3 comments about Everyday Genius: Self-Taught Art and the Culture of Authenticity.

1. A disappointing book that does not cover its title.
   Art is visual, not cerebral.



2. When "Self-Taught Art", "Contemporary Folk Art", "Outsider Art", "Art Brut" or whatever you wish to call (definition of this style is just one section of the book) is finally looked upon as a ligimate movement of Style this book will be a reference that is constantly looked upon to show the difficulties there was and currently is in the acceptance of this Art into the mainstream.
   The chapters and their break up are clearly referenced and the debate that they create is magnificent. I thought it was as simple as "Art for Arts sake" before reading this book but now I know that there is a lot more to this genre of Art.
   Compelling reading that anyone who owns or is looking at venturing into future purchases of "Self Taught Art" should read before opening their wallets.



3. This book addresses everything: the folk art (the term I'm used to) world, the art world and the whole world, because ultimately, any and all worlds are about socio-economic factors. This book is practically a unified theory on socio-economic relationships. If you liked Tom Wolfe's Painted Word, you should read this one.
   
   Everyday Genius does a great job of revealing the insiders' world of folk art, and yes, it addresses the debate over what to call the field.

3 comments about Tiki Art Now!: A Volcanic Eruption of Art.

1. This book is a collection of Tiki art from a sunny tropical art exhibit to smashingly hit foggy San Francisco. An amazing turn out was observed that night, where the crowds were spilling into the streets, and there was a line of people waiting for people to exit before they could be let in. There is a variety of levels of art in this book, where all aspire to share their love for the Tiki God. There are no Johnny come latelys to join the love of tropical drinks, tropical breezes and a Tiki God to admire. This is a good book to complete your collection of Tiki books.



2. Otto is no johnny-come-lately trying to profit off the Tiki craze--he sparked the Tiki revival 10 years ago, when he started "Tiki News." Many of us first learned that others were also into Tiki from that publication, which also introduced us to the Tiki work of Shag and others.
   
   This is a great survey of newer Tiki art and is highly recommended.



3. This is a small book. I expected more and have to say I was very dissapointed. While there is some good art from some good artists in this book, there is alot of amateur tiki art that is not worthy and you have to wonder why it is even in the book. What is the criteria for the tiki art in this book? There seems to be none, and frankly this book seems like a weak attempt to profit off the latest tiki craze. I do not recommend it to anyone. Compared to the other tiki books in my collection, this book leaves you very flat.

2 comments about Color as Field: American Painting, 1950-1975 (American Federation of the Arts).

1. -very good essay, decent reproductions, good selection of Color Field paintings, BUT, the binding is bad. The inner hinge is very poorly designed: thin glossy paper glued to boards over rough cloth tape, which is very visible and ugly. This is one that would be better in paperback.



2. This book represents the catalog for a circulating museum show devoted to the prime movers (Morris Louis, Kenneth Noland, Jules Olitski and Helen Frankenthaler) in the Color Field school of painting, also called "post-painterly abstraction" by Clement Greenberg, in order to differentiate it from the more autographic type of paint handling found in Abstract Expressionism, the style that preceded it. The advocacy of the autocratic and well-hated Greenberg, America's leading art critic of the 20th century, has done much to inhibit proper scholarly and market respect for the style. The essay by Karen Wilkin, an independent art historian with a long-standing interest in the subject, is clear, concise and beautifully illustrated. My major criticism is that the enthusiasm of the author leads her to several dubious conclusions and a general lack of critical and/or comparative thinking: none of the artists have weaknesses, everyone is a good and worthy contributor, in other words, "thank you for sharing". For example, both the exhibition and the essay try to make the case for a number of secondary, even minor or weak artists (e.g. Walter Darby Bannard and Friedl Dzubas) as vital members of the movement. There is also an attempt to include major abstract expressionists like Hans Hofmann, Robert Motherwell, Barnet Newman and Mark Rothko in the group rather than considering them strictly as precursors or major influences on the development of the style. The primacy of Frankenthaler over Louis is also subtly argued for and highly debatable; the invention of a technique (the stained and poured canvas) is not the same as making a dramatic change in the quality and intent of an art form. There is a structural clarity, chromic inventiveness, absence of draughtmanship and coolness in Louis and Noland that is quite distinct from the decorative and tasteful art of Frankenthaler; these features make Color Field painting in their hands a close relation or precursor (as Wilkin points out) to 1960s Minimalism. At the same time, it is very refreshing to see an important writer give some credit, in proper proportion I might add, to Sam Gilliam, an African-American and a Washington artist like Noland and Louis, and to Ronald Davis, a Californian, who is more often remembered, if at all, in relation to the reductive abstraction of Frank Stella. Overall, this is an extremely fine contribution to the field; it covers the widest number of artists and properly situates Color Field painting alongside Minimalism and Pop as one of the major artistic developments of the turbulently productive 1960s.

No comments about Cleaning Painted Surfaces: Aqueous Methods.

1 comments about Ernst Ludwig Kirchner: 1880-1938.

1. The catalogue for a 2003 exhibition at the Royal academy of Art in London, this book is one of the best studies on this leading German expressionist painter. The text is divided in several essays by important critics (Norman Rosenthal, J.Lloyd...) and deal with aspects such as Kirchner as an expressionist, Kirchner as a German artist, Kirchner's sculptures (rarely seen before and revelations of the artist's multi-faceted skills). All the masterpieces are reproduced in high-quality fashion. Required reading for anybody interested in the Expressionists.

5 comments about Aprons: Icons Of The American Home.

1. As a quilter and vintage fabric lover I found this book to be a beautiful feast. The photos are large and clear, all aprons shown are displayed over period dresses, or on their own. This book is fabulous for collectors, or people like me that love to recreate vintage designs. I hope aprons come back, but even if they don't I will still wear them. This book is very timely, and it does deserve five stars. One word of cation, it isn't a pattern book, there are no projects, or patterns. It is simply aprons, in all their glory. A great coffee table book!



2. This book is full of large, colorful photos of many beautiful aprons. It is also filled with pertinent information for anyone interested in vintage aprons. Reading it makes me feel "home again." I've been an apron collector for years, and I had the opportunity to view Ms. Cheney's apron exhibit in my town's museum recently. It was fabulous! This book is my new favorite! Thanks, Ms. cheney!



3. Aprons & Icons is for vintage clothing fans and for those who have a warm spot in their hearts for the unsung heros of the wardrobe. Documenting everything from groovy '60's styles to early 1900's workaday models, the book is well researched and beautifully presented. It makes a great gift. Each time I open it I discover something new.



4. I just loved Joyce Chaney's book, Aprons:Icons of the American Home. It is the only book to date on the history of the american apron. The photographs are beautiful and the content is complete. Every page brings a memory of mom, grandmother or an aunt. This is a must for anyone interested in american icons, aprons or vintage clothing.



5. This book will take you back through vivid memories of aprons for cooking, home, and just fun. It also inspires a fashion sense because these aprons are timeless and fit today's world as much as yesterday's. Thank you Mme. Cheney for a great book and one that fills a void in the history of fashion and textiles.

1 comments about Diego Rivera: Postcards (Collectible Postcards).

1. I bought these for my 7 year old grandson, who had just read about Rivera at school. I usually buy books, but this a a great alternative to add variety to learning.

1 comments about Cruel and Tender: The Real in the 20th Century Photograph.

1. Great catalog - very well printed and organized, some truly great and important photographers (The Bechers, Eggleston, etc)

1 comments about Camille Pissarro.

1. The book, Camille Pissarro, is delightful. The reproductions are excellent and the information very interesting.
   
   Mary Mathews

5 comments about Evidence: 1944-1994.

1. You want to see the best of Richard Avedon's photography? Well this is the book for you, no doubt



2. This is a book of photography with great detail. The book shows the photography of the artist as well as the long paragraphs about what the artist was doing during the time that he took the photograph and why he chose to take it in such a manner. The photography of Richard Avedon is showing in a variety of sizes, which is in the manner he would show his photography in a gallery. I think that works very well, because there are parts in the book where certain pages are dedicated to just one photograph. I was fascinated with the timetable of his photography, that actually takes up a fourth of the book, in which is it displayed by photographs of his work as well as his personal life. I enjoy the selection of photographs that are in this book because even though they are all portraits, they are interpreted in so many different ways. Each photograph tells something, either of the photographer or the subject that is being photographed.
   
   The size of the book is very large, but it works perfectly with the subject it is portraying. The photographs are enjoyable in the sense that they can be seen with great detail. I don't think I would have had the same impact from the photographs if they had been placed in a book half its size. I think the only part of the book that could have been somewhat more enjoyable for me as a beginning photographer, would have been to read some information of how the photographer went about taking the photograph and what his preference in photography was. Some of the paragraphs start going into some details about a photograph but then just jump on to the next without giving an ending to the information.
   
   The book in a whole, is a great book and I would recommend. I think that it is a great book to have if you plan on seeing professional photography.



3. I'm glad that I own this book but potential buyers should be aware that this is a history of Avedon's work, not a stunning presentation of his photographs. The book contains hundreds of images but most of them are small in size. The images are arranged chronologically with some associated text. The book also contains two essays about Avedon and a detailed bibliography listing press accounts about him. There is also a helpful list of the various books that Avedon has published.

   I would recommend his other titles -- "In the American West" for example -- if you want to see the full-size, stunning photographs for which Avedon is famous.




4. The book is OK. Nevertheless beware: there is more text than photographs. And they are tiny in most cases. He who prefers to read about photographs rather than to see them will be pleased. I am a little disappointed.



5. This is a wonderful collection. I have found myself going back to it again and again. I'm not sure Adam Gopnik was such a good choice, although he is a lively writer; but the other New Yorker art critic, Peter Schejhal (sp?) would certainly have been better, as entertaining as Gopnik but more focused and memorable. But this is just a small complaint; overall, I love this book and hope that every library in the world someday owns a copy.