1 comments about Picturing the Bible: The Earliest Christian Art (Kimbell Art Museum).

1. This book is essentially the catalog for the world-class exhibition held from Dec. 2007-March 2008 at Ft. Worth's Kimbell Art Museum. Curated by Jeffrey Spier, the exhibtion titled "Picturing the Bible" brought to this country 100 treasures, many of which had never left their countries before. For those who couldn't see this once-in-a-lifetime collection, the catalog presents pictures with articles of all the exhibits. More than that, however, well-known art historians, classicists and archaeologists provide major articles on the Jewish art of late antiquity, on pre- and post-Constantinian Christian art, as well as on book illustrations of late antiquity. The volume is beautifully done and provides a fine addition to the library of anyone interested in Christianity and Christian art in late antiquity. Personally, I appreciated Dr. Spier's vision for assembling this collection and editing this volume. It is rare to have an opportunity to experience these works in a U.S. museum.

2 comments about Smile of the Buddha: Eastern Philosophy and Western Art from Monet to Today.

1. I like modern art and I'm curious about Buddhism, and this book fit both bills. Buddhism has about a billion followers, and as a Christian, I should know understand something about it for talking purposes. Also, I was curious about getting some understanding of the bizarre but usually (for me) interesting modern art. Is there a connection?
   
   I learned that, broadly, Buddhism an experiential religion, which strives at leaving the ego behind through meditation on the Void, and seeks awaking and transcendence while pondering the transience and sorrow of life. Some of this resonates in my religion too. I'm sure this is a vast simplification since there are many flavors of Buddhism (just like there are many flavors of Christianity), but I like to think it is at least a start.
   
   What really surprised me was not what I learned about Buddhism itself but HOW it is expressed and sought after through the arts. John Cage, for example, randomly generated his art and music. His musical piece, 4'33'' (4 minutes and 33 seconds of silence) was the artistic equivalent of a blank canvas, and his other music is almost unlistenable (at least to me). Blank and mono-chrome colored canvases are also an expression of Buddhism; it is meant to invoke a response after staring long enough. The same applies to Yoko Ono and her `happenings'; at one of her events, members of the audience were invited onstage, one-by-one to cut a piece of her clothing off. A Japanese artist, June Paik, painted with his head. Another artist's work was an empty white room. Still another frightened his audience at his piano recital by his strange somewhat violent behavior including cutting off the tie of John Cage who just happened to be in attendance. In the same performance, he left the stage suddenly and actually phoned in that the show was over!
   
   Believe it or not, I find all this weird stuff fascinating. If nothing else, there is a lot of imagination going on. And also I can see where changing the context of a situation can lead to a differing perspective and promote `enlightenment'. I really believed before reading this book, that the modern artists of this type were just were about purposely breaking artistic rules and convention. I had no idea that, at least some of the time, they were trying to shake the viewer into re-thinking things in general, giving them a shot at transcending the ordinary. Another example is the Christo `gate' exhibit in Central Park, which I, by the way, thoroughly enjoyed. The thousands of saffron sheets blowing in the wind made you look at the Park in a whole new way, and somehow created a festival atmosphere. I also visited the Tate Modern a few years ago and saw an exhibit of 14,000 cardboard boxes, each supposedly representing a person's belongings, stacked into giant piles in their air-hanger-sized main hall. It made me wonder what those boxes might contain, what pieces of people lives might be stored there. It made me think.
   
   There is also time spent on Monet, Van Gogh and the Impressionists, but for me the book was about a singular insight into modern art.



2. The best books make us think, by showing relationships between realms we had not thought connected. Just so, Jacquelynn Baas breaks new ground in SMILE OF THE BUDDHA: EASTERN PHILOSOPHY AND WESTERN ART FROM MONET TO TODAY.
   
   By exploring the influences of Asian thought in general and Buddhism in particular on European and American artists of the modern era, Baas takes her readers on a breathtaking leap across time and geography.
   
   That she lands squarely on target is attested by art historians and scholars of Buddhism who have praised this book as "careful and intelligent," "thoughtful and richly detailed," "high spirited" and "a crucial contribution to modern art studies."
   
   My own take, as a lay reader with no credentials in either art history or Asian thought, is that Baas, Director emeritus of the University of California Art Museum, has created a most unusual hybrid: a handsomely illustrated coffee table volume with a fascinating detective story woven among its color plates.
   
   Like a modern-day Sherlock Holmes, historical magnifying glass in hand, she investigates a bevy of mysteries. How was it that Taoist and Buddhist emphasis on change infiltrated European culture through, of all things, the English Romantic Garden? How did Buddhist philosophy appeal to artists including Monet, van Gogh, Gauguin? How did Asian aesthetic theory open a path to abstract painting for Georgia O'Keeffe? How did Buddhism influence Marcel Duchamp to imagine new connections between artist, viewer and object, helping change the very definition of "art"?
   
   Bringing her story into the present, Baas sheds light on the role of Zen in the music and performance art of John Cage, Nam June Paik, Yoko Ono and Laurie Anderson.
   
   Baas and her publisher, University of California Press, are to be congratulated on an important book that has something new to say, and says it well - in a manner sufficiently documented do pass muster with the experts, and approachable enough to keep the rest of us interested.

3 comments about Artists in Their Gardens.

1. The book is fantastic, inspiring and beautiful, but it literally fell apart after one (1) reading. How disappointing! The quality of the writing and the images did not extend all through the project, unfortunately.



2. Absolutely fantastic garden book with a totally different twist. Already incorporated several ideas in my backyard with great results.



3. Artists in Their Gardens is a book for the gardener who loves the garden as a means of self-expression. In the ten gardens described, each of us will find things we love, and perhaps things which disturb us. I love the austerity of potter Ann HIrondelle's garden, the zaniness of Lewis and Little's work, the majesty of Lee Kelly's monuments. I could never live with the kitsch of Leter and Barton, yet it is fascinating to see their artistic vision as developed in plants and plastic. The sections on The Artist's Eye helped me see how to translate these visions to my own garden. After all, in my own garden, I am the artist! This book encourages me to be daring in shaping my own garden vision.

1 comments about Come Look With Me: Animals in Art.

1. These "Come Look With Me" books are just awesome for getting my 4 yea old daughter to sit down and really look at a picture. It helps her to form and express her opinions in a very non-judgemental way and also introduces her to many mediums and styles of art. Very valuable in my opinion.

4 comments about The Shape of Time: Remarks on the History of Things.

1. This book is a must for anyone who follows a structuralist view of art. Clear, simple but nonetheless covering the widest possible scope in relation to "things", it is an authentic theoretical jewel, a brilliant work by Mr. Kubler, one of the most serious and broad minded academics of our time. HIGHLY reccomended!



2. Few people treat the concepts of *fast* and *slow* time in a cultural sense, (not a clock sense), quite so well. In this context Kubler also provides a clear working definition of an artist's entrance into an era, and what comprises real artistic invention as opposed to the replication of stereotypes. Still fresh decades after Kubler wrote this core text; Kubler defines the dynamics of artistic innovation with the same clarity that Thomas Kuhn did for the sciences in that other core text: The Structure of Scientific Revolutions.



3. The target audience for this text resides in art or anthropology departments. Because it is often seen through those specializations its influence is less than its deserts.
   
   It stems from a structuralist orientation but in a dimension that school rarely considers. Since structuralism tends to think of the passage through time as just the instance ("parole") of a simultaneous expressive system ("langue"), it misses Kubler's insight that time too can be thought of as a dimension of a trans-era historical structure. As in evolution in biology, all temporal fields then become suject to formal relational analysis.
   
   In addition to its insights, the book is lucid, brief, and articulate. It has the benefits of theory without the ponderous vocabulary and tortured syntax that sometimes mars that field.



4. This is a book about art history, written by an art historian, though it was given to me by one of my professors of anthropology while I was studying archaeology at Arizona State University. For one reason or another, I have taken this volume off my bookshelve many times, opened it to a random chapter, and read a paragraph, a few pages, or a chapter at a time. Never more than that. I have often tried to connect the theory in this book to archaeological questions, but I have mostly failed in my attempts to visualize an operational method of applying its lessons. It has become increasingly evident to me, as I struggle with the contents of this work, that this is in fact less a theory of art history and more a history of historical and cultural change: a work of anthropology, or at least one of anthropological interest.
   
   Kubler is not attempting to explicate the influences of history on stylistic changes in art. He is, in reverse, introducing the analysis of art forms to issues of historical change. This may be (perhaps suitably) a distinction of little merit to some. However, it is enough to curl the toes of at least some members of the anthropological community. Stylistic or symbolic interpretations of art through history--perhaps a more traditional history of art--are replaced by the notion that human actions or ideas, manifested through time, are reflected in art across history and that differing works of art can be recognized as manifestations of the same actions or ideas through time. If you don't understand this, then perhaps you are as confused as I am right now.
   
   Kubler begins with the following statement of assumption: "Let us suppose that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world." He is therefore effectively expanding the definition of art to include all material and ideological culture, thus extending the more limited discipline of art history into the realm of general anthropological theory. Actually, Kubler is expanding the definitions of both art and history. "the moment just past is extinguished forever, save for the things made during it." The accumulation of material and ideological culture alone survives to represent the evolution of humankind. This point may be self-evident to the archaeologist. However, it is a profound statement nevertheless, pointing out, if nothing else, that what may have been perceived as limits of archaeological inquiry, may be, in fact, the actual objective of such inquiry.
   
   The present is the intermediary between the future and the distant past. "Actuality is when the lighthouse is dark between flashes: it is the instant between the ticks of the watch: it is a void interval slipping forever through time: the rupture between past and future: the gap at the poles of the revolving magnetic field, infinitesimally small but ultimately real. It is the interchronic pause when nothing is happening. It is the void between events. Yet the instant of actuality is all we ever can know directly." With language like that, how could you not love this book!
   
   Jeremy W. Forstadt

5 comments about Managing Traumatic Stress Through Art: Drawing from the Center.

1. This is a great book, it took me 37 years to try to deal with PTSD and if I had worked it with another vet or a professional it might have been less painful.



2. I find this book a valuable companion easily adaptable for the professional social worker, counselor or therapist. Many of the exercises are easy to adapt and adjust for the needs of the client. Adjustable for group or individual work. My copy is filled with bookmarks. When I use it other therapists want a copy.



3. this is a really good book. i would recommend it to anyone recovering from trauma. you do not need to be an artist at all.



4. This book provides a series of VERY structured (not just an oil pastel, but a *black* oil pastel; not just two sheets of paper, but two 12" x18" sheets of paper), very specific exercises one can use to nibble away at the edges of PTSD. If that is what you're looking for, this is a decent book.
   
   If you are an artist, and are looking for a book that provides counsel on how to use your art to "manage traumatic stress," this is emphatically NOT the work you are looking for.
   
   The 26 'art experiences' in this book are divided into three sections: 1. Developing basic tools for managing stress, which includes such exercises as drawing a safe place and making a 'comfort box'; 2. Acknowledging and regulating your emotions, which includes validating anger and making an imprint of fear; 3. Being and functioning in the world, which includes drawing your interpersonal boundaries.
   
   The art supplies called for to use this book in the manner its authors would like is a pretty extensive list. They are quite specific as to what materials should be used for each exercise. Unless you're actively making diverse art, expect to shell out some cash for materials.
   
   This particular book, it seems to me, is well-suited for art therapists or occupational therapists (and fairly well written to that end); not so much for the artist at home.



5. This extraordinary work enabled me to work through my great stress and associated feelings after my Father was diagnosed with stomach cancer which resulted in his death. I am grateful to the authors for creating such a powerful, accessible, and healing book. The instruction is clear, concise, and most importantly, easy to follow. Guidance is offered when challenging feelings arise. One never feels left in the lurch. And I don't believe you must be an artist, at all, to use this book, though you might be prompted to continue working with the simple and easily aquired materials the authors suggest. I can't say enough about the usefulness of this book for dealing with emotional trauma.

4 comments about Critical Terms for Art History.

1. you will find books such as this one. A Ph.D. is not required to understand it, but it will give you an intellectual workout, as it is not a beginner's handbook. You need to have read some art history (beyond the "what, where, when, who" level), and some art criticism, to see the rationale behind its chapter headings. It is also not a book about works of art as such, but about the special terms and concepts used in current interpretive writing on the "fine" arts (primarily arts of Western European derivation, but the contributors are sensitive in handling the cultural bias of their sources). ALL of the authors are distinguished authorities on the topics they discuss. I think it is a strength of this book that they do not share a homogeneous intellectual background, or ideological bias, and also that they are not all the same age, but made their greatest contributions at different points in the recent (roughly, between 1970 and 1990) "crisis" of art historical writing. The most useful feature of this book, to my mind, is that it provides carefully argued contextual analysis of critical terms which either 1) have a long history of use (and therefore need unpacking before we can grasp the "unconscious"--sometimes contradictory--values they impose on the works to which they're applied), or 2) have been recently introduced to enable an informed critique of traditional art history. The cumulative effect of the various essays is to demistify some of our more cherished assumptions about the value of art: its timeless messages, its inspired origins, its spiritual uplift, its higher expressiveness/beauty/perfections. In other words, if you hope for a "feel-good" treatment of art critical standards, this is not your book. And yet, if you can accept that making and using works of art are social activities, and like the other products and customs of human societies, are constantly in flux even as they depend for their existence on inherited techniques, formulas, and ideals, then this book will provide a wonderful "relief map" of the intellectual foundations of current art history/art criticism.



2. Most of these essays are written by extremely prominent art historians and critics, such as WJT Mitchell, Homi Bhaba, the late Michael Camille, Jas' Elsner, and Nina Kallmyer. Each writer explores a "charged" term currently used in art criticism, such as "representation," "social art history," "ugliness," and "beauty." In each essay, the writer explores the meaning of the term by applying it to a single work of art. Though the essays vary in difficulty, each is ultimately very rewarding. Highly recommended for anyone interested in the nuts and bolts of art criticism. An absolute must for journalists, art critics, and students.



3. This book does present scholarship that uses and (sometimes) defines a variety of themes and approaches to art criticism, but most of the writings are highly esoteric, randomly selected, and not always focused on the visual arts. If you don't already have a solid understanding of concepts like "Post Modernism" and "Commodity" don't expect any clear answers here. This is less of an explanatory textbook-type work, and more of a compilation of modern critical writing. Pre-requisite: PhD.



4. If you interested in reading about particular themes in contemporary art. This book covers a whole slew of art crit terms.

   Each individual term is explored by its own essay. Each essay is written by a different author (mostly in the 80s and 90s). These essays are around 14 pages long, so these terms are explored rather in depth. The writing is so thick in this book it takes a good chainsaw to hack through 'em. But the effort is well worth it.

   Here's the terms explored: Representation, Sign, Simulacrum, Word and Image, Narrative, Context, Meaning/Interpretation, Originality, Appropriation, Art History, Modernism, Avant-Garde, Primitive, Ritual, Fetish, Gaze, Gender, Modes of Production, Commodity, Collecting/Museums, Value, Postmodernism/Postcolonialism, and Figuration

   My favorite essay so far is the one on Simulacrum.

   I would recommend this book to anyone interested in art criticism. It provides some interesing viewpoints.

3 comments about Play Pen: New Children's Book Illustration.

1. A gorgeous and effortless read showcasing interesting and varied children's book illustrators from around the world. The layout is simple and clean, with biographical info about each illustrator and then three pages of their work (or in some cases, five pages). Despite a pithy (but short) introduction, this is far from an academic text. It will, however, get you thinking about the nature of illustration for children's books and may spur you onto further reading or research. Plus the visual stimulation is inspiring!



2. Beautifully illustrated, with several examples of each artist studied, this book is packed with original works. Biographical information of the artists is included. Very interesting, diverse and often whimsical, the book is well designed to introduce contemporary children's book illustration.



3. In the Introduction, Martin Salisbury has an important quote from Walter Herdeg that pinpoints why it's so important to expose children to good art: 'The smallest owner of books has his special, private art gallery and a unique relationship to it, for he pores over his favourites endlessly, staring at them with a fascination that guarantees indelible memories of scenes and subjects - French, Swedish, Swiss, English, and many others.'
   
   The book offers a varied selection of the best of contemporary children's illustrators from around the world, including Mexico, China and Iran, as well as the more accessible Western artists. There is some biographical information about each artist, and a selection of beautifully reprinted illustrations. In addition, we get a few quotes from the artists themselves where they talk about their inspiration and their style.
   
   I was surprised to learn how many work entirely in the digital medium, even though you couldn't tell the difference from looking at their output.
   
   Less surprising was the note about the more cautious and politically correct approach to illustration that American publishers have, versus, for example, their Italian counterparts, who are much more open to experimental work that is not necessarily obviously aimed at an audience of children.

5 comments about The Complete Costume History (25th).

1. This is an incredible and impressive collection of fashion images that leaves little untold. The illustrations are masterful and descriptive of dress of the past. The most incredible thing is the volume goes beyond atire and includes samples of accessories, furniture and architecture related to the period and culture. My only disappointment is it stops at the late 1800's. I would highly recommend this book for anyone in fashion design, art or someone with a really large coffee table. It's a MONSTER!



2. AS A WORKING PROFESSIONAL IN THE FILM, TELEVISION, COMMERCIAL AND MUSIC VIDEO INDUSTRIES, I CAN ASSURE YOU THAT THIS RESOURCE BOOK IN ESSENTIAL IN THE RESEARCHING OF PERIOD COSTUMES. I USE THIS BOOK AS REFERENCE ALL THE TIME. ANYONE IN THE BIZ SHOULD MAKE THE INVESTMENT OF THIS INVALUABLE
   RESOURCE.



3. 
   
   Wonderful pictures and ideas flow from every page.
   
   For a person seeking a picture book... BEWARE!! This book will not only give you visual clue to the era in question but adds a bit of reading into the concepts and timing of a particular costume you seek to research. This book is heavy and well worth the additional weight it contributes to your collections.
   
   For a person seeking a more in depth concept of a certain period's costumes and accessories...this is a book that will help.



4. I just received this book for my birthday, I'd been wanting it for quite a while. When I first saw it, I knew it wasn't a reference book, and am surprised other reviewers thought it would be. For one thing it was written in 1896. Consider the world view at that time - very Eurocentric, very Western Civilization oriented. So that is what you get. However, you also get an example of illustrations and drawings that you just don't see now a days. Its quite lovely really, and is indeed useful when I am reading a historical novel and want a visual. So buy this for what it is, not what you think it is.



5. Beautiful book, gorgeous, well printed, a work of art.

5 comments about Spraycan Art (Street Graphics / Street Art).

1. i got this book for my husband for his birthday and he was very happy with it



2. This book is one of the best documentations of world wide graffiti in its early years (mid 80's). Essential reading for any aspiring graffiti artist or art enthusiast in general. This book has served as inspiration to many artist alike.



3. I gave this a x-mas gift to my 15 yr old son. He loved it



4. This book was my first graffiti book i purchased in the middle of 90's and I have enjoyed a lot from the first day I got it. It has lots of graffiti photos around the world and if you dig colorful pieces made with old-school-style, this is a book you have to buy!



5. As a public art historian, I recently revisited Spraycan Art. I am told that the sales on this book are approaching 200,000 copies. In 1987 it was the first look at the art form as it traveled out of the NYC subways and around the world and although writers today are more sophisticated with their mastery of the spray can and the imagery they create, the book is still very current in its look at the graffiti world and its place in the Hip Hop scene. It is remarkable to me how Chalfant and Prigoff came to know the key writers of those years, both nationally and internationally. Their contribution to the graf world as professional documentary photographers, authors and resource people has withstood the test of time. It is a must read for current writers, historians or just anyone interested in a unique art form created by youth. Interesting that the book named the art for all time.