3 comments about The Graphic Designer's and Illustrator's Guide to Marketing and Self-Promotion.

1. Many books of this ilk have an attention grabbing title, yet are poorly written with basic concepts repeated to fill up the chapter. Not so with Maria's book - she succintly describes the strategy and process of marketing and promotion for the creative professional. In doing so, she breaks down the feeling of being overwhelmed by the tasks to create visibility and thus business, and you are inspired to create a plan and act. Thank you Maria - this was the book I've been searching for.



2. The quality of the writing here is just great. Some really lucid explanations of subtle concepts.



3. Too little has been written about the business side of graphics and, unfortunately, much of what exists is too theoretical or academic to use. Maria's book "cuts to the chase" and tells the graphic arts professional what they need to know to succeed. Corporate contractors can benefit, too, in learning how to maximize "win-win" situations with their creative professionals. This is a user-friendly handbook for the busy commercial artist - or the artist who would like to become busy by tapping the insights of a seasoned professional.

1 comments about The Treasures of Islamic Art in the Museums of Cairo.

1. The woodworks, ivory carvings, metalwork, ceramics, manuscripts paintings, sculptures, glass, and other art works, despite their variety, different ages, and countries, all "bear something of the essence of the Islamic faith: divine unity, balance, and peace." Unlike much Western art, Islamic art is not meant to be provocative or idiosyncratic. Their are works from Turkey, Iran, and other places in the Muslim world. But most are from Egypt arranged according to different ruling dynasties starting about 600AD. Fine color photographs catch the details of designs, the textures, and the workmanship of the varied pieces. General text gives historical and cultural background of the different historical periods, and there's an informative, concise annotation with each art work pictured. The variety of the art works, the specifics of the annotations, and the text sections giving background convey the bounty of the world of Islamic art.

3 comments about Norman Rockwell: Pictures for the American People.

1. Anyone who has wondered (even remotely) about Norman Rockwell's place in the World of Art will enjoy this book. In addition to 80 beautiful color reproductions of Rockwell's paintings, there are 14 essays about the artist and his work. The authors of these essays acknowledge that Rockwell was an anachronism and, to most people in the Art World, an object of derision. But each essay argues in favor of Rockwell's importance by focusing on one or more of his unique talents.

   In "the Great Art Communicator", Thomas Hoving makes a very convincing case for Rockwell as an influential American artist. Rockwell's son Peter's essay entitled "Some Comments from the Boy in the Dining Car" (referring to the painting for which he was used as the model when he was a boy) offers invaluable insights into what the artist himself thought about his work. There is also an essay by Anne Knutson that tells the fascinating story of the Saturday Evening Post, its importance in the definition of "Americanism" and how Rockwell's relationship with the editor influenced his work.

   The debate about Norman Rockwell's place in the history of art will undoubtedly continue. But as Laurie Norton Moffatt sums up in her essay "The People's Painter": "The personal transformation and communication that occurs when one looks at a work of art is the artist's defining moment. Rockwell was a master of delivering that moment to his public."




2. In a world that is completely inundated with so many Norman Rockwell books, I thought that i would never buy another one. I'm an artist and fan of Rockwell's but quite frankly there are so many other great illustrators out there, at times i wish that fewer books were written about Rockwell and more attention was given to other less known American artists like James Montgomery Flagg, F.R. Gruger, J.C. Leyendecker, Howard Pyle and Harvey Dunn, among many others. Then this book came along. I told myself I didn't want to buy it, I already have four books on Rockwell, I certainly don't need another. Then I opened the book and saw that the quality of the prints in this book are outstanding (the best I've seen) and the text is really informative. Now I'm telling myself THIS will be the last book I buy on Rockwell. This book will give you a new appreciation for Rockwell's skill as a painter and a colorist. After seeing these painting in person for the show that this book was written for, I can say that this book does justice to Rockwell's amazing talent.



3. I received Pictures for the American People as a Christmas gift and was delighted at the exquisite art as the pages unfolded. I collect all sorts of Rockwell works and this is truly the best I've seen. It explores not only the paintings, but what is behind them, the man himself. I felt as though I was being introduced to Mr. Rockwell through this masterpiece. It is a MUST BUY book! Even if you have never experienced one of his books or paintings, you will want to open this book again and again. The images are displayed in such detail and the stories behind them tell so much. You will be captured by the different aspects of art once you have seen what is inside. I will not spoil all this book has to offer, so if you haven't already purchased a copy, do so....or put it on your Wish List. You'll be happy that you did!

5 comments about Gardner's Art Through the Ages (Non-InfoTrac Version) (Gardner's Art Through the Ages).

1. The product, although used, is in great shape. Despite being a text book there are no markings and almost no wear on the cover. The price was resonable, and it was shipped at a personal lose to the shipper. It got to me before several textbooks I had shipped priority. AWESOME!!!



2. Simply the best art book there is around. It is detailed without being wordy and gives you exactly what you need to know.



3. As a high school sophomore using this book as a reference source for art history AP class has been quite an experience. While encompassing many of the major aspects of art history, there are some points it fails to acknowledge and which can only be addressed by a teacher who actually knows his stuff. The only other complaint that at 13 1/2 lbs., it's very hard to trudge up four flights of stairs.



4. Short review: ... buy it. If it requires selling vital organs or loved ones to pay for it, it's worth it.

   Long review: I enrolled in an Art History course with no idea what I was going to get as a textbook. This book is well-written, intelligent, informative without being overly esoteric, and above all beautiful. The prints are generally in color and always well-reproduced. Historical context is always provided, which gives a solid background for anybody looking to learn about the time any artwork was created. The text also offers insightful commentary about each piece selected for display. This book is so good, in fact, that it's become known as the semi-official Art History 101 textbook. Even if the history's not your thing (and for crying out loud, why not?), the book provides untold hours of beauty.

   One word: perfection.




5. This is lushly detailed book with fine reproductions. However, I found the book to be full of editorial errors and blunders. Why should consumers be asked to pay one-hundred dollars for a book that is this poorly edited? Profits should go towards finding new editorial help. Let's hope the new edition finds someone in charge that is more organized and observant.

1 comments about Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680-1860.

1. This book introduces and catalogs an exhibition co-organized by the Asia Society and the Japanese Art Society. It is highly recommended to students, scholars and collectors of Japanese ukiyo-e (floating-world pictures i.e. wood block prints and paintings). Many of the important Japanese print artists took up painting as their career's progressed which this catalog documents. This catalogue, like two earlier ones, "The Floating World Revisited" and "Women of the Pleasure Quarter", that are among my favorites, integrate these activities exceptionally well with a new added twist, the commercial impetus for this art. In addition to copiously illustrated articles by among the best ukiyo-e scholars, the catalog includes an appendix of 141 items, mostly prints and paintings that are color illustrated and briefly but authoritatively annotated.
   
   The book is clearly and beautifully illustrated - all color. It could easily grace a coffee table. A great deal of attention must have gone into presenting the illustrations since they are nearly all size appropriate i.e. clearly viewable. Interesting details are enlarged when called for by the text. The selection of art and prints is with few exceptions superb and not without surprises for even the most knowledgeable collector. I appreciated the translations of many poems, which like captions are integral to understanding the prints and paintings but often ignored because of translation difficulties. To see for yourself the quality of the selections included in this volume, goggle the Asia Society Museum exhibition.
   
   The deciding factor that led me to purchase the book in addition to the exhibition site was the list of contributing authors which includes authors of several books and articles that I consider among the finest in the field.
   
   Article List:
   
   1. Donald Jenkins on A Mirror on the Floating World (Introduction/over view by the world class curator of Japanese ukiyo-e and Director emeritus of the marvelous Portland, Oregon Museum of Fine Arts)
   2. David Waterhouse on Moronobu, the founder of Ukiyo-e: Tracking Down an Elusive Master (New facts and insights that distinguish this long standing scholar further)
   3. Sarah Carpenter on The Original Source - Accept No Substitutes! Okumura Masanobu (Thank you! It is about time that we hear more about this incredible man).
   4. Allen Hockley on Harunobu: The Cult and Culture of Color (This Dartmouth professor and prolific writer succeeds again with a provocative take).
   5. Timothy Clark on Katsukawa Shunsho: Ukiyo-e Paintings for the Samurai Elite (A perfect choice for THE expert on both Shunsho and floating world paintings).
   5. Julie Nelson Davis on Tsutaya Juzaburo: Master Publisher.
   6. John T. Carpenter on The Literary Network: Private Commissions for Hokusai and his Circle.
   7. David Pollack on Designed for Pleasure: Ukiyo-e as Material Culture. (This one can be skipped).

5 comments about Badlands.

1. Badlands might as well be called Charles Gatewood's Greatest Hits, since the book is a collection of his most provocative, creative, sensual, and fascinating pictures. Gatewood's career began back in the 1960s, but his style hasn't really changed that much over the years. It's still black and white pictures of the "forbidden" that drives him, but it's not only sexual subjects that are featured in his work, even though it appears the kinky/fetish scene is his main interest.
   
   As Gatewood himself makes clear during the interview at the end of the book, his ambitions have changed over the years. When he moved to New York in 1966, after having lived here in Sweden (Stockholm) for two years, he started working as a photographer for different magazines, and soon built up a reputation for being the man to hire in case the job had something to do with the shadowland of sex, drugs, and other taboos. In the beginning of his career Gatewood focused mostly on political themes, but as soon as he discovered the great subcultures of New York and San Francisco he realized where his true passions were.
   
   Badlands is divided into different chapters, with names such as Piercing, Tattoo, Mardi Gras, Modern Primitives, True Blood, Wet Dreams, Fetish Girls, and so on. None of the pictures have sexual penetration in them, but that doesn't mean there's a lack of both male and female genitalia. Not one single picture is in color, and that works excellent. Still, the pictures in chapters such as True Blood and Messy, Messy, Messy sure could use some color, because blood simply doesn't look blood-like in black and white. I'm not saying black and white is worse than color (in fact, I think the opposite), but bloodplay gets a whole new perspective if you see something red on the model's skin and not something black.
   
   The book has tons of amazing pictures to look at, but despite Gatewood's expertise the book still has a few downsides. First and foremost, in this case, size does indeed matter. Badlands is a meagre 14 x 19 centimetres, which is more or less the size of a normal Swedish paperback. This is a horrible size, because the pictures are beautiful and deserve to be printed in larger sizes.
   
   I also have a problem with the fact that I get the feeling that "normal" portrait pictures are over represented. There's nothing wrong in portrait pictures, but considering the unique environments Gatewood frequents and the equally unique people he meets I cannot help but to feel somewhat left out when I "only" have a face to look at, no matter how many bizarre piercings or tattoos there are.
   
   However, the greatest problem with the book is the lack of contexts; which unfortunately makes the pictures, no matter how beautiful and interesting they are, feel incomplete. Many of the pictures show bizarre and alternative individuals in bizarre and alternative environments and places, and some text accompanying at least some of the 401 pictures sure wouldn't hurt. But instead, all the reader gets is the name of the model and the place, and what year the picture was taken. This lack of context makes it difficult to fully appreciate the pictures, which truly sucks because most of them are truly masterpieces.



2. Badlands might as well be called Charles Gatewood's Greatest Hits, since the book is a collection of his most provocative, creative, sensual, and fascinating pictures. Gatewood's career began back in the 1960s, but his style hasn't really changed that much over the years. It's still black and white pictures of the "forbidden" that drives him, but it's not only sexual subjects that are featured in his work, even though it appears the kinky/fetish scene is his main interest.
   
   As Gatewood himself makes clear during the interview at the end of the book, his ambitions have changed over the years. When he moved to New York in 1966, after having lived here in Sweden (Stockholm) for two years, he started working as a photographer for different magazines, and soon built up a reputation for being the man to hire in case the job had something to do with the shadowland of sex, drugs, and other taboos. In the beginning of his career Gatewood focused mostly on political themes, but as soon as he discovered the great subcultures of New York and San Francisco he realized where his true passions were.
   
   Badlands is divided into different chapters, with names such as Piercing, Tattoo, Mardi Gras, Modern Primitives, True Blood, Wet Dreams, Fetish Girls, and so on. None of the pictures have sexual penetration in them, but that doesn't mean there's a lack of both male and female genitalia. Not one single picture is in color, and that works excellent. Still, the pictures in chapters such as True Blood and Messy, Messy, Messy sure could use some color, because blood simply doesn't look blood-like in black and white. I'm not saying black and white is worse than color (in fact, I think the opposite), but bloodplay gets a whole new perspective if you see something red on the model's skin and not something black.
   
   The book has tons of amazing pictures to look at, but despite Gatewood's expertise the book still has a few downsides. First and foremost, in this case, size does indeed matter. Badlands is a meagre 14 x 19 centimetres, which is more or less the size of a normal Swedish paperback. This is a horrible size, because the pictures are beautiful and deserve to be printed in larger sizes.
   
   I also have a problem with the fact that I get the feeling that "normal" portrait pictures are over represented. There's nothing wrong in portrait pictures, but considering the unique environments Gatewood frequents and the equally unique people he meets I cannot help but to feel somewhat left out when I "only" have a face to look at, no matter how many bizarre piercings or tattoos there are.
   
   However, the greatest problem with the book is the lack of contexts; which unfortunately makes the pictures, no matter how beautiful and interesting they are, feel incomplete. Many of the pictures show bizarre and alternative individuals in bizarre and alternative environments and places, and some text accompanying at least some of the 401 pictures sure wouldn't hurt. But instead, all the reader gets is the name of the model and the place, and what year the picture was taken. This lack of context makes it difficult to fully appreciate the pictures, which truly sucks because most of them are truly masterpieces.



3. Chuck Gatewood has been one of the principle documentors of the social and sexual "fringes." By and large, he's the guy that goes to "mysterious" places that you, yourself wouldn't know about to photograph some fairly "strange" people who do "dirty" things to themselves and each other. For some time now he has provided many a glimpse into a world that is unknown to most, and allowed his audience to view this odd, insatiable world at a "safe" distance within the context of "art."

   "Badlands" is an anthology which means it's like the Frito-Lay Variety Pack of Gatewood's work. SOME of it I find to be utterly compelling, visceral, provocative and sublime. And SOME of it I find to be downright contrived, silly, reactionary and obvious. (Sometimes he, as well as the people he photographs leave an impression of just trying too damn hard to freak-out the "normal" people. "Look at me! I'm sooooo BAD!!!")

   In all honesty, I bought this book because I used to date the girl on the cover. The idea of taking this book off the shelf and being able to say, "See her? I DATED her! She's NUTS!" appealed to me. And I have a few other friends contained within its' pages. Otherwise I would have skipped it. But you should buy it because it's not a bad book.




4. Each photo in this book speaks "A thousand words". From the classic photo of Bob Dylan to the hauntingly beautiful raven haired "vampire" beauty on page 418. This book also expresses a tongue-n-cheek sence of humor. It is reminiscent of the Weimar Rebublic of the 1920's. A brigade of debauchery! A collection of social history and sexual diversity. It tells a story of people who need not ask for appologies or excuses.



5. With this book Gatewood proves himself to be the undisputed master of documenting America's often perverse alternative counterculture. This book is a mixture of cultural anthropology, daring photojournalism, and cutting-edge erotica. It is a retrospective of his work, beginning with early '60s portraits of Bob Dylan, Alan Ginsberg, and William S. Burroughs; then takes us through the sexual puberty of New York City in the '70s, it's undoing in Wall Street in the '80s, and brings us into the present with beautiful and haunting photos of the freaks of San Francisco, New York, and LA: e.g. "slave kas" is seen in '90s San Francisco, an eerie but inviting grin on her face as she pulls off her tight vinyl corsette, highlighted by a heart painted on her pierced breasts with blood. This book is a glimpse, nay, so well done, an invitation to a world that few of us ever get to see. This is a conversation starter for sure, and an enduring and timeless book of art.

5 comments about Spectrum 6: The Best in Contemporary Fantastic Art (Spectrum (Underwood Books)).

1. As with the last few books in the series, Spectrum 6 compiles the artwork sent in by various artists by categories, such as 'editorial', 'unpublished', 'dimensional', & 'comics'. In the past, the Spectrum series featured quite a bit of wonderfully stimulating /art/ -- unfortunately, it must be said that this compilation contains more /illustration/ instead. Unlike the more original works featured in the last few books, Spectrum 6 seems to concentrate on work done on popular subjects, rather than the creative talents of artists young and old to the industry. Though it is still a quality publishing, with glossy paper and solid binding, a person new to this series would be better advised to look at Spectrum 5 and prior. A mild dissapointment.



2. As a photographer I was excited to obtain this book. Here in Atlanta Wrestling has become the males soap opera. This in turn has led to an increase in Action Figures. I have always longed to intergrate bodybuilders and fitness women into my erotic imagery.

   This book gives me the necessary compliation to allow my mind to investigate how to mimic fantasy art. I like the fact that my fears as a child were awakened as well as my sexual stimuli touched.

   Finally, I like the fact that one of the editors is a female. It is time that women who appreciate art and for me erotic photography began to play a vital role in persenting these images. Yes I am familiar with Olivia. Can some one provide me with ISBN's on the previous issues?




3. I consider the sixth installation in the series to be rather weaker than the others. There is not as much variety in the art presnted within, and there is far too much (for my tastes) pseudo-fantastic art - the kind that deals with erotics, "babes wielding giant weapons", super-powered combat, etc. The volume does have many redeeming qualities, but they are not numerous enough to atone for the book's flaws. The fifth volume was SO much better.



4. If you're a fan of sci-fi art work, this book is for you, spectrum 6 has some of the biggest names in this genre of illustration as well has some lesser known illustrators. The problem with spectrum 6 (as with all the other spectrum books) is that the popularity of the artist often counts more than the piece itself.



5. This sixth addition to the "Spectrum" series certainly lives up to its subtitle of "The Best in Contemporary Fantastic Art". There is a beautiful cross-section of work by old favorites and new talent alike. Shaun Tann, Phil Hale, Donato Giancola, and Gary Gianni are just a few of the stand-outs in this wonderful collection. You like Whelan? He's here. "Dinotopia" creator Jim Gurney? Him, too. Comics? They're covered. Statues and model kits? They're here as well. If your budget will allow only one fantasy art book, "Spectrum 6" is certainly the best choice.

4 comments about Treasures of the Louvre (Tiny Folios Series).

1. The book that was sent to me was in Chinese- NOT WHAT I ORDERED!!! I was very displeased when I got this item.



2. this book was exactly like the one I looked at the Louvre in Paris, France but cheaper. Even paying for the s&h I still got it cheaper. Excellent condition!! Very satisfied customer



3. Housing a majestic collection of nearly 300,000 works of art, only a fraction of which are on display at any one time, no book, no matter its size, can ever come close to actually visiting the Musée du Louvre itself. In that regard, this book is no different.
   Where this comprehensive book, written by the museum's director, excels other visual guides of its kind is in both the assortment of the works it presents and in its easy-to-browse organization.
   Printed in high-quality plates on semi-glossy paper, and bound in a sturdy, pocket-sized format, this little volume superbly reproduces nearly 400 of the museum's most renowned masterpieces. For each item, its name, author, place of origin, date of creation, materials and dimensions is indicated, and the pieces are chronologically arranged into seven distinct sections, according to the museum's own classification system:
   *Oriental Antiquities
   *Egyptian Antiquities
   *Greek, Etruscan, and Roman Antiquities
   *Decorative Arts
   *Sculpture
   *European Paintings
   *Drawings
   As a bonus, a brief look at the museum's history is offered in the Preface and, for fast check-ups, an Index of Illustrations is provided at the back.
   For those who have already visited the museum this book is a first-class visual reminder of what you have seen, and for those who have never been to it, it gives a tantalizing glimpse of this vast and remarkable treasure.
   Enjoy!
   --Reviewed by Maritza Volmar



4. This is a light coffee table book that provides a kind of greatest hits list of the collection. A collection that is so big no one single book would really do it justice. Overall I think this book does a fine job at its purpose, which is to provide you a little history and meaning on some selected works. This book is almost akin to a travel memento picture book. The book for me reminds me to always stop by the Museum when I am in Paris

1 comments about Drawing Now: Between the Lines of Contemporary Art.

1. Art is in a very sad state when photography is considered drawing. The book should have been labeled works on paper not drawing. Also, the art is not very interesting.

1 comments about The Care of Bronze Sculpture: Recommended Maintenance Programs for the Collector.

1. Not particularly advanced, but good for the collector and many bronze artists. Slightly repetitive, but affirmative of very good bronze finishing/conservation practices in a variety of enviroments.