2 comments about Creating Meaning Through Literature and the Arts: An Integration Resource for Classroom Teachers (2nd Edition).

1. While I am sure this book may have some good ideas in it, they would be hard to find. This book is very wordy. I was looking for a book full of integration ideas, this book is full of more justifications of why the arts are important. I know why they are important, what more authors (including this one) need to do is tell us simply and practically how to do it better.



2. I had the pleasure of having Claudia Cornett visit my school recently. She is a very energetic lady with a storehouse of great ideas! Her discussion, which was based on her book, made a whole room of teachers laugh and act silly. We were playing sock toss to help children with word chunks. We became actors with a simple pen. This pen became: a hairbrush, a microphone, a straw...

   I can't wait to pick up a copy of this book and use all of the ideas in my classroom. Her energy and fire is contagious!

5 comments about Collage for the Soul: Expressing Hopes and Dreams Through Art.

1. This isn't your average Artsy Coffee Table book! At first and second glance this book was on the verge of being traded until I actually read the words! After reading the first artist's opening page, I found myself intrigued and excited to see "what's next". The author not only formatted the book in a way that helped build upon existing skills but also increasing new found skills. The contributing artists personal commentary was fun to read and the techniques they shared invaluable. Excellent book not only for the artist teaching value but also for the search for inner "soul" searching.



2. This is a terrific book for anyone interested in collage as an art as opposed to a craft. There is a wide range of work displayed, covering a number of different styles. Interspersed with the projects in the book are several discussions of such techniques and processes as using encaustics, finding symbols, using different means of transforming papers, transferring images, using collage as a medium for your memoirs, etc. There are also useful and inspiring sidebars throughout that help the artist come up with ideas and techniques they may never have thought of before.
   
   AN earlier reviewer objects to the fact that the directions for the projects are not extremely precise. I consider that one of the great strengths of the book--I am not interested in recreating the exact piece of art displayed, I want to learn new methods to interpret my own ideas. There are some books and magazines out there that tell you exactly what brand name products to use in exactly which colors. Those books are intended for a different audience. This book is meant for those who are not afraid to experiment and learn. It encourages the reader to try new processes and new approaches, rather than handing out exact formulas.
   
   Here are just some of the techniques covered in various projects: assemblage, encaustic, monotype, oil pastels, tissue-paper lamination, using foraged natural materials, making a collaged art doll, paper-pulp casting, transferring photos to different surfaces, sanding back to reveal underlayers... There is a tremendous amount to be learned from this book. It is not quite as showy as True Colors, but it serves a different purpose. True Colors, as delightful as it is, is primarily eye candy, and is limited to altered books. Collage For The SOul covers a much wider spectrum of collage work, and provides much more information on techniques for the artist.
   
   I recommend this book and Gerald Brommer's collage book as THE two to own, if you can only have two. I can hardly wait for the next collage book by the same team, which is due out soon.



3. If you are buying every book on this subject, this could be among them. However, if making a choice, this should not be a priority. The projects are not inspiring, a challenge considering the fine artists composing them. They show some interesting techniques, but who wants to use them considering what we're offered as goals? I would recommend "True Colors", by Harrison," Altered Books Workshop", by Brazelton, and "Making Memory Books and Journals by Hand", (a marvelous compilation of 42 projects put together by Thunder Bay Press) as being FAR more worthwhile.



4. I was thoroughly disappointed in this book. Based on reviewer comments I hastened to buy it, and then found it uninspiring. It presented nothing new, not an iota of soul and seemed like a simple compendium of collage work with some scattered instructions that may not be sufficiently clear.



5. If you are a collage artist, you will want to purchase this book. It is not a "how to" book but a wonderful resource of images and artists you might not find anywhere else. Many different styles of collage are represented and I find something new and inspiring everytime I look at it! There are many women creating in the collage world today and not enough resources to find them...get this book and see new images and artists! The collages are shown in beautiful, full page reproductions so that you can study the details. Highly recommend!

2 comments about Competition and Collaboration: Japanese Prints of the Utagawa School.

1. We just saw the exhibit at the Brooklyn Museum. Great stuff, vivid and immediate. This price is amazing !!



2. This is a unique contribution to Ukyo-e, the pictures are very well depicted and all in this book is interesting.
   If, like me, you love Japanese Prints, don't hesitate, buy it !!

4 comments about Splendors of Islam: Architecture, Decoration and Design.

1. This is a thorough and scholarly exploration of a fascinating subject - the world of Islamic Design. The work covers all the main areas of the field, from al Andalus to India. The text is clearly written, yet scholarly in its approach, while still being accessible to the amateur. The excellent photographs serve to illustrate this magnificint work well.



2. The 325 photographs in this book--all in color--merit every superlative reviewers have given them. But the text itself is in need of a good editor, for parts are repetitive. (See my content summary for specifics.) Furthermore, the last section is often so grandiloquent that I, a seasoned English teacher who is also well read in the field of Islamic architecture, had to work to decipher it. So why did I pay $40 for a used copy of this book (sans dust jacket)? Quite simply because none of the many other books I examined taught me nearly as much about the decoration and design of Islamic architecture. Granted, for example, one can look at a structure and see that its bricks create patterns, but to learn in detail how this was done is fascinating.
   
   For those unable to find a copy to preview, what follows is a more specific summary of its contents.
   SECTION 1--which focuses on the variations in Islamic architecture in one part of the world--devotes 8 to 10 pages of photographs and clearly written text to each of the following: the Dome of the Rock, the Alhambra, the Taj Mahal, and Persia's Shah Mosque. Eight pages of smaller photographs of other significant monuments from the Arab lands, Turkey, India, Iran and Central Asia follow.
   
   SECTION 2: After a lengthy chapter which goes into great detail about the history of the use of brick, stucco, mosaics and ceramics as decorative techniques, separate chapters are devoted to each of the materials. New in each is the detail about how the material is created; repetitive is much of the information about how it is used as architectural decoration. Although no text explains them, additional photographs illustrate the use of bronze, wood and painted wood as decorative devices.
   
   SECTION 3 focuses on the decorative use of mathematically defined forms--e.g. stars, hexagons--vegetation, calligraphy and even occasionally the human figure.
   
   SECTION 4 looks at how the elements in Sections 2 and 3 combine to create surfaces that resemble textiles. Specifically discussed are a) the division of flat surfaces into panels and bands, b) the multi-layering of textures and c) the use of repetition to create geometric designs. (Here, too, is repetition of information in previous sections.) The use of ornamentation to disguise supporting forms and embellish supported ones is also discussed in this section.
   
   NOTE: For those who are interested in more of an overview of Islamic architecture in general, I'd highly recommend Treasures of Islam: Artistic Glories of the Muslim World.



3. If you are someone who is involved in arhitect or interior decoration, this book is a must to guide you in creating something splendor from the Islamic culture, and it's a good refrence on a cofee table top.



4. Islam expanded quickly within a few centuries, embracing a wide area and altering the political and cultural heritage of the entire region. Splendors of Islam examines the visual effects of Islam, considering the structures in contrast with other architectural traditions and examining the role given to various decorative choices and styles. Four different approaches to Islam architecture provide an exceptionally well-rounded view, with color photo examples packing an oversized coverage.

1 comments about How to Look at Outsider Art.

1. Lyle Rexer has opened a door for me when it comes to "outsider art." Because I am new to the genre of Art Brut, my inexperience didn't recognize the possibility that the two terms would not refer to the same thing. Outsider Art and Art Brut (or raw art) are terms one hears used interchangeably despite the fact that they are not identical concepts. The keepers of Art Brut history would define the term as art produced by the historically disenfranchised artist - criminals, children and psychotics - with the primary spotlight illuminating the latter. Outsider art, on the other hand, seems to refer to un-taught or self-taught artistic activity that has become increasingly familiar over the last 4 to 6 decades.
   Rexer does an admirable job representing both systems of expression but it is clear that his sentiments lay firmly embedded in the Art Brut base camp.
   
   The question How to Look at Outsider Art answers for is the very one the title promises to investigate. Rexer is succinct:
   
   How is it possible to appreciate art that is apparently without precedent? How can we understand objects that are unlike anything we have seen - and in some cases strike us as deeply disturbing? (70)
   
   Because our animal-brains sort millions of pieces of information every minute it is necessary that some portions of the onslaught be sorted using different methods. Some information is routed to the discard pile if it poses no threat or garners no curiosity - the typical noise-making of one's house or work environment for example. Some information is processed via a central nervous system reflex arc - the system that saves us from having to conceptualize, interpret and act in situations that mean the difference between safety, injury and survival (i.e.: take your hand off the hot stove before you burn yourself; move away from the person swinging the machete; and so on). The information that is left needs our active attention. This is where art can trip us up.
   
   Human beings are visual-capture animals meaning that we use our sight as the primary interpretive tool while conducting our daily business. As such we are rapid processers and we have thousands of pre-made mental boxes that information is routed into in order to make our experience of living tolerable. When we come across something that our minds cannot decipher immediately we are forced to stop, to step outside the paradigms we've habitualized and make new neural connections. Rexer teaches the reader ways to do just that when viewing Outsider Art and, as a consequence, all art really. Because moving away from our comfortable definitions and assumptions is difficult Rexer offers "general guidelines for `interrogating' the works." (70).
   
   Rexer suggests that when we observe outsider art we should ask some basic questions:
   * What type of art are we viewing - wood work, painting, mixed media?
   * What kinds of materials are used? How do they effect what you see and feel?
   * What kind of imagery is used in the piece? Is there a purpose or a meaning for you as the observer?
   * Is there an appropriate rubric you are comfortable comparing the work to?
   * Is the piece unusual or stereotypical in terms of what's common at the time, in the genre and/or in the history of the genre?
   * How does the artwork compare to other works by the same artist?
   * Is it able to stand alone as an independent work? Does it provide its own definitions or leave them to the observer to determine?
   * Do you know anything about the artist that could inform your opinion of the work further?
   * What assumptions have you made about the art or artist? (75)
   
   The beauty of these questions, of course, is that they are valid stepping off places for looking at any kind of art. The importance here is that so many of us schlep around to galleries and museums and don't have a clue what to think or ask or feel. It would be convenient to be spontaneously inspired to immediate understanding by every piece of artwork one saw but hardly valuable in the scheme of things. Because Outsider Art and/or Art Brut is likely to demand more or demand different things from its observers these questions give us something to anchor our understanding in - a way to process that feels natural and, thereby, places it into the category of familiar so that we spend less time starring with mouths hung open in confusion and more time starring with mouths hung open in awe or delight.

5 comments about Cave Paintings to Picasso: The Inside Scoop on 50 Art Masterpieces.

1. This book was an amazing tool for use in my art class room. Wonderful description of artists and examples of artwork.



2. This is phenomenal. I am reading the whole thing! Beautiful too!



3. The other two reviewers of this book both mention that this book is for middle school children and above, but I would have to respectfuly disagree. I think this book is definately appropriate, and designed for, elementary age children. In the introduction, the author talks about poring over his parent's books about art, just staring at the pictures, and says that he set out to create a similar source. I think he has done so quite well.
   
   Each 2-page spread has a large, full-color picture of an important work of art, starting with prehistoric sculpture and going right up to Magritte. There is also a page of clear, simple text about the piece. The text is, of course, very useful... but I think that plenty of enjoyment can be had just examining the pictures.
   
   (I know that everyone who looks at this book probably has a "they didn't include...!" gripe, but I am upset that the Arnolfini Wedding Portrait isn't included). Otherwise, the pieces are very well chosen.
   
   I think that this is a great book for all ages. I hope that it will be introduced to elementary school children, so that by the time they are in middle school they are ready for a little more depth and structure in their art history curriculum.



4. The title of this book introduces it as "the inside scoop on 50 art masterpieces". Rather than gaining an inside scoop, I found myself introduced to art which I was unfamiliar with, as well as a reintroduction to many pieces I had seen before. The writing style is clearly geared for adolescents / middle school students. As one who has not had much exposure to art I did find this book an enjoyable, easy read. I think the book could best be used to introduce school age kids (or middle schoool kids) to the world of art. When my children get old enough, I plan to read this book with them.



5. I love the line in the section on Rene Magritte: "Magritte's paintings never answer questions. They just ask them." This line captures what is so unique about Cave Paintings to Picasso: analysis that provokes readers' critical thinking skills. As an art student, I read so many tired art history books that did little to inspire or even entertain. This book does both, and somehow manages to cover a lot of facts about 50 masterworks of art. The beautifully-written description of the art and artist is chronologically organized, with sidebars on each page visually portraying the artist's timeline. In addition, each work of art is briefly described as to media and size (information that is not easily gleaned from other art history texts). There is a brief, but helpful glossary in the back of the book, and the book is well indexed. The text is easy to read and very interesting; it would easily engage the interest of students grades 6 and up.

2 comments about Art Ed Books and Kit: Robert Rauschenberg (Art ed Kits).

1. This study of Rauschenberg is a good source of biographical information, and will be useful to those new to the artist's work, but for those wanting to pursue the more complex theoretical implications of Rauschenberg's practice, they would be advised to look elsewhere. This is because Mattison's study takes the form of a relatively conventional monograph, and it doesnt really pay much attention to some of the most interesting literature on the artist by scholars like Leo Steinberg or Rosalind Krauss. Furthermore, it treats Rauschenberg as though he were a canonised "Old Master"- this is obvious from the introduction, where Mattison treats us to a detailed description of the artist's custom-built studio in Florida- the implication being that Rauschenberg is a kind of modern-day Rubens, turning out masterpieces with the help of his eager assistants. However, Rauschenberg's work (especially his early, seminal work), seriously calls into question notions of genius, authenticity, originality, and the like- all those sacred cows of art history. But Mattison avoids these thorny questions, mainly because I think that the book is aimed at a more mainstream audience.
   
   There is some interesting stuff here- the section on Rauschenberg's dyslexia, and how it could help us shed light on his silkscreen printing, was good, as was the section on the development of "lateral thinking" in psychology, which was contemporaneous with Rauschenberg's emergence, and ties in nicely with some of his concerns, i.e. getting away from fixed, preconceived ideas and logical (or "vertical") thinking. Also, the section on New York's urban development in the late 50s was also enlightening with regard to Rauschenberg's combines from that time. There is also a lot of information about the artist's "Stoned Moon" book, produced during his trip to Cape Canaveral in 1969.
   
   Overall, though, its a book to sift information from, rather than to sit down and enjoy- its relatively conventional nature means that its not an especially exciting read, although those new to the artist (and art history generally) may think differently.



2. Reflections of an artist mind unleashed, Rauschenberg's images of political and social issues are portayed through scattered images and expressive paint strokes. His use of mixed media portrays an intensity between his paintings and the connection expressed in his life and his surroundings.

No comments about Guide to Getting Arts Grants.

2 comments about What Happened to Art Criticism? (Prickly Paradigm).

1. James Elkins took the trouble to reflect on how art critics are doing their job or rather not doing it. Finally someone is saying that a lot of art critics are no different from news reporters among others: they either have no opinion, or they do not have the guts to express an opinion or it is not in their interest to express and/or have an opinion. Since James Elkins describes in detail how an art critic earns a living we suspect the latter is true. He explains very well how art critics prefer description to opinion because it does not ruffle any feathers. Though a sad one a very good book that makes us realize how in art criticism, as in other fields, thinking for oneself is either dangerous and/or passe and/or not worth the trouble. In short art criticism has lost a lot of its former excitement: could it be like the art it describes one wonders...



2. Without going into superlatives or hyperbole, the strength of this book lays within its insightful examination of the breadth of critical writings as they pertain to art in the last 50 (or so) years. It was interesting enough that I did not want to put it down, and it was a quick-enough read to keep on the shelf for future review.

5 comments about Mom's Cancer.

1. I bought this book for my husband and his siblings. My mother-in-law was diagnosed with terminal lung cancer this summer. My husband and I have both read the book and it helps to know that we aren't the only family that has traveled this road. Regardless of what part of this journey your family is at, I would highly recommend reading this book. The illustrations make it an easy read and it'll be well worth your time.



2. "What to do when pain rips through our brains like a tornado. We need the truth." - Barbara, the author's mother's, wrote that thought after reading this book.
   
   This is an excellent graphic novel about one family's experience with Stage 4 Large-Cell Carcinoma (a.k.a. - Cancer).
   
   A story is often only as good as the heart of the person telling it. If that sentiment is true, it explains in large part why this story is so good. If you can make a story about dealing with your mother's terminal cancer funny and life-affirming, you are creating a pretty intelligent and well-crafted piece of writing.
   
   His artwork is consistently excellent, never distracting, and peaceful in the midst of life-threatening circumstances. The visuals are coordinated with the words fluidly, immediately conveying the ideas and emotions with very few ambiguities. This graphic novel won an Eisner Award in it's online format.
   
   Brian Fies tells us in the preface, "Although I distrust stories with lessons, here is one: No one will care more about your life than you do, and no one is better qualified to chart its course than you are. You are the expert."
   
   As you might expect, like all real stories, this one does not end with everyone living happily ever after. But fortunately, the characters do re-prioritize and choose to change the remaining time in their lives to live as happily as they can until there is no after.
   
   As the preface accurately creates the expectation "Mom's Cancer is an honest, earnest effort to turn something bad into something good." I admire and encourage that human artistic drive, and Brian Fies is successful in achieving that goal and many other beautiful artistic goals.



3. I'm a consumer health educator and lost my father to a very rare kind of cancer when he was 58, so this book hit me on more than one level of my life. Fies has done a wonderful job. What I find most impressive is that Fies doesn't shy away from discussing the "blame" aspect of a cancer diagnosis. The question of personal accountability for disease is very much part of the family conversation during a health crisis--whether there is scientific evidence for causality or not!--and it needs to be talked about. I'm hoping this graphic novel does make that conversation easier for all of us.



4. My family shared many of the experiences of the author's family during my mother's cancer. It's compelling, touching and hopeful.



5. It's less about Mom than her three adult children (pseudonymously portrayed here as the narrator, Nurse Sis, and Kid Sis) and how they cope with the news and subsequent treatment for Mom. Vivid visual metaphors (the Operation Game, superheroes, the "tightrope" of treatment) combine with heartfelt writing (smokers won't be pleased with how they're portrayed) for an unforgettable portrait of a family in crisis. It has a simple, clean graphic style that will appeal to readers who are not regular readers of graphic novels.
   
   If your mother smokes, this, and and "the patch" would make an excellent present.