3 comments about Masterpieces of The Metropolitan Museum of Art (Metropolitan Museum of Art Series).

1. I found this book (the 1993 edition) very disappointing. At least half the book, and perhaps two thirds, is devoted to bronze, sculpture, pottery, and assorted other works rather than paintings. Since I was hoping for a book devoted to paintings, and could care less for these other works, I don't find it worth the $7 I spent on a very good used copy.
   
   The illustations presented in it are of good quality though so if your interest extends beyond paintings then you may find it worth considerably more than I.



2. 
   It is a very good book for those who do not have the opportunity to visit the museums abroad. I liked it very much. It is also useful for Art classes. I used it in my art homework and I have received a high mark.
   Aysegul (12 years)



3. Okay, not everybody's favorite artwork from the Metropolitan Museum of Art is in here, but they have plenty of other books that cater to more specific tastes. This book includes an excellent sampling of one of the world's best art museums. You get images from artists like David, Van Gogh, Degas, Monet, Vermeer, Eakins, Velasquez, Picasso, Rodin, and more. My personal favorite in the book is "Madame X" by John Singer Sargent.
   
   I picked up this book at the Met's gift shop as a souvenier, and I'm very pleased with it. If you've been to the Metropolitan Museum, this book provides a good reminder of what you've seen. If you've never been, this book will show you what you're missing.

1 comments about Art and Architecture in Italy 1600-1750, Vol. 1: Early Baroque (Yale University Press Pelican History of Art).

1. This is one of the most intelligent book I've ever read about art. It's simple, complete, full of original point-of-views. In asingle word: you can't miss it if you like the Art History!

4 comments about African Art (World of Art).

1. It is well known that Picasso was heavily influenced by African Art.
   And before him, the French cubism school with its leader Georges Braque borrowed its forms and shapes from drawings on African caves walls.
   However a major distinction in the artistic expression of French cubism and ethnic African primitive art remained self-explanatory and a dividing screen between an ornamental European art and a pure rudimentary African art so true to its nature.
   African art does not embellish a theme. It evolves around it and expresses it in honest naïveté.
   A polished European art is an ornamental expression.
   African art is traditions and raw feelings expressed in utmost honesty.
   You will understand its importance in the galleries of breathtaking illustrations in the book.
   The teacher will widen his knowledge, and the student will expand his appreciation of African arts by reading this book.
   
   The book is a mosaic of colors, the birth of unspoiled art expression, and a legacy of uncorrupted primitive beauty that transcended the dark caves of Africa.



2. A very British take on the African culture. Detailed Oriented and exceptional information followed by great illustrations and a realm of photographs to break up the text. A careful read is recommended to fully understand the text due to the fact that it is a higher level read.



3. This book includes an impressive description of all the african arts with some examples quite dificult to find in other books.
   
   For me is a must for all lovers of african art.



4. 
   This is one of the best and highly extensive books on African Art. I enjoyed it from beginning to end. The content describing the motifs, dewellings, statues, sculptures and costumes of the African People are quite impressive.
   
   Frank Willett has done his homework but more importantly he has filled every page full of roaring images that speak to the traditions and the images of the African people. This book serves to give us a rapid, excellerated peek into the past. It was very revealing in the geometric structure of the objects, the color, rhythums, shapes, forms and symbolisim. Whether you are a history teacher, student, business person or artist you'll find this book very handy and informing.
   
   Your Servant, Deremiah, *CPE

1 comments about From Technological to Virtual Art (Leonardo Books).

1. A well-respected art historian, long at the forefront of art and technology studies, Popper is an appropriate figure to present this material. Among those who have taken the art/ science/technology interface from the fringes and into the mainstream, his expertise is vividly translated into this well-documented and comprehensive study of the paradigmatic change. Here he argues that the move toward technologically based projects, largely begun in the twentieth century, has humanized technology due to an emphasis on interactivity. It is also noteworthy that many of the artists Popper focuses on see their commitment to art in larger terms. As the book details, this brings them in touch with politics, the community, and various social dimensions. Reading through the publication is like visiting an exhibition with a smorgasbord of themes, a global sweep, and sensitivity to the personal relationship artists establish with their projects.
   
   Those who are new to the art/science/technology discipline will find the sweeping survey offers a nice map. Those who know the terrain will no doubt learn more about groundbreaking practitioners and appreciate the wealth of detail that illuminates how we got to this point in time. From Technological to Virtual Art is a book that marks the arrival of the art/science/technology perspective and presents the work of many of the innovative people responsible for its ascendancy. I highly recommend 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.

3 comments about Color and Meaning: Art, Science, and Symbolism.

1. Great book, interesting, but am I the right public? As my first book on colour it misses homogenity. The same with references, nice but I don't have access to those hunderd other books about colour.



2. Is color just a physiological reaction, a sensation resulting from different wave lengths of light on receptors in our eyes? Does color have an effect on our feelings? The phenomenon of color is examined in extraordinary new ways in John Gage's latest book. His pioneering study is informed by the conviction that color is a contingent, historical occurrence whose meaning, like language, lies in the particular contexts in which it is experienced and interpreted.

   Gage covers topics as diverse as the optical mixing techniques implicit in mosaic; medieval color-symbolism; the equipment of the manuscript illuminator's workshop, the color languages and color practices of Latin America at the time of the Spanish Conquest; the earliest history of the prism; and the color ideas of Goethe and Runge, Blake and Turner, Seurat and Matisse.

   From the perspective of the history of science, Gage considers the bearing of Newton's optical discoveries on painting, the chemist Chevreul's contact with painters and the growing interest of experimental psychologists in the topic of color in the late nineteenth century, particularly in relation to synaesthesia. He includes an invaluable overview of the twentieth-century literature that bears on the historical interpretation of color in art. Gage's explorations further extend the concepts he addressed in his prize-winning book, Color and Culture




3. John Gage, the most thorough and clear-thinking historian of color theory, has produced another superb book, rich in references and sound historical bases from which we may go forward ourselves. There are a number of things any reader will delight in finally grasping. With me, it was that interesting distinction between pluralist and unified color modes (page 224) that I finally understand; and there are many other sound explanations that will delight the serious student of color. It is all the more baffling that Gage never reaches a discussion of such things as Land's color theory in relation to Polaroid, and even more important, the workings of color in the computer and its printer. If there ever was a codification millions of colors in relation to primaries it is in the design of these systems used by all of us. Yet Color and Meaning reads as if the computer has not yet been invented. I yearned to get to those chapters, but they were not there. And I regret it.

5 comments about Why Art Cannot Be Taught: A HANDBOOK FOR ART STUDENTS.

1. As a recovering survivor of an MFA program I can wholly relate to Elkins' criticisms about the failure of critiques to shape art and artists. It is poignant that Elkins is unable to offer up a solution.



2. this book is not for current art students, or graduates (it's simply too late for you to read this)
   
   considering the expensive and time consuming path of art training at the University level ? then i recommend reading (or even just skimming) "Why Art Cannot Be Taught : A HANDBOOK FOR ART STUDENTS" not only because it gives a clear overview of the evolution of the methods of passing craftsmanship in the fine arts through (European) history, but because you'll see that picking a few art classes is probably going to serve you far better than undertaking a full course of study (and the stories of "classroom psychodrama", and students having to explain and defend their work was easily worth the price of the book, IMHO)



3. As a critique of how studio art has traditionally been taught at the university level, Elkins is dead on (pun intended). His portrayal of B.F.A./M.F.A. programs is vividly familiar to anyone who has gone that route. The book is also hilarious and a great read. But since we (studio folk) are the chief audience, we already know all of this, right?
   
   The critique of Elkins' book is not that he misrepresents anything, but that he misses things: namely the field that addresses teaching art, known as "art education." He does not pretend to consider it, but that doesn't excuse the neglect. If that sounds funny to you, meaning you assume Art Education is a joke-field, I urge you to delve into the research published in its premier journal, "Studies in Art Education," and, then, compare this research to that which has recently emerged from Art History and Art--that is, if "Art" (studio professors) produces any research at all. Well, it does here and there, and Art History produces some interesting research, as does Art Education, whose primary agenda is to address issues of critical theory, postmodernism, and visual/material culture. In fact, I understand that the Art department at Elkins' institution is in the process of making this pedagogical shift as well as some other leading Art schools here and abroad, like Yale.
   
   The point I'm making is that Elkin's portrait--that postmodern art is at odds with the outdated mode that exists in art schools--is partly untrue. Cutting-edge Art programs, and certainly Art Education, are exploring interesting post-disciplinary projects that resonate nicely with the sublime mantra of the postmodernist discourse that informs them. In a general sense, the schools that Elkins describes are those whose tenured faculty have rested on their boring Modernist laurels, which died quicker than their 4th-tier universities could pass them through the nominal tenure process, a tragedy that I think is slowly but surely evaporating.
   
   Understanding that Elkins is probably aware of all of this and expecting academic readers to draw this out of the book, it's not so bad. But for those who do not know the inner workings of academic art programs, the book could do a better job of explaining where the pedagogical answer lies. I like to think that for some reason, Elkins had those answers and kept them reserved for another book, rather than that he, like the oldie-moldy prof's he ribs, is a living anachronism.



4. The answer: I think so. The author changed my way of thinking about the subject of what is plausible in arts education in our time. The apprearance of total artistic freedom from judgement as formulated by postmodernists, yet the intrinsic nature of how the academy/school affects an artist, is seriously examined by Elkins.

   This book is amongst the first to pragmatically question some of our common misunderstandings about the methodology involved in teaching the visual arts. The reason for this maybe due in part to modernist and postmodernist intellectualizing of art (e.g.-the endless pages of ink spilled in history books about content free Minimalist paintings and Conceptual Art). Elkins really does an marvelous job at collecting the evidence that studio art teaching and learning is fundamentally different in goals from more conventional subjects such as the sciences, languages and even music...yet, artists should have a somewhat rounded education.

   To the authors credit, the book avoids the idealistic view of the arts, dispenses with the RomanticEra cliches of " the gifted talent" or "starving artist" or "outsider art" and deals with THE pragmatic reality of art instruction. Elkins' surveys are about the historical roots of art instruction: the Medieval workshops, the Renaissance guilds,the Baroque academies, and the 20th c. Bauhaus School are compared and contrasted with one another.

   THIS comparison of instruction models is EXCELLENT!

   The assumed historical 'reality' of the types of artists each system was capable of producing serves as a spring board for discussions on how philosophical discourse influences the instruction model. The book addresses the question of "what body of knowledge is central to the education of an artist?" Is it life drawing, technical and mechanical skills or is it a selected reading and immersion in the liberal arts(i.e.- should an artist have a classical education w/ emphasis on Greek literature -or- postmodernist and shifting in emphasis related to an artist's native culture?_)

   Elkin's book fully illustrates the very real world dilemna that students interested in the visual arts face when choosing between "art schools" and small "Liberal arts colleges." "Art schools" tend to only be interested in art, with a myriad of opportunities to be exposed to the art world, with little if any exposure to core general education courses. Paradoxically, the art schools are also places where one is likely to find the latest art theory in deployment despite an 'art school'student populace that MAY NOT have the educational background to engage in meaningful discussion with instructors. The situation is the exact inverse with students at "liberal arts colleges" (and the university in general) where the student is academically armed, yet, is enrolled in significantly less demanding studio courses. "Liberal Arts colleges" and art departments of universities,while providing excellant general education for an art student -most barely engage in the issues of making Studio Art much beyond the dilettante level. Elkins makes a very fine point of emphasis on what is either impractical or too obscure to teach about art in the general curriculum of both classroom enviroments-i.e.-such things as art that uses obscure techniques, extremely radical and/or conservative methods. He deals with that rarely mentioned art class phenomenon- "the critque"- where the student presents thier work to the class to be analyized. Elkins illuminates 'The critque' of art schools (and studio art departments) in a manner that should deal with every sort of postive and negative experience that could be siphoned from such an ordeal.

   Essentially the heart of "Why Art Cannot be Taught" is to illuminate what works and what makes 'sense' to teach in the pedantic school environment about art. Elkin's thesis ("that art cannot be taught") is a descriptive interpretation of the reality that art education like 'true art', the 100%creative stuff, is something unique and irrational that can't be easily duplicated at the whim of educators. A must for anyone that has interest in the peculiarities of being a student of the visual arts!




5. The author details art instruction through the ages and discusses the question asked in the title. Art and artists would be so much better thought of by society, and art istself would improve, if the ideas in this book were taken seriously. It is a DEEP book, not for casual reading.

2 comments about The Art of Simon Bisley Redux.

1. Not so much different from the original hc version. If you only buy this one anyway it's a great book full of great art. Biz is one of the best fantasy painters around!



2. Heavy Metal Hardcover and soft cover books are known to have bad binding.
   This book and it's previous version are in my library falling apart. Art is great though.

5 comments about Modern Vixens: World Of Winkytiki.

1. Excellent book with great pictures, a must for all pin up, kitch and style lovers



2. The price was great, shipping was fast, and the book is great quality. I don't recommend that you get it if you are under 18, as it contains adult content, but if you are 18+, this is a great table book :) I think my boyfriend is going to love it!



3. I bought this book recently because I am a huge fan of Octavio's work. In my opinion he is among the most talented pin up photographers around today - his work is sexy, colourful, and playful, completely lacking in pretension, with a flare for retro and modern themes. I recommend this book to anyone who loves beautiful women and quality photography. This is a real treat - no filler and a bargain for the amount of photographs you're getting.



4. Came upon this book at the photographer's recent signing in LA and bought it for all the amazing work he has inside. His style is unique and makes you look twice, not your typical glamour wannabe. This is a good example of what a pinup book should be -- all pictures, no BS like blank pages or filler text. You get over 350 pages of pure eye candy, some naked, some not, but all the girls look hot. I was impressed by the variety of models and scenes he photographed while still keeping the signature "Winkytiki" feel. The sets and outfits alone are worth a look. You have shoots styled after every decade, color, black and white, classic, funky, rockabilly, retro. So there is something for everyone. Get this while you can!



5. Image an insane Krofft Brother that only took pictures of rockabilly chicks, fetish demonesses, tiki vixens, and even Electra Woman in saucy poses that would melt your eyeballs.
   Octavio is a leering, peering voyeur par excellance. I liked the comic book aspect to all the images as opposed to the sullen, bitter looks that many erotic models engage in. Octavio brings a cool, fun vibe to his erotica and all the usual dames like Julie Strain, Tera Patrick, Tall Goddess and many more are there for all the action.

5 comments about The Art of the Fillmore: The Poster Series 1966-1971.

1. This is the most comprehensive collection of psychedelic art I could find. Remember a time when commercial design came from the heart to the pen. No computer enhanced 3-D images. Just wavy brush strokes and colors bold enough to get you high. Pick it up, and trip out.



2. The main positives: this is complete, showing the first and most modest flyer, up through the closing of the Fillmore; almost all the flyers are at least partly in color, and they do indeed show the tenor of the era (which I well remember).
   
   The main negative: most of these are shown as a small part of each page; few are relatively large, and I don't recall any being full-page size. So, don't buy this book in the expectation that you're getting a collection of full-page reproductions (even reduced in size from the originals, as they would be).



3. This zeros in on what the sixties meant to me. A period of artistic creativity without bounds and limits. One giant leap for mankind...I used to sit in art class and try to copy the lettering in some of these psychedelic posters and it was hard. And to think these San Francisco artist were so prolific as to produce a new one or two every week. I was in awe of this period and love to look back on that scene. Thanks to the Bill Graham estate for compiling this tomb from the ancient ones that came before us.



4. The psychedelic posters from the late 1960's are classic and very much a part of rock history. These posters were commissioned by Bill Graham, who ran the Fillmore East and West, and other venues. The posters were beautiful and colorful and psychedelic. They were carefully created and used to promote the concerts, but what makes them so amazing is that all this work to promote only a few weekend concerts, which typically featured three or four bands playing on Friday and Saturdays. Never again would such works of art capture the moment. This book tells you about the artists and how they came to become Fillmore artists, and of course full color reproductions of the Fillmore posters are prominently featured through the book. If you love the posters, you'll love the book.



5. As a person who attended some of the shows represented by the posters, I loved the book. It brought back many, many memories and inspirations. The book captured the essence of Bill Graham as an entrepreneur and, as it turned out, supporter of the arts.
   Not a book for everyone, but if you were there, or you think you wanted to be there, this is a great value.