4 comments about The Art of Jeffrey Jones.

1. This is an incredible book. 160 pages of color plates. As an artist, I really appreciate the detailed close ups of some of the paintings, where you can see every brush stroke. The color quality of the plates is very high. Lots of fantasy female figurative paintings in this book. Jeffrey Jones has a real gift for light and shadow, color, and painting the human form. Many of the color plates are 8" x 11" or 9" x 12". and could actually be cut out and framed.



2. Dozens and dozens Jeffrey Jones' wonderful paintings are beautifully produced in this fine book. Unfortunately, there is very little in the area of his sketches, and almost nothing of his comic work.

   It might be argued that Jones' most original creations were his *Idyll* and *I'm Age* strips for National Lampoon and Heavy Metal. Certainly his work with pen-and-ink is nothing short of extraordinary. (I work with pen-and-ink myself and am in awe of his modeling techniques.) This book gives us only one single page of Idyll and one single page of I'm Age.

   Because of these disappointing omissions I am tempted to give this book only two or three stars, but I give four stars in the hope that the Idyll and I'm Age strips will be collected together at a later time. They are brilliant, and from an artistic standpoint they are at least as important as the paintings.




3. Questions have always circulated about Jeffrey Jones and his place in the history of 20th Century fantasy art: was he a monumental talent or just another Frazetta imitator? I think this book finally provides a definitive answer: he was both. THE ART OF JEFFREY JONES is a beautiful showcase that effectively traces Jones' transition from a Frazetta-wannabe in the 1960s to the truly gifted painter of the 1990s be became.
   And I must disagree with Manfred's complaints and comparisons to previous Jones books: not only are Jones' earlier books long out of print, but THE ART OF JEFFREY JONES includes a great deal of work not included in any other collection (along with unpublished art credited as being painted in the '90s). While the text most certainly could have been expanded, I believe the editors have revealed more about Jones as an artist and person than any have previously and I came away with a better appreciation of this eccentric creator. A personal favorite.



4. This is one terrific book! It was a great trip down memory lane for me: Jeffrey Jones did the fantastic covers for many of the swords-and-sorcery paperbacks I read while growing up. In addition to the artwork for stellar talents like Robert E. Howard, Fritz Leiber, Jack Vance, and Karl Edward Wagner, Jones' beautiful paintings also brought class to less distinguished (but still fun)books by authors like Lin Carter and Gardner F. Fox. The wonderful artwork for many, many of these books is included, as well as a ton of great illustrations based on Edgar Rice Burroughs' Tarzan adventures. The cover illustration is one of the best (and most understated) pieces of vampire artwork I've ever seen. The paintings are enlivened by Jones' personal reflections on his career, and the book concludes with striking samples of Jones' non-commercial art. Jones' smoldering, doe-eyed brunettes are the stuff dreams are made of!

No comments about Street Art, Street Life.

1 comments about Lynching Photographs (Defining Moments in American Photography).

1. Yeah, well, how many books could there be about this topic? Morbidly fascinating. Nothing like having a well-rounded library, Dewey.

5 comments about Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts.

1. Being aware of the influence that Japanese print making had on European artists in the 19th century, but not having had much exposure to Japanese prints, I found this book to be a wonderful introduction. The essays that opened the book and the explicatory text that accompanied each print helped to establish a dialogue between the ideas that were exchanged between Oriental art and European art. I found this to be an excellent addition to my personal collection, and would highly recommend it to anyone with an interest in this area.



2. I have not "finished" this book, nor do I intend to for a long time. I take it out to admire, print by print, sometimes reading the informative text, sometimes not. This is not a comic book to rush through. Linger, enjoy.



3. I have not "finished" this book, nor do I intend to for a long time. I take it out to admire, print by print, sometimes reading the informative text, sometimes not. This is not a comic book to rush through. Linger, enjoy.



4. In the second half of the nineteenth century, Europeans and Americans discovered the world of Japanese woodblock prints and thus began an enduring love affair. One result has been the publication over the last century of literally hundreds of books and thousands of articles about the prints known as "ukiyoe," with a particular emphasis on such giants of the genre as Hokusai and Hiroshige. How then, in this crowded field, does one manage to create a must-have publication for readers who may already have well-stocked libraries on Japanese art?

   One answer is to be found in "Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts." Issued by the Asian Art Museum of San Francisco in conjunction with an exhibition, "Hokusai and Hiroshige" is typical of a new wave of "ukiyoe" books that combine excellent design (of layout and typography) with clear and interesting text. Every page displaying a print has a near equal amount of space devoted to text, and the book benefits as well from introductory essays by three established experts. The text in particular appeals to me, providing not only insights about the compositional nature of each print but also detail on the locales depicted by these two great landscape artists and appropriate historical information. There is room for improvement in "Hokusai and Hiroshige"--I would have preferred more standard romanizations for some Japanese words and the inclusion of an index covering well more than just print titles--but overall this is an excellent and valuable volume.




5. This volume was the companion for the exhibits at the Asian Art Museum in San Francisco. It covers all the lerge number of works shown there, each with descriptions of what is depicted and some in the points of interest that highlight each artist's rendering of the scene. There are sections on the lives of each artist and the fairly primitive tools used to create these intricate multi-colored (and thus multi-pressed) prints. The full collection of sets, such as the Hokusai views of Mount Fuji, are very well done and would in themselves make this book worthwhile. The sum total of both these woodblock masters is awe inspiring and sumptuous.

1 comments about In Focus: Alfred Steiglitz : Photographs from the J. Paul Getty Museum (In Focus (J. Paul Getty Museum)).

1. Steiglitz is one of the great masters of the art of photography. Married to producing quality material, his work will never be "out of style." In addition, today's media obsessed population can find excitement in the stories of his personal life with Georgia O'Keefe. So it seems as though there's something for all.

1 comments about Exhibit Labels: An Interpretive Approach: An Interpretive Approach.

1. Even though the information in this book is almost nine years old, it is still relevant and useful. People tell me so, and I find myself going back to see what I said when I get questions about label length, typesize, levels of information, or how long it takes to write. Do not buy the other book listed here, Making Museum Labels, because it is out of date (and out of print), and all the good content is in this one.

5 comments about Jackson Pollock.

1. This is the catalogue for the landmark Pollock exhibition held at the Moma and the Tate in 1998-1999. Considering the steep rise in the insurance value of Pollock's paintings, such a comprehensive retrospective is not likely to be repeated in the near future and we are therefore fortunate to have such a brilliant book to help us remember it. The late Kirk Varnedoe was one of the best interpreters of contemporary American art and his text, never anecdotical and always informative without being pedantic, does justice to the masterpieces without falling into any of the cliches that often pollute our view of this great artist.
   
   Beautiful illustrations make this book an indispensable presence in any arts library.



2. This breathtaking catalogue is simply the best single volume available on Jackson Pollock, and this is primarily--but not only--because of the number and quality of the reproductions it offers. Almost every one of the dozen or so Pollock books in my library contains a painting not available in the others, but this book collects and beautifully photographs the greatest number and variety of his canvases--outside of a catalogue raisonee.

   As the other reviewers state, there are many generously-sized fold-out pages here, and the crispness and resolution of these big reprints and of the more modest pages are simply amazing. To take two essential examples, this book's reprints of "One: Number 31, 1950" and "Blue Poles: Number 11, 1952" are astoundingly clear, better than any of the many other versions I've seen in art books, even in Ellen Landau's large-format survey, a book which also includes gatefolds.

   (Another reviewer, by the by, states that "Lucifer" is not available in any other book, which is not true. Among other places, it appears in Landau, in Elizabeth's Frank's concise volume, and as the sole color reproduction in the book for the 1965 MOMA retrospective. Anyway, it gets terrific treatment here.)

   Another invaluable inclusion in this book is a great number of full-sized detail photos of the canvases. For example, on a page adjacent to "Lucifer" and "Autumn Rhythm" and "Full Fathom Five," we see another photo of just one small section of that same painting but in 1-to-1 scale; these details reveal much of the dynamic, kinetic, urgent quality of these works, their encrustations of sand, glass, pennies, paint caps--traits which even this book could otherwise never offer a livingroom Pollock-viewer.

   Further, having seen the exhibit in January of 1999, I can attest to the generally excellent fidelity of the color-balance. (Curiously, no one seems to be able to capture "Autumn Rhythm"'s grey-teal passages in a book, but if you were at this show or have viewed the painting at the Met you've seen them.)

   The accompanying articles are excellent. Kirk Varnedoe overviews of Pollock's life, artistic aims, his accomplishments, all illustrated with family and archival photographs and drawing on Pollock quotations. Pepe Karmel uses the extensive photographic and film record of Pollock painting to analyze Pollock's physical movements. Most wonderful are Karmel's computer reconstructions of early states of the painting "Autumn Rythm," based on Hans Namuth's photos of Pollock at work.

   In sum, this book gives the finest, fullest offering of both Pollock's life and art.




3. I picked this book up at the MOMA Pollock retrospective a couple years ago and have used it extensively. Having seen many of the paintings in this book firsthand, I can say that these are some of the best reproductions offerred in book form on Pollock's work. Another plus is that several paintings are printed on fold-out pages, so that the work doesn't cross the book's seam. So many of his paintings are extremely wide that this makes a lot of sense (otherwise, there would be hardly any resolution in the height dimension).

   If you're interested in Pollock and need to refer to the reproductions, I absolutely recommend this book above all others out there.




4. Excellent companion piece to the MOMA show (which traveled to London's Tate) goes beyond all other Pollock explorations. A "must" for students of modern American art as well as those just wanting to get a better understanding of what Pollock was REALLY DOING.

   Large format features fold-out reproductions of breathtakingly high quality. Among these, incredibly, are paintings not found in any other published sources. (The incomparable Lucifer (1947) is one such work).

   The text is scholarly but readable, and although there is a considerable amount of it, each open page of writing offers at least a couple relevant and highly interesting photos or other illustrations. The many large color plates would certainly make a gorgeous and impressive coffee table book for anyone who doesn't choose to read it.

   Kirk Varnedoe writes definitively about Pollock's mercurial life & career. Varnedoe's nearly 75 pages of biographical analysis are a welcome alternative to the kind of misguided mythologizing about Pollock that has for a long time colored the artist as an overrated art "star."

   Pepe Karmel's contribution to this book is an amazing analysis of Pollock's painting process through an exhaustive examination of the famous films and photographs of Pollock at work. This was a fascinating, ground-breaking part of the exhibition, and is equally wonderful in the book.

   Well worth the price.




5. Having just taken in the MoMA show, I was very satisfied with the Pollock catalog. Very nice job reproducing the works (a difficult task in the printing of art catalogs!) Many fold-outs assist in conveying the size of Pollock's larger works. Large, full-bleed detail shots add a nice touch, complimenting the entire painting. While I'm not thrilled with the cover design, the interior is well-written, well-presented, and well-worth reading.

No comments about Adorn: New Jewelry.

5 comments about America Wide: In God We Trust.

1. This book will soon find its place next to your bed and near your heart. It is full of amazing images. Great Work!



2. I was very pleased with the product, the time it took to get here and the over all experience of the Amazon system.
   
   Thanks for being there.
   
   Rich



3. This is an awesome book and covers the majesty and beauty of America from sea to shining sea.

   Don't forget to check out his other book, Australia Wide. Another incredible collection of photographs.




4. My whole family, teenagers included, keep looking at this book. We've been to many of these places, but the way Mr. Duncan presents them is beyond words.



5. Ken Duncan has been Australia's foremost photographer, taking superb shots with his panograph camera. He has again produced a beautiful collection of photographs across this great land. Each picture is a work of art in itself! The book makes a great coffee table book - one to pick up and browse at any time.

5 comments about The Artist's Guide to New Markets: Opportunities to Show and Sell Art Beyond Galleries.

1. If you are so disconnected from the world that this book is helpful to you then you are probably too far gone already.
   
   Did you know that there are things out there called Art Fairs? No? Then there's a whole chapter telling you that there is! Of course all the chapter does is tell you to buy the leading art fair magazine. No joke!
   
   Does hearing that you should find a way to make potential buyers feel like their lives will be enriched by your art fill you with ideas? If so then you've got a whole chapter beating that very notion to death. You think I'm kidding?
   
   If those things seem novel to you, here's another: It's called the internet and you can find out everything in this book and more, including actual working links and contact information, for a lot less money.
   
   Sorry, this book is not very good. There is just absolutely nothing new in it and it's told in such a demeaning/upbeat style that will have all but the most bright-eyed and bushy-tailed gnashing their teeth. If it isn't a gallery then this book considers it "new" and wastes no amounts of usefulness giving it a gloss-over.



2. I started reading this book and did not put it down until it was done. Although some info is outdated, it is an excellent read.



3. ...it would stop them from having access to the most valuable ideas to helping anyone from progressing as a serious artist, and leave more room for ME to advance!!!!
   I thought I was an ideas person, and knew most of the ways of getting my art 'out there' but this book is jam packed with viable options of all imaginable venues and opportunities, as well as spelling out specific contacts and how to go about it all.
   From the moment I opened the book, I was highlighting, jotting down ideas, and revitalised in my enthusiasm to succeed with my art. I intend to read, re-read, and then read again this book. It will become my artist 'bible'.
   It encouraged me to put effort into submitting work to a hospital where it will now be viewed by thousands of people, and other exciting projects are now being explored.
   A HUGE thank you to Peggy for writing this book and being so generous with her first-hand knowledge sharing. I certainly learnt SO much from it, and would have to recommend it to any artist who wishes to progress in the art world (even though I wish they don't buy it, so that I can have all the opportunities to myself!).



4. Keep this on your bookshelf to get your mind jumpstarted re: where to show your work. It's a great guide to be read cover-to-cover or just occasionally flipping through. The suggestions of how and where can be easily answered if you're wondering how to get started in showing your work. It's like someone is there to hold your hand when you're worried or to cheer you on when you're excited.



5. Great Book. Once I started reading it I couldn't put it down. This book looks like a do it yourself art promotion book. This book gives me hope and confidence outside the gallery realm. Some of these are markets I never even heard of and list many references. Page 45 on corporations is a really inspirational section and even lists some. The book even talks about marketing to public transit systems which is where I work. I recommend this book to any artist who wants to sell their work. This is one of the best art marketing books I ever read.