2 comments about How to Look At Japanese Art.

1. I was looking for a concise, simple and clear introduction to Japanese art for a course I am to give to a group of seniors (citizens, that is, not high schoolers!) and hit upon this title. After reading this small but well illustrated booklet I congratulated myself for having hit gold on my first try. This quite inexpensive volume covers just about all aspects of Japanese art, from the Jomon period to recent times, with well-chosen examples accompanied by enlightening commentary. Each chapter ends with a list of questions one should ask oneself when looking at art under consideration. A fine manual that will surely lead its readers to pursue their study of Japanese art.



2. This is a great book! It touches upon all the major categories of Japanese arts, such as ceramics, Buddhist sculpture, Zen painting, calligraphy, woodblock prints and gardens, in a simple and delightful way without missing essential points. Its excellent color plates and clever comparisons enable beginners to travel easily in this new and enchanting world of arts. I especially found the "key questions" for different types of arts at the end of each chapter useful for my continuous appreciation of Japanese art as well as the visual arts in general.

1 comments about Passages in Modern Sculpture.

1. This is Krauss's first book, and the one I like best. Her history of modern sculpture from Rodin to Robert Smithson is grounded in a sophisticated theoretical perspective, but it's not collapsing under the weight of theory like many later Krauss's texts. Her theoretical framework in this early book is phenomenological -- she made a transition to structuralist and poststructuralist theories later in the seventies. Phenomenology -- in particular, Merleau-Pontyan phenomenology -- allows for many thought-provoking readings of modern sculpture. However, the basic assumption of the book -- viz., that there have been some parallels between the development of modern sculpture and phenomenological thought -- is flawed. There is no evidence that the artists discussed by Krauss heard of Husserl and Merleau-Ponty and their theories. Many other authors beside Krauss make a similar unjustified assumption of various "parallelisms" and "influences." Basically, this is historicism -- a belief in some sort of Zeitgeist at work in all cultural forms of a particular age. Still, the book makes for a much more rewarding read that coutless superficial, merely descriptive histories of modern sculpture, or modern art in general.

2 comments about In Another Light: Danish Painting in the Nineteenth Century.

1. I wanted to like this book. Really. It is very well put together. The text is easy to read and interesting. The images are of a high quality. My exposure to this period was almost exclusivly through the artist Peder Kroyer, who is represented in the book. To be honest, I found most of the artists a bit uninteresting, although technically proficient. Doesn't neccessarily make a bad book; you may need a little rain on your sunny day. I will be looking for a more indepth book on Kroyer. The cover does a bit of a disservice in that this is one of three nude figures in the book. Even in nineteenth century Danish art, sex sells.



2. "In Another Light: Danish Painting In The Nineteenth Century" by Patricia Berman (Theodora L. and Stanley H. Feldberg Professor of Art, Wellesley College) is an impressively illustrated and informative history of Danish artists and their works reflecting and influencing the European art world and included the artistic movements known as Classicism, Romanticism, Impressionism, and Symbolism. A seminal and scholarly study of 19th century Danish art, "In Another Light" is beautifully illustrated with 288 full-color and flawless reproductions of paintings. Of special interest to students of European art, "In Another Light" is very highly recommended to for professional and academic library Art History reference collections, and would make a superb selection Memorial Fund selection choice for community libraries.

3 comments about New Flowering: 1000 Years of Botanical Art.

1. Being a big fan of Shirley Sherwood's previous publications Contemporary Botanical Artists (1996) and A Passion for Plants (2001), I have been eagerly awaiting any further publications from this collector. I immediately purchased A New Flowering - 1000 years of Botanical Art when it was released in late 2005, but unfortunately I was quite disappointed. Rather than a whole new collection of wondrous botanical art, A New Flowering is principally an exhibition catalogue emanating from the Ashmolean Museum in Oxford, England, in mid 2005 containing many works seen in the previously mentioned books.
   
   The title is somewhat of a misnomer. This is not a history of botanical art. There is one reference and illustration of a herbal dating from 1080 - 1090. From there the text jumps to around the mid 1400s. From there we have chapters covering the 16th, 17th and 18th centuries, as well as chapters dealing with Ehret, Jacquin, the Bauer brothers, Redoute, and Ruskin. There are examples of the works of these historical figures interspersed with comparable examples of similar plants by contemporary artists.
   
   Unfortunately, of the 107 contemporary illustrations, 72 have already appeared in either Contemporary Botanical Artists (38) or A Passion for Plants (34). Those seeking a new collection of modern botanical works may well be disappointed. There are approximately 60 historical examples, but readers already familiar with Wilfred Blunt's The Art of Botanical Illustration or similar works will find nothing new here.
   
   There is a short chapter dealing with the scientific aspects of botanical illustration, and another with a broad description of the various techniques used, but neither are covered in any depth.
   
   For those who do not own either of Shirley Sherwood's previous publications, A New Flowering would be a pleasant addition to their botanical illustration library, but I would not recommend it to anyone looking for new inspirational material.



2. Shirley Sherwood and her editors have published a magnificent book on botanical art history. The narrative is well written, the art is outstanding. One walks away from reading ths book a better person.
   
   It is a better book than Sherwood's "Contemporary Botanical Masters" hard cover -- which has some wonderful art by contemporary botanic artists, but was printed cheaply, with many pages of compelling artwork by the best watercolorists looking fuzzy.
   
   Never the less, Sherwood has taken time to organize the best collection of botanical art I have seen. She has done us all a public service by promoting great artists like Jean Emmons, Kate Nessler, Carol Woodin here in the US (just a few of many artists from around the world) and educating this reader of botanical art's history, too.
   
   Ms. Sherwood was on the Board of the Kew Botanic Gardens -- may still be. She is part of the aristocracy of elite wealth -- most of whom are hoarders and greedy. But she has given the world a gift that no money can buy in editing and publishing this book on 1000 Years of Botanical Art.



3. *If you're a painter trying to pick up techniques*, "Contemporary Botanical Artists" would be better because 1) the reproductions are larger (better for seeing small details) and 2) most of the art is from the mid-1990s, so the format might be closer to what you'd be producing (for example, a watercolor instead of an illuminated manuscript), and 3) the reproductions are somehow a little higher quality, to my eye. "Contemporary" is organized alphabetically by artists' last name, which is handy if you like to see one person's style applied to several works, shown next to each other. Also, because most of the paintings were done within the past 12-15 years (vs. 200-1000 years ago) the supports and paints are similar to what's available now.
   
   *If you're a painter and considering different styles of presentation*, the concept of "1000 Years" might be more useful. "1000 Years" presents paintings in pairs or groups, for example, contrasting a fritillaria 'sketch' from Ruskin with a watercolor painting from 10 years ago. The book also includes such different formats as an oil painting on glass, or panels, or illuminated manuscripts. So, if you know _how_ to paint what you want but are looking for ideas on themes or surfaces or styling, "1000 Years" would be more useful.
   
   If you have one volume and are considering getting another, keep in mind that several illustrations are in both books, and some of the commentary is also understandably similar. (I wasn't sure what to expect in that regard...) Both are very nice books and, if you know what to expect, worth having.
   
   On the subject of watercolor technique, I would also recommend "Painting Flowers in Watercolour: A Naturalistic Approach" (C. Guest), more so than "Botanical Illustration in Watercolor" (E. Wunderlich), if you aspire to the illustrations in either Sherwood book but feel stuck at a "reasonable but not stunning" level. In my opinion, Guest's book expects you to be an intermediate or advanced watercolorist who wants to paint flowers, not a beginner painter. The life-size illustrations are also more useful. Btw, C. Guest's work in included in "Contemporary", and S. Sherwood supplied a foreword for Guest's book.

3 comments about Joseph Cornell: Master of Dreams.

1. Joseph Cornell's work is beautiful. It's a pity that he is such a poorly-known artist but as the author suggests perhaps he was born a few decades too late or his art was a few decades too early. He has certainly missed out on his rightful place in most books on Surrealist art. This book is very-well presented - a photograph or two of Cornell's work on almost every page and text not only explaining the inspiration and the work process behind the assemblages but also conveying the quirky nature of the artist. If Joseph Cornell showed little humour as a person then there is plenty of it to be found in his work (e.g., lobster ballet box). This art book is so well-written and interesting that it can be read from cover to cover in one day. There is something new to be found in the photographs every time.



2. Fortunate is the arts library to have the restored and embellished 1977 monograph on the life and work of American artist Joseph Cornell, an artist whose importance not only to the craft of assemblage but to the history of American art continues to grow as the years pass. Author Diane Waldman initially based her monograph on extensive interviews with Cornell and his confreres in preparing the 1967 retrospective of Cornell's art for the Guggenheim Museum. And fine though that now extinct monograph was, it was important to update it with the added information gleaned from the 1978 gift of the bulk of Cornell's archives donated by the heirs of Cornell to the Smithsonian Museum, forming the Joseph Cornell Study Center in Washington, DC.
   
   But enough of background. Waldman the writer and historian presents here one of the more sensitive tributes to Joseph Cornell in print. Included in this rather brief book are over forty color plates of many of Cornell's greatest works. The color reproductions and photography of these basically three-dimensional works is outstanding and allows the viewer to pause with each work, enhance the visual appreciation with the accompanying writing by the author, and then return once again to the biographical data of a man at odds with conformity and with somewhat fractured social graces.
   
   Joseph Cornell was a unique artist and one whose impact on all forms of art (especially the eventual 'installation art' phase) is yearly more appreciated. This fine book is as sound a source of information on his life and works as any of the now many volumes on the shelves. Highly Recommended to both the novice and the expert. Grady Harp, February 06



3. Finally, a beautiful, comprehensive book about Joseph Cornell and his work. Diane Waldman knew Cornell intimately ever since she was an art student (and through doing gallery shows for him), and this affinity shows; this is ultimately a book of love and tribute to a friend.

   The biographical material is excellent. Most fascinating segments deal with Cornell's stranger sides, such as when at his brother Robert's funeral, Joseph put a sheet over his head and laughed, creeping everyone out, and explained it was only a side joke that Robert would have understood. Cornell was terribly timid in front of women (particularly the ones he fancied) and had a complete dependence on his mother (he died months after she did). Waldman probes these and other significant personal issues (such as his association with Surrealism, and how the younger artists that have passed through him have influenced his work) and examines how they factored in Cornell's art. The book is generous with illustrations - Waldman supports her points with not only Cornell's work, but with other artists that were influential to him.

   However, it is the lonely and telling poetry of Cornell's work that is the heart of this book. The boxes that Waldman chooses to include are presented intelligently, and beautifully. The innocence and nostalgia of each box is lovingly portrayed. The Medici series - Cornell's especially heartbreakingly beautiful and mysteriously passionate work - is presented perfectly by Waldman with thoughtful commentary and context, capturing in full its yearning and ardor. Waldman has given us a book that speaks eloquently about why Cornell is an artists people will remember for generations hereafter.

5 comments about Nicolaides The Natural Way to Draw: A Working Plan for Art Study.

1. I'm sure this book is all that many reviewers have shared but for me,being a complete beginner, its way over my head and abilities. I need to work at an entry level and continue before I can appreciate and grasp all this author offers. I have found, The New Drawing on The Right Side of The Brain to give me this. also picked up Keys to Drawing & Secrets to Drawing REalistic Faces. Each of these selections are better suited to the level I'm at and didn't overwhelm me to take this artform on.



2. This book is essential for everyone who wants to learn how to draw and the theory behind it. A classic.



3. Although I have been life drawing for more than 30 years, I feel that the Gesture exercises of Nicolaides book have brought more expontainety and vitality to my work.



4. THIS BOOK SO CONFUSED ME, I MEAN IT IS A REALLY GOOD BOOK... IT JUST CONFUSED MY WAY OF DRAWING.



5. This book is really cool. The author has an interesting approach to learning to draw. Be prepared to spend a lot of time doing excercises that seem pointless. but in fact actually help you to become familiar with the human form.

No comments about Allan Kaprow--Art as Life.

5 comments about Photography: Revised Edition.

1. This book definitely covers pretty much everything -- sometimes in ultra-minute detail -- that you would need to know in order to understand the basic fundamentals of the art of photography. For anyone with medium to advanced photographic experience, this book will have a lot of pages to skip. However, even for those expert photographers, this book contains a lot of odd technical details that are required for testing for certification (such as for PPA) that you may have forgotten since high school, or that you just may have never learned on your own through self-study and/or trial and error. In short, this book is a valuable reference to have handy for any serious photographer.



2. I thought that this book would be in better condition. A lot of the pages were bent and wrinkled and the back cover had a sticker the was ripped off. Overall quality - POOR! The book was packaged nicely and shipped fast.



3. I enrolled in a photo one course, having always enjoyed the art form. Not only was this book immensely helpful throughout the course, but I refused to return it at the end of the semester. It doubles as a superb textbook and a lovely coffee table look through. I find myself flipping through it just for entertainment and also to find solutions to camera or developing problems I might be having. I also agree that the only negative aspect of this text is the fact that it doesn't come in hard back. The paper back version becomes awkward, it's best if you read it whilst your sitting up or at a desk. If you're one for pleasure reading in bed, like myself, this book might prove to be a challenge. Other than it's awkward dimensions in paper back, this is a must-have-book for those vaguely interested in the hobby all the way to those who are professional photographers. Hooray for well written books and well constructed page layouts with tremendous photos around every turn!!



4. This book by Horenstein and Hart was bought as an introduction to photography. Before I bought it, I looked at numerous other books on photography, but none of them seemed to tell me a lot more than what I already knew. In addition they did not inspire me. I only tell this because my opinion is that this book is what I searched for. It is well written and gives a decent treatment of the different topics. The illustrations are clear, and there are several photos showing the concepts involved, the photos being so good that they also show more subtle effects. And then there are works by various professional photographers all along. These are not just dumped there, but actually fit the topic being treated. The chapter on digital photography is perhaps a little short. However, I would rather by an additional in-depth book on digital photography anyway. This book gives the basis knowledge on how photography evolved and on different techniques. I only wished it had been available in hardback, because the relatively large format makes it somewhat unhandy in paperback.



5. I've been a photo student for nearly two years and this is the textbook I started with. I didn't realize at first how amazing and inspiring it was until I couldn't find it. Horenstein's book is organized and it is easy to read. It covers a great deal and has wonderful images as examples. I enrolled in a photojournalism class last semester and had to purchase Photography (8th ed) by Barbara London & John Upton. I was very dissatisfied with the textbook when remembering how great Horenstein's is. I urge every hopeful photographer to make an investment in this book.

1 comments about Peel: The Art of the Sticker.

1. When it comes to the source most original in bringing art on the periphery to the general audience, few publishers can keep up with Mark Batty Publisher. Seemingly always on the lookout for art on the edge, these books are not only inventive and creative, but they also are beautifully designed and devoted to entertainment as much as to enlightenment.
   
   Take PEEL: THE ART OF THE STICKER for example. This richly colorful volume is a collection highlights of eight issues of the magazine PEEL - the creation of Dave and Holly Combs. At once artistic and rich in iconology and just plain buffoonery, the magazine focuses on the satire found along the streets of this country, enhanced of course by some free-spirited artists who find ways to use the most mundane of objects to make us laugh or, at least, take notice of our own foibles. Comments on sociopolitical issues, graffiti-like refuse, and variations of thoughts created on those awful 'Hello, my name is...' stickers pasted on our passive bodies in attendance at parties, rallies, and meetings, words and drawings and photos superimposed on Priority Mail stickers in a feeble attempt to balk the postal system - this list is a short beginning to the wild fantasies acted out by sticker-mania.
   
   In addition to copious photographs of many stickers found in PEEL Magazine, and since this is a book and not just another issue, there are included in these pages some interviews with artists and participants in this pop art medium that say not only a lot about the meaning of stickers and manipulations of common articles of the day, but also inform us about the way we view our world and value 'things' - at times being offended that some artist would 'defile' these icons. Add to that the naughty images (see: Colaborate [sic] because its good for you' chapter) and the actual stickers the reader (or book owner!) can peel off the page to embellish the environment both personal and public, and the tenor of this absorbing book comes into focus.
   
   'Gallery art stays indoors protected with glass and controlled lighting whereas street art fades and changes over time. These differences are analogous to the differences in modernism an post-modernism.' This is an entertaining book for any reader and a must read for students of art in art school today. As always fine parody is based on wisdom - and there is a plethora of both in this terrific book! Grady Harp, May 08

No comments about Understanding the Art Museum.