledgements xv ; Part One INTRODUCTION 1 ; ~ Part Two ART IS SOUL'S MEDICINE 9 ; 2 The Creative Space 15 ; 3 Letting Go in a Safe Place 28 ; 4 Embracing Upheaval 31 ; 5 The Early Work, 1970-1974: Anthony, Bernice, and Christopher 34 ; 6 The Art Therapist as Artist 52 ; 7 Aesthetic Meditation 55 ; ~ Part Three OPENING TO IMAGES AND MEDIA 69; 8 The Interpretation of Imagery 75 ; 9 Treating Images as Persons and Dialoguing with Them 82 ; 10 The Challenge of Disturbing Images 96 ; 11 Images as Angels 100 ; 12 Angels of the Wound 112 ; 13 Artistic Auras and Their Medicines 121 ; 14 The Effects of Different Kinds of Art Experiences 137 ; ~ Part Four TOTAL EXPRESSION 147 ; 15 Pandora's Gifts: Using All of the Arts in Healing 151 ; 16 A Pantheon of Creative Art Therapies 163 ; 17 Working With Everything We Have 168 ; 18 A Review of Jung on Active Imagination by Joan Chodorow 171 ~ Part Five CONNECTIONS TO SHAMANISM 181 ; 19 From Shamanism to Art Therapy 183 ; 20 The Shaman as Archetypal Figure 194 ; 21 The Shaman Within 200 ; ~ Part Six REFLECTIONS ON THE SOURCE 209 ; 22 The Basis of Energy 211 ; 23 The Healing Powers of Imagination 221 ; 24 Surrender to the Rhythm 230 ; ~ Part Seven USING NEW MEDIA TO EXPAND CREATIVE EXPRESSION 239 ; 25 Video Enactment in the Expressive Therapies 243 ; 26 A Virtual Studio 255 ~ Part Eight ART HEALING IS FOR EVERYONE 263 ; 27 Art Therapy Is a Big Idea 267 ; 28 An Inclusive Vision of Art Therapy: A Spectrum of Partnerships 271 ; 29 The Way of Empathy: The Practice of Creativity in the Workplace 283 ; 30 The Test of Time 290

No comments about National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts.

No comments about Movements in Art Since 1945 (World of Art).