No comments about Tomma Abts.

4 comments about Ghost Towns of the Pacific Northwest: Your Guide to Ghost Towns, Mining Camps, and Historic Forts of Oregon, Washington, and British Columbia.

1. I have had an interest in western ghost towns since the late 1960s and have sought out and photographed many ghost towns over the years. To that end, I have about 30 or 40 ghost town books and I would have to say that this is not one of the best. In my opinion, it is one of the worst. In fact, it's not as good as other books by Philip Varney in the same series. However, as a professional photographer myself, I can say that the photographs by John and Susan Drew are quite good. One problem with this book is that it lacks the depth of most other ghost town books. The information given just skims the surface. It's generally just raw facts such as when the town was founded, etc. Good ghost town books should go into the colorful stories that all these towns have. That's what's so fascinating about ghost towns. Another problem with the book is that it shows too many towns that are not really ghost towns at all but may only have a couple old historic buildings or they may be simply tourist towns. Many of the pictures are not of towns at all but rather dilapidated barns, etc., which can be seen anywhere in the country and are certainly not ghost towns. There is a classification system for ghost towns and not all ghost towns are classic "true" ghost towns, of course, but this book has very few ghost towns that will be of interest to a real ghost town enthusiast. In addition, the text doesn't always clearly specify the status of the towns so a reader may travel far to see a ghost town only to find that it's bustling town with a couple historic buildings, a museum, or it may be just a tourist town. I would like to know the true condition of these towns but Varney is very vague about that. Most of my ghost town hunting has been in the Southwest, California, Colorado, Utah, Idaho, and Montana so it is possible that there simply aren't that many good ghost towns in the Pacific Northwest but other books that I have would suggest otherwise. Unlike some other books in this series, the maps do not use symbols that represent that actual state of the towns. For example, a crossed shovel and pick symbol often represents a "true" ghost town. But this book does not follow that useful and helpful practice, which is odd. It almost appears as if Varney simply got lazy in this effort and didn't bother to seek more remote ghost towns or gather more information about he towns he does cover. Good ghost town books should be enjoyable even to the armchair traveler who will never actually go to these towns. To accomplish that, the unique and interesting stories of the towns should be sought out and shared by the author. Florin's books, although dated, are wonderful examples of how ghost town books should be. Fortunately, if and when I do seek out ghost towns in the Pacific Northwest, I have other books that cover that region much better than this one.
   
   One other point: A very interesting and fascinating feature often included in the best ghost town books are "then and now" pictures that juxtapose images of the past and the present of the towns. For example, it's very interesting to see period photographs of, say, the town's main street along side a recent photograph of the same scene. There are a couple old pictures in this book but recent photographs of the same scenes are not included.
   
   All-in-all, I can't really recommend this book to ghost town enthusiasts but I suppose it's a moderately interesting addition to a ghost town book collection. But if you are seeking true ghost towns and interesting information about them, you can find better books to meet those needs.



2. I bought this book as a gift. Since my parent are from that area I thought they'd enjoy it. However after I read the book I found a pretty major mistake. In chapter 3 the writer refers to the Pacific County seat as being "North Bend" when its actually South Bend. One can only hope the writer didn't make any more mistakes.



3. This book covered many of the most popular ghost towns in the Northwest corner of the US and Canada. A myriad of good photos and just enough information to entice you to get in the car and go. I would have liked to have a little more information regarding those obscure ghost towns that are not easily accessed or identified.



4. We have been photographing Ghost Towns for about 30 years now and we must say that this is probably the best book that we have ever seen... and we have seen them all!

5 comments about Venice and the Islamic World, 828-1797.

1. All around Venice (or Venezia as the Italians call it), you see a profound Muslim influence. In the archways above doors, in the windows of canal architecture, on the rooftops the weaving of these two sensibilities is undeniable. We saw this book at an exhibit at the Doge's Palace in Venezia at the end of summer, 2007. This book is a translation of the book that was published to accompany the exhibit. It is a more than faithful capturing of both the content and spirit of the exhibit.
   
   Particularly today, it is important, as well as healthy, to sustain appreciation of these ancestral collaborations because they are weaving of the fabric of our contemporary cultures. In the book and the exhibit, it is easy to feel the curiosity and respect each of these cultures has for the other. They are drawn to one another's differences rather than being repelled by them.
   
   Although the cover artwork of the English language version differs from the other language versions of the exhibit publication, the content is either parallel or the same - something I could not verify since I am limited to speaking primarily English (more and more, feeling this is a handicap in today's global culture). This particular book, I'm told, accompanied the same exhibit when it was in New York. I don't know how well it was received there - but in Venice, it was magical!
   
   I highly recommend this book and would hope that somewhere in the world, there would be a place for the marriage of these cultures to find a more permanent home. The expression of the cultures working together, dancing and weaving their way through the marketplace of ideas, theology, and trade is something that should not be lost. This book teaches us that we have much to learn from cultures different from our own - whichever culture this may be. This curiosity should not close down with the end of an exhibit's run.



2. What a dissapointment of a book when the subject has such visual and aesthetic potential. My gripe is mainly with the imagery - paintings are almost invariably reproduced in a size between postage stamp and post-card, when what one would like are full-page reproductions, with details to illustrate the costume and artifacts of the islamic world which began to turn up in Venesian art in this period. Buy it if you want an informative text, but definately not if you want a visual feast.



3. For centuries The Most Serene Republic of Venice was the the western terminus of the fabled Silk Road. The city's warehouses were the repository of every luxury that Persia, India, China, Siam, the Levant, Byzantium, and the Ottomans had to offer. This book is a wonderful companion to the Met's glittering exhibition of art, illuminated manuscripts and decorative objects, which give a sense of Venice's singular place in the history of the Mediterranean. Viva San Marco!



4. This book is excelent. This book is the catalog of the exhibiton that
   is on tne Metropolitan Museum of New York.



5. This book is the catalogue for a traveling exhibition held at the Institut du Monde Arabe in Paris in 2006 and at the Met in New York in 2007. It is a very complete study of the influence of the islamic world on the Republic of Venice, encompassing all forms of art, painting, architecture, ceramics, textiles, engravings, books, and even religious artefacts (mosque lamps for example). All these works of art are the results of intense cultural and economic exchange between both worlds and the catalogue emphasizes this very well. A scholarly publication well served by wonderful illustrations. A very detailed checklist of all the works in the exhibition (medium, dimensions, location) makes this book a definite reference on the subject.

3 comments about Barnett Newman.

1. Apart from the Catalogue Raisonné, this is the best contribution to the understanding of Newman's work in recent years. It is the catalogue for an exhibition held at the National Gallery in London and, therefore, carries no surprise: All the masterpieces are there, arranged in a chronological order, beautifully illustrated and accompanied by an enlightening text.



2. Armin Zweite's chronology of the life and work of Barnett Newman is absolutely fantastic. Written in a compact style hitherto unknown by art commentators the book flows from one anecdote to another. Complete and well referenced, the book is as complete as one would wish without ever being overbearing. Given the limited scope of Newman's work I would have hope that all prints were in color but alas only about 50% are color. Still the works are presented logically and connections are made throughout the book. HIGHLY, HIGHLY recommended for anyone. HIGHLY, HIGHLY, HIGHLY, HIGHLY, HIGHLY, HIGHLY recommended for the abstract art enthusiast.



3. it is exelente book if you need same ideas ,for your paintigs this book it's greatfull

1 comments about Custom Knifemaking.

1. This is a great book. If you make knives, it is even better.
   
   Thanks David

2 comments about Identity by Design: Tradition, Change, and Celebration in Native Women's Dresses.

1. This was a good choice for Native American clothing. It helped with ideas on creating new outfits.



2. I am a traditional dance dress artist, although not as prolific (or even as expert) as some of those featured in this book. If I could have given more than 5 stars it would receive them. The photos were beautifully clear, although there only one or two photos of some of the featured dresses, they showed the splendor and detail of artistry from the past. I hope this doesn't spawn more artifakes, especially those coming to the US from overseas. This book is a long-awaited dream come true.

1 comments about Birth and Present: A Studio Portait of Yoshitomo Nara.

1. Yoshitomo Nara is one of my favorite artists. He is also a giant in today's Art world. Although, shy and soft-spoken his work speaks large volumes. He rarely talks about what inspired his work, because he allows his fans to come to their own conclusions. He also is someone with integrity because he refuses to sell out by allowing big corporations to take control of his work. As a result, he is not as big as he could be.
   
   This book shows Mr. Nara in his Japan studio working on various art pieces. There are no words, just pictures of him working and concentrating. At the very end of the book, the author explains almost every picture to give you an understanding of what is going on. The book also explains Mr. Nara, a Japanese man, recently moved back to Japan and these pictures are some of the first pictures of him working in his native land.
   
   A good-looking man, Nara actually lives in his studio alone because it allows him to create his work in a large area. As most people know, the spaces in Japan are small but Nara is used to working in big spaces because he lived in Germany for over a decade. Therefore, he purchased a warehouse to work and live in. You have to feel sorry for him because the climate in the warehouse is not ideal for a human being and he has very basic living set ups (for example, a kitchen).
   
   I called this review, "A Silent Giant" because it fits Nara and this book.

5 comments about John Singer Sargent: The Sensualist.

1. After I graduated from art school, I realized I'd taken that massive library for granted, and that I was going to have to invest in my own art books if I wanted to retain them as a source of inspiration and instruction. Of the fine artists, Sargent was my first target, not just because of his exceptional art, but also because the apparent explosion of interest in his work that has occurred in the last decade or so means that books about him are easy to find. This is the second Sargent book I've purchased, and what I like best about it is the quality and variety of the reproductions: there are oil paintings both famous and obscure, lovely watercolors, and a nice collection of incredible nude figure drawings. While it is hardly a comprehensive view of Sargent's work, this is a great overview for anyone with a passing interest in the artist and a wonderful addition to any enthusiast's collection. Highly recommended.



2. This is my 3rd book on Sargent purchased from Amazon so I might have been expecting something more. It's very well prepared, though I think that no painting should be printed in black and white! I found the few black and white images quite annoying actually. The rest of the book is well presented, but I found the occasional reference and clear bias about Sargent's private life is quite irrelevant for me.



3. 
   Handsome and powerfully built, American painter John Singer Sargent (1856 - 1925) epitomized the versatility of the Realist approach. Noted for his luminous portraits of the wealthy and famous on both sides of the Atlantic, he astonished viewers and critics alike with his powers of observation and deft renderings. A visitor to his studio once noted that he had painted his model's scarf with one sweep of his brush.
   
   Trevor Fairbrother has prepared a rich and meticulous analysis of this expatriate painter in "John Singer Sargent," a volume in Abrams' acclaimed Library of American Art Series. In his preface Fairbrother states, "I want this book to reflect the complexity of Sargent's affiliations and practices as an artist. I will try to provide a balanced representation of the man and his art, in the hope of understanding the unusual highs and lows of his reputation." Fairbrother accomplishes these goals admirably.
   
   Born in Florence, educated in Florence and Dresden, influenced by Velasquez, Sargent's career as a portraitist began in Paris. He later settled in London where he maintained a rigorous schedule, adding watercolors and drawings to his expanding oeuvre. His portraits were commissioned by the Rockefeller family, statesmen, authors, and actors, enhancing Sargent's celebrity. It was argued snobbishly "that Sargent was most useful to people with new money or foreign blood who want to buy social recognition."
   
   In a day that paid homage to power and physical beauty, very much as we do today, Sargent knew no peer. With some 100 illustrations and well crafted text, this beautiful volume represents him well.
   
   - Gail Cooke



4. Singer es un pintor a quien debe verse en vivo en los museos; el único inconveniente que encuentro en el libro es su tamaño, esas pinturas se disrutan mucho más en formatos más grandes



5. The reproductions of Mr. Singer's drawings are worth the price alone. A wonderful collection of work which needs to be in the library of all serious artists. The main thought of the text, however, makes an issue of Mr. Sargent's personal life regarding his sexual orientation which as depicted in this book may or may not be accurate. It saddens me when an author speaks in great authority on deeply personal areas of a celebrity when they never met the person and do not know if their theories are accurate.
   
   Other than that, there is a great deal of valuable information in the text which is very interesting in regards to giving insight into the history involving many of Mr. Sargent's paintings. The reproductions are very well done and the tonal studies in the back of the book are master courses on human form, anatomical structure, body movement and emotional impact.
   
   I highly recommend this collection of reproductions and must say the price is insignificant compared to the wealth of art inside. If you sketch his tonal drawings in your own hand, you will learn a great deal and open yourself to a new realm of artistic achievement. Mr. Sargent continues to earn respect for his artistic achievements which very few have attained.

4 comments about The Artist-Gallery Partnership: A Practical Guide to Consigning Art.

1. I have a small space for a gallery. This book taught me that running the gallery myself was more involved than I had thought. I will leave the operation itself to a lessee. Essential first step for people who think it would be simple fun to open an art gallery.



2. Whether you are a gallery owner or artist, I suggest finding a book that goes much more in depth. The Artist-Gallery relationship is much more complex and has many nuances not covered. The artist once again gets the short end of the "stick."



3. This book is regarded by many as the "bible" for artists who consign work to galleries. All the pitfalls and potential problems you can imagine are cited here, along with practical, simple advice for making the most of an artist's relationship with a gallery.
   
   Tad Crawford, who has written extensively on the legal and other business aspects of artist practice, has scored again with this great work.



4. I own a small gallery because I love art and artists, but I was not prepared for the variety of business and legal headaches that this field could produce. During yet another frantic call to my attorney, she recommended this book to me and life has been considerably calmer ever since.

   Let's face it: art is a business and if you are an artist or a gallery owner, you can't afford to be without this information. I use this book to maintain records; I check paperwork against it before visiting my accountant; I use its sample forms and agreements every time I get the place ready for a new exhibit; and I follow this book's advice with every sale and display we make. This book should be required reading for everyone who has anything to do with art consignment...

No comments about Art and Artifact: The Museum as Medium.