2 comments about Portrait Painting Atelier: Old Master Techniques and Contemporary Applications.

1. This book imo has become the standard for learning to paint portraits in the indirect method. First, because other texts are outdated, shallow, and don't reflect the ascendancy of classical realism, many beautiful examples of which are shown in this lusciously printed work. Second, because the major thrust is to recapture the almost-lost fundamental techniques of the Old Masters, before our infatuation with the Impressionists and their greater circle largely blinded us from that very different world. Third, because the techniques shown help to go beyond the epidermis from the camera, yet with similar clarity, to let us become more as one with the spirit of the sitter, in the transparent modeling of the shadows, the emotions from color/temperature counterpoints. It is not gross hyperbole to say that painting a portrait can be a dance with the divine, to care so deeply not just about a likeness, but about the persona upon whom we lavish meticulous effort, because the devil is in the details, and this book goes beyond all others in making sure the artist avoids all the little technical things that bedevil the final image. Pivotal examples and names.
   And finally Madame S does so in a very well-written, gentle style that is both a pleasure to read and a training in patience of technique. The very feminine way to select a blending filbert, for example, with springiness just so, nearly parallel to the work, just so, to make the small circular blending just so, to follow the curves of the face just so. And thereby get very thin layers that allow the toned grounds to glow through. Rather like a lover with a slow hand. Beautiful brushwork that leaves no pits to doom the final glazing. A spiritual translucence. To go beyond a photograph.
   It is no surprise that her paintings do not photograph well, perhaps this is an attribute of most artists with whom we really connect, from Memling to Mattelson and many others, you have to be in the painting's presence to get the full effect. It reiterates the critical importance of having a mentor who can show how it's done and critique one's progress in learning. Not even this book can replace that, but it makes a very helpful head start or companion to any who would paint to the highest standards.
   Weaknesses? Not really. This is a seriously helpful book. You won't get her colorful language, and I would have liked to read a thorough introduction to lighting, posing, digital photography, post editing, color management, since there is no such adequate book for us, but the publisher already cut nearly a hundred pages to get this price point. She ah, feels rather strongly about the evils of some things, such as the use of alkyd soy oil, gesso panels [prefers canvas], PSE printout over transfer paper [a shame imo because gridding is great for really big works, but too slow for the usual sizes]. But better than being wishy-washy; when she knows what will work for you, you listen. Intently. The strongest teachers have the highest standards, strongly held. Follow them and you won't make a mistake. Experiment later with other approaches. For slow eye-learners such as moi, this book is essential.
   Sure, there are other great teachers, Frank Covino, Marvin Mattelson, followers of the Boston School, etc. with whom she shares many aspects of theory, materials and techniques, and there is no substitute for having such an experienced artist to critique your work. But you may not be able to just waltz in to their courses and get educated. Now you have a chance to get a good start until that day comes, for I'm sure she will inspire the same artistic hunger in you as well toward better painting. When you can deliver a truly beautiful image to the one who in essence has entrusted you with a vision of their soul then you can be happy too. But not until you learn. Here is the real deal. Strongly recommended to intermediate painters and up. Likely to be a classic, and now a screaming buy.
   
   
   Portrait Painting Atelier: Old Master Techniques and Contemporary Applications



2. The author presents a coherent approach to painting in traditional "Old Master" style. To absorb the wealth of
   valuable information takes several readings, as well as working through the exercises and much practice. Techniqes
   are clearly described.
   There are some impressive examples of painted portraits -- but not by the author. The step by step demos she herself
   does are not inspiring and result in stiff, "tight", uninteresting images.
   This book will be most useful to painters who have some experience and have already encountered the technical issues the author describes. Beginners will probably find it overwhelming.
   Incidentally, the author's mentor Domenic Cretara, who supplies the introduction, is a modern master in his own
   right, and his work is well worth looking up online.

5 comments about Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice.

1. This book was written by someone who obviously has been teaching oil painting for some time. The writing style, the organization and the informational content is exceptional. I am a novice oil painter who has struggled with various aspects of this medium--especially in a plein air setting using the direct alla prima method. Most of my oil painting education has come from reading many, many books--yet there remained signficant impediments to my learning curve. Well, finally some hope for progress as this book addressed my particular issues like no other. It was almost as if Alabala watched me struggle in one of his classes and then wrote sections of the book just for me. Even some of his sidebar helpful tips--so seemingly simple at first glance--have helped me immensely. I highly recommend this book for anyone who wants to become a better oil painter in particular and a better artist in general.



2. Mitchel Abala's Landscape is an outstanding new text on the art of landscape painting. It's going on my shelf right between John Carlson and Edgar Payne. Abala is well organized. He progresses through rudimentary concepts, constructing layers of information on which to build more complex ideas. He presents ideas clearly and concisely and uses illustrations for each idea that are very helpful. Mr. Abala is obviously an outstanding and experienced teacher. I found his presentation of spatial clues and compositional decisions especially helpful. And..... the book is beautiful. Abala has used the work of mostly contemporary artists instead of just his own. These are obviously some of the very best landscape painters today. Buy this book---it's worth it!



3. I purchased this book because it contained a painting by Gavin Brooks, whose work I enjoy and learn from. Little did I know the vast wealth of information that Mitchell Albala so generously included. This book is a must for anyone (new or seasoned) who's first love is plein air painting.



4. Not only is Mitchell is a great artist, he is a generous and wonderful teacher.
   This book addresses all of the concerns for the landscape painter at ALL levels. There is much information discussed in this book that I have never read or heard discussed anywhere else and he communicateds it clearly. He gives other gifted artists a boost by using their work to illustrate the concepts in this book. Most artists who write art instruction books only use their own work and perhaps some old masters for this purpose. I haven't read every book on this topic, but so far I would say that this is the BEST BOOK EVER!



5. An excellent instruction book that covers all the basics, as well as discussing more advanced painting techniques in later chapters. From the start the author acknowledges that there is more than one way to make a successful painting, unlike many art books which use a "my-way-or-the-highway" approach to art instruction. The book also provides the best explanation I have read on how different artists approach color and the many different strategies employed to use color to create the desired effect.
   
   Using artwork examples by many different artists to highlight the concept or technique being discussed is much better than if the author had tried to "fit" something of his own or created something simply to illustrate the point being made. Excellent quotes from many artists and creative thinkers, as well as the author's insightful margin notes, are helpful and inspiring.
   
   The chapter on working with photographs and using digital effects as a tool for creating better paintings is refreshing. However, the book also acknowledges that photos and the computer are not replacements for painting outdoors, directly from nature, but provide a way to learn and grow as an artist using the tools currently available.
   
   The chapter on abstracting nature will be helpful to anyone who has yet to try pushing their paintings in this direction.
   
   One thing that would have made the book even better would have been to include more painting exercises, like the three on massing. However, this is a minor point. There is enough information for painters at any skill level, beginner to advanced, to study and then try out on their own.

2 comments about Radiant Oils: Glazing Techniques for Paintings that Glow.

1. Hands down, I consider this the best book on explaining glazing techniques. There are not many books out there that are completely devoted to this special technique. This is great for beginners because she explains each step in such clear detail. Everything from color combination, sequence of layering and basic composition is very easy to understand for someone new at this. If you want to learn the basics of Venetian /classical painting, this is the one for you.
   
   My only wish is that portraits would be explored in the book, not just still life.



2. Arleta Pech's book is called "Radiant Oils: Glazing Techniques for Paintings that Glow." The book Amazon has pictured here is called "Naturescapes" by Terrence Lun Tse. Amazon should fix this ASAP.

5 comments about Creative Paint Workshop for Mixed-Media Artists: Experimental Techniques for Composition, Layering, Texture, Imagery, and Encaustic.

1. I consider myself an intermediate level mixed-media artist. A few years back, this would have been a much more helpful book. It's great for getting started, gathering essential materials, and diving into mixed media works. However, because only one artist's work is shown, it's a very limited book. I would have liked to have seen at least 5 other artists, as this field is so broad, and learned some of their techniques. So again, this is a great beginners book, but only for beginners. Good how-to section on encaustics is helpful to those who haven't tried it, it's not easy to find that in a book.



2. Ann Baldwin is a marvelous instructor. Her workshops are very informative and loads of fun, & having this book is like continuing her classes right in your own studio.



3. This book is "full" of basic information for the beginner artist or a good reference book for the more experienced artist....excellent purchase !!



4. My own personal interests don't run to collage, which she relies upon almost exclusively. Don't get me wrong, she does it well. But I had heard so many good things abt Ann Baldwin that I bought this w/o looking at one first. So, I'm disappointed since it's more about collage than painting.



5. Baldwin introduces her techniques in great detail. It is a great 'Technique 101' bible. The lessons on composition are inspiring, as are her layering techniques. If you've never taken brush to canvas but have the need to try, start here. If you already create mixed-media art, continue here. Everyone will learn something from this valuable book.

5 comments about Alla Prima: A Contemporary Guide to Traditional Direct Painting.

1. Great book for the price, but not the real Alla Prima. (Alla Prima: Everything I Know About Painting by Richard Schmidt)



2. This book is written by a teacher at the Pennsylvania Academy of the Fine Arts. He represents a strong tradition traced back to before Eakins, Daniel Garber, Lou Sloan and Mr. DeCosta. Reading this book has gotten me back on track with my painting career. Contains chapters on everything from the beginning of direct painting on through the colors you use, mediums, brushes, etc. Contains many fabulous illustrations by different arts. A must have book for the serious painter.



3. I agree with evrything the other 2 star reviewers said. The cover art was misleading as this painting quality was not repeated inside the book, the paintings (with a small number of exceptions) there were very uninteresting and uninspiring.
   
   I relied on all the good reviews here and bought this book and feel really misled and ripped off.
   
   The information in the book is useless as it is so so basic. The book is suitable for absolute beginners only, in my opinion.
   
   For those who want to see a truly amazing and inspiring and breathtaking and immensely useful book on alla prima painting see instead 'Alla Prima: Everything I Know About Painting' by Richard Schmid. It is more than twice the price, but wow, it's more than 20 times as good too. Now THAT is a 5 star book! This book just doesn't even begin to compare.
   
   For general painting books that are also excellent, see: Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice by Juliette Aristides, and Oil Painting Secrets from a Master: 25th Anniversary Edition by Linda Cateura.



4. This is a wonderful book!! Really clarifies the technique. I would highly recommend this book for anyone interested in Alla Prima painting.
   A true 'must have'.



5. Not only does it tell you the history and techniques involved with art, it shows you step by step how to approaph drawing and painting. It was a perfect starter book. Beautifully illustrated, an excellent book.

5 comments about Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium.

1. There are so many details in this book! It is so comprehensive from how to set up your painting station - for efficiency - to many styles of painting. Being a beginner myself I am so glad I bought it. It also has great information for the expert painter/artist as well.



2. This is a great reference book for artists who enjoy working with acrylics. It opens up new possibilities for an exciting medium, and I found it to be an interesting book.



3. I bought this book for my sister for Christmas. She had mentioned an interest in acrylic painting, so I decided to buy her an inspirational and tutorial for beginners. A few nice things about this specific book was that it is spiral bound with a hard cover, making it great to use in the midst of working on a piece. There are tons of ideas that get a person thinking outside of the box, making it nice for someone stuck in a rut in the acrylic painting world. The material is current and overall a great value! Two thumbs way up!



4. I've had this book for almost a month now and have done 1/3 of all the projects. Some turned out great and some not so great, but I can't wait to try it again. I truly recommend this to anyone like me who's maybe been outta the painting game for a while and wants to discover a whole new world of acrylic and mediums, and gels and pastes and so on.
   
   5 stars



5. I really like this book. It is full of different things you can do with acrylics. The pictures are well done, the how-tos are perfect and it is inspiring. Its one of my favorite books to just page through.
   
   The only thing I wish it would do (and the only reason I didn't give it 5 stars) is suggest substitutions for some of the supplies. Like using regular latex paint or primer instead of gesso. Or cutting up an old milk carton or detergent bottle for a palette made out of HDPE plastic. I'm a beginner and I don't need professional level supplies. If I can use something around the house rather than take a trip to the art store, I'm all for it. It would have been awesome of those kinds of things were included in this book.

5 comments about An Introduction to Acrylics (DK Art School).

1. Great guide for the budding artist. I'd work with acrylics in the past, but needed a refresher course - found this book very helpful.



2. I love this book. I bought it based on the reviews, and I'm glad I did. I'd definitely recommend it, especially at such a low price.



3. This was the book my teacher had us buy for an Intro to Painting class. Gives you all the basics, i.e. what materials to buy and how to start. Thank you to my teacher for finding a reasonably priced book that did the job.



4. This is a great book as a basic staple for reference and for ideas.
   I've been painting for over twenty years and I still thought this was an excellent guide for color and style as well as being a refresher of basic techniques.



5. I have a fairly large collection of painting books and this one is definitely a favorite. It clearly illustrates tools, techniques and examples for a wide variety of painting styles.

5 comments about Ways of Seeing: Based on the BBC Television Series.

1. What a farce! As a photography instructor, just a quick glance through this book shows me the author either did too many drugs in the 60s or was overdosed by 70's Soviet propaganda or both. It teaches nothing concerning "seeing" except seeing through anti-capitalistic eyes--the same system that provides for crazy art and fortunately keeps the good quality art floating to the top like cream on milk. I was amazed that after the first couple of incoherent chapters, the samples are almost entirely comprised of seductive naked women. I think the author would revel in the artistic freedom now available now on www.youporn.com. This book teaches nothing concerning seeing, art or aesthetics. My copy goes in the trash. Why do people praise this work. It reminds me of the writings of Timothy Leary, who was irrelevant then and always.



2. Philosopher Mario Bunge once told the story of a muslim physicist who affirmed, nonchalantly, that "Quantum Mechanics can be inferred from The Holy Coran -conveniently interpreted." Such is the way of interpretation: once you know where you want to get at, you can start anywhere.
   So does Mr Berger. Obedient to the article of faith that everything in the Western World during the last centuries has one way or the other to do with Capitalism, he set out to prove that Oil Painting and like manifestations are unconscious epiphenomenons of class struggle and property relations.
   To this end he doesn't bother to investigate the true motivation of painters and patrons. It would anyway be futile because he shares Freud's irrefutability that "Every man suffers from Oedipus complex. If it doesn't show it is surely being repressed." So for him this couple standing in their garden must necessarily be interested in property. How could it be otherwise? The same can be said about this cow: we are informed that it's not the representation of an animal but of a "piece of furniture with four legs". He quotes, and dismisses by an argument of "unconscious resistance", the position of another critic that only sees in the painting of the couple "enjoyment of nature." Of course both are unsubstantiated interpretations. What is untenable is playing down the rival as someone possessed by unconscious class prejudices.
   The author condemns the European exploitation of the rest of the world yet his vision remains profoundly eurocentric. He doesn't stop for a moment to think that cows, or people or myths or whatever the subject of the capitalistic paintings he interprets, have been pictured elsewhere for a long time. Is it that Capitalism already existed 4000 years ago to inspire the representation of Egyptian furniture-cows? Marx himself would be astonished.
   But the author's methods are not just questionable, they are also partly dishonest. The last chapter pretends to be a proof that Publicity as a whole is a contemporary form of that same Capitalistic Unconscious. Right now I'm watching a TV commercial trying to convince me that this gel cleaner is a better product for my kitchen and bathroom than the old abrasive type. How can the author fit this into his theory of Publicity as something that "makes me envious of myself in the future?" The trick lies in isolating very specific products, such as those related to beauty or fashion. Trying to sell a cream might be a questionable activity, but how else if not by promising beauty or the advantages of it? So it is not about "Publicity" in general. The selection bias is well smuggled and in any case, his chain of reasoning runs backwards.
   Well, maybe I'm also resisting, or acting as an unconscious agent of the Bourgeoisie. But I'm not alone: I've been told that Walt Disney did worse with Donald Duck.



3. Sure, it was written in the 1970's, sure it's full of Marxist theory, sure it's over-confident in its theorizing. But so what? This is a great book! I use it in my high school Theory of Knowledge class and in Art History too. The kids "get" Berger's ideas (outdated though they've been called) and it's always a great discussion starter!



4. this product was delieved in a short time. A+ for that. but i give it a C for the quality of the book. yes its a used book but i think they could have selected a better looking book. over all B



5. Even though "Ways of Seeing" is a flawed book in many ways, it is so seminal in the development of post-modern image making that it must be considered essential reading in critical theory.
   
   The book is based on a television series. The book itself is only 176 pages. The print is all in a bold, sans-serif font. The authors are quick to claim that the book was made, not written. The pictures used to demonstrate the points are small and in black and white.
   
   The book is based on the theory that the interpretation of western art evolved out of the power and finance structure of western civilization. Inevitably books that describe the world primarily in economic terms, as an arena of conflict and a battle by the rich for dominance of the poor, are referred to by some as Marxist and I have no doubt this book has been so described.
   
   The book has seven chapters, four of which are written and three of which are reproductions of art works without words. The theme developed is that the way people view art is strongly affected by the power structure of the society.
   
   I must confess that the three chapters that were solely illustrated were difficult for me to engage, both because of the size of the images as well as the difficulty of following the thread which I felt ran through the pictures even though I was not able to decode the message.
   
   The first chapter is based on and explicates the work of the critic Walter Benjamin in his essay, "The Work of Art in the Age of Mechanical Reproduction". Unlike Benjamin, who sometimes seems torn between the loss of the aura of the original and the benefit of mass accessibility, Berger seems to believe that real benefits will derive from the reproduced work of art, if the viewer can sweep away the lenses of the past through which he might view the work.
   
   The third chapter deals with the role of art in the commodification of women and the fifth chapter examines the role of oil painting in the reduction of people's world view to a matter of money. (Burger only excepts the work of a few artists, like Rembrandt, from this view.) The final chapter is based upon the use of images for marketing.
   
   This work is important because, if it did not shape the outlook of post-modern art, it was at least in the vanguard of recognizing the roles of the art that preceded post-modernism, and led to the rejectionist point of view.
   
   Berger is clear in emphasizing that the way we view art is filtered through the prism of culture in the sociological sense, although that certainly was not ground breaking in critical theory, even at the time of first publication. On the other hand, here was art criticism first presented on what was then a new media, television. Even the book format, such as using a bold-faced font throughout the book, appealed to the avant-garde.
   
   Burger would substitute art, not as a tool to help preserve an economic and power system, but rather as a way for the consumer of art to enrich his own life.
   
   I suspect that artists other then post-modernists may not benefit very much in their work from reading "Ways of Seeing". On the other hand, if you have a serious interest in critical theory, even though you may reject Berger's thesis, you must read this book.

5 comments about Walton Ford: Pancha Tantra.

1. In most of his paintings Ford depicts the more twisted and ironic elements of nature: perverse portraits of murderous birds with mouthfuls of frogs, drunken monkeys, and wounded rhinos. The most wonderfully disturbing element of his style is its technicality; the paintings are spot on as far as biological and anatomical correctness to the point where they resemble cold, anatomical drawings out of scientific textbooks. In a very upfront way, Ford delves headfirst into ideals of Darwinism, nature vs nurture, symbiosis, cycles of life, biodiversity, and all that happens when nature goes completely awry, all the while telling stories from the Hindu epic Pancha Tantra. Beautiful, harrowing, dramatic, thought provoking, obscene and definitely memorable. The perfect companion for any eclectic coffee table.



2. Simply amazing collection of Walton Ford's superlative watercolors. An extensive overview of his work, in an oversize volume to allow for the clear reproduction of his oversized and very detailed painting, and yet not much more expensive than an average paperback museum catalog. If you're familiar with Ford's gorgeous (and thoughtful) art, you need this book. If you're not familiar with his work, drop a few bucks on it and check it out. It's really worth it.



3. The book is fantastic. No complaints there. Only complaint is that the "signed by the author" etc...text that refers to the $1800.00 version is included on THIS description. Purchaser thought that this was the limited edition and was dissapointed to find out that it was not. It is a bit questionable and confusing. So be warned! Otherwise - FANTASTIC BOOK.



4. This book at 15 inches tall is packed full of reproductions of panoramic wildlife paintings by Walton Ford. Ford is what you might loosely call a naturalist - a painter of nature with an old fashioned sense of fidelity to the anatomical proportions and whiskered details of God's creations. On top of that he is a fantasy artist who flings his animal subjects into crazy social situations of mischief, conflict and comic chaos. While some of the scenes he paints involve implausible situations, he gives the animals a credible sense of character. Vengeance, humour, calculation - these are just a few of the thought processes infused into the faces and the gestures of these animated beasts.
   
   The original artworks reproduced in this book are monstrous large, with many of the animals (alligators, great apes, tigers etcetera) at least as large as life. Prize of the herd in this book may be the multi-panel painting of a male elephant on heat, titled Nila. At 3.66 metres tall x 5.49 wide, the original artwork is quite literally the size of a young elephant. Playing upon the intimidating size and power of many of these wild animals, Ford often paints them in situations of victory over man. A painting dated 1596 shows a lumbering polar bear triumphant over the bones and personal effects of an explorer, while in the background a shattered sailing ship creaks against an arctic shore.
   
   Also unusual is that these works are all watercolours, painted onto huge sheets of paper. Watercolour normally lends itself to modest, even miniature work, because of the difficulty of handling the medium across large surfaces without washes drying in inconvenient places. Furthermore watercolour on paper is unforgiving when mistakes are made and the consequences of the risks are greater when the painting is on a gigantic scale. Ford works skilfully in the medium making heavy use of the "dry brush" technique - a method that avoids bleeding, helps keep brush lines precise and allows the overlay of variegated colour (for instance to paint a mass of silky fur).
   
   To admire the original massive works, which can cover whole gallery walls, viewers would need to stand several metres back. Ford aides the viewer with some sharp linework, a technique has a secondary benefit of allowing the works to reproduce wonderfully well in book format. Pancha Tantra includes a nice mix of cropped close-ups bled to the edge of the page - allowing us to study the overlay of wash and brushstrokes, with long shots of whole works - at a size where we can still appreciate the fine detail. On my count this book displays 72 artworks on single pages and a further 41 spread across double pages. In addition there are 43 pages with crops of interesting details, plus 17 double pages devoted to cropped highlights. Some artworks have several pages devoted to them, including the wide shot and multiple close-ups.
   
   The background washes on Ford's paintings include mock mould spotting and branching mildew, to make the paintings look ambiguously like nineteenth century prints. At first glimpse the effect is deceptive. But these artworks are far more lively than conventional stiff animal portraits. And the wit and allegory packed into some of the works can make the viewer do a double-take. While these images are show beautiful beasts and colourful fauna, the situations depicted include some moments of drama and visceral brutality.
   
   The only disappointment to this book is the absence of any chapter on Ford's working methods or career story. There is only a two page basic `Biography' that includes a chronology of exhibitions, awards and references to previous media stories on the artist. Perhaps the Collector's Edition with its additional 34 pages has a more rounded biographical treatment? Maybe I'll have to save for it and find out!
   
   This book provides a marvellous folio of artworks to the mass market and does this at an agreeable price. Many of the main competitors to Taschen would have charged at least twice this price for a book this scale. The post-release price won't last and shouldn't last, it is too good to be true for a book of this size and quality. This is an abridged version of my full review on Art Book News at blogspot.
   
   Book specs: Hardcover 320 pages, 15 x 11.4 inches, 173 colour illustrations (across 231 pages)



5. I received this as a gift, (they knew I wanted it)
   I love it!
   you can get lost in the beautiful, intricate paintings. The size of the book is large- it's substantial and the reproductions are gorgeous.
   Like Audubon on acid. (a compliment)

5 comments about Wall and Piece.

1. Well, I too say "every wall, a potential museum!" However, only with quality: "Write or draw anything you want, just so it's better than the blank page or bare wall." (A criterion whitsch few today will value, respect...) In these regard, I think that Bansky, is one who "has not lived in vein." (Like Garry Trudeau of Donesbury. Like Deb Tannen of books on human communication. Heck, like the very best graffiti artists world wide.)
   
   What animates him? What perhaps-immature pulsion? (Propulsion; compulsion?) But "sublimation" is useful (foundation of civilization said Freud). His wild stallion sublimmitated to a workhorse of social utility? No matter, I'm just glad he did all this, and got it photographed also. An "indispensable small tessera in the big Mosaic of artistry" so to speek.
   
   Is it social criticism, via satire? (Satire = the "mocking and ridiculing of human vices and follies.") But somebody said, for good satire you need high criteria, a worthy target, your own fiery outrage--but also a touch of like wit, whee, sprezzatura, elan, insuechiance, artistic tork, like that. Otherwise it's mere "complaining." I buy that and with Bansky do you get both slam and also suave? Seems-like.
   
   Oh also, true "style," as somebody else defined as "attainment and restraint." (Again, a standard whitsch few today will even comprehend...) Like it sure does Get There, but then stops short of excess. True in morals, art¡ athletics! Does Banksky's subtle tones of wry, achieve this, elevate his work from mere splat-in-public-face? It can for me. Car karkass painted zebra-striped. Kid dangelling from a McDonalds balloon. Less mere dumb wham, than lite-touche whee.
   
   His verbal explications do seem to reflect a facile rebelliousness, social criticism on steroids? His verbal is less than his visual thus? Maybe "just an excuse"? (Like when the big Gilbert & George retrospective came to the Milwaukee Public Museum, I was sardonically amused to hear the "docents" there stumbelling over them selves, trying to legitimize, justify, validate what I at least see as G. & G.'s facile self-pleasing experimental sneaky sensationalist careerism. (They mouth "art for all, liberation," etc.--but then draw trendie skatologie and etc.) True, at least a dozen valid artistries from the 500 pages of their retrospective book. How much of Bansky will remane indispensable after all?
   
   Well, what are your Bansky faves? Oh my best is that slamming juxtaposition of Ronald McDonald, Mickie Mouse, but in the center, the nude crying girl running from the Mei Lie massacre. Other items have the acerbic byte also. But I do like the whimsie. That zebra car-cass--gentle touche. An ATM spewing out faik Princess Dy money, in a trump l'oeuil affect on the wall--a dance of sort's. So many other stencils of people on the wall. I can say: "Yes, an attempt was made, this peopelizes the urban terrain so, why not." Let other's do as well--in their own wais of koarse...
   
   Some Banksy stuff is just suave. "Designated riot area"--that's rye! "Register before committing graffiti" on a subway car--that's an eye-wink! "Mind the crap" outside off a museum or pareil--thats a tork of the British "mind the step" meening "dont tripe on the stareway." And "Polite Line, Don¡¦t Get Cross"--thats less kornie nice-nice, than style-ish mockerie deservedly. In a painting of Monets, "lillie pond with bridge," shopping karts lie a skew half-submerged--thats the social criticism salved by the sauce of deft. Oh, and the sharks fins apparently floating in an urban park pond. Less intrusive via in-your-faice Social Crit or pareil, than just "wow look but then float easy I get it what is it." Also the traffik koans. First, artfully-reformed ones and thats saying "art anywhere and why not"(think Japanese minimal garnishes in the quotidian diurnal mundane...) Then, a koan on top of hedd of statute in the park, like a dunces cap. Again "Y knott." No, art does not always have to be like Matisse famous paragraph "an easy chair for tired businessman at end of day" like. But I like "subversive whimsy" as my own cartoons show (70-p. book). As in on a wall, stencil of a mouse-hole with two rats in tuxxeedoes gaitkeapers. And one says, "Well why not and cheers and whee and elan and have a happi day."¨
   
   Diskloasure. Near the end of this (gasp) librarys kopi of the book, I (1) inscribed a cartoon-face "my-style" reacting to his statement, and (2) shall insert in that (shudder) publically-owed property, a kopi of this review befoar returning it. Oh how rong, immateur, and etc. However autem pero par contre--such extra-vagant reciprokaiting seems like the meta- or mimetic- right thing to do. To cooperate-salute (not to co-opt) indeed saltate with, this versive artist? He show's us that Yes We Kan can, and Right, Here-Now!



2. I was at a friends house, saw this book and flipped through...WOW, so original, so thoughtful, so simple and so rich with clear perspective. With spray paint and stencils, Banksy makes statements about corporate greed, the will of the people, standing up against the constant assault of advertisers and mega-companies and above that, the true value of real art and why real art is so very elusive.



3. This was given as a gift to my artistic 18 yr old son. He really enjoys it.



4. I really hate 99% of graffiti. It is destructive and at best it's bad art, but usually it's just plain crap done by really stupid bored kids. Destruction is always the simplest thing to do. That said - Bansky is brilliant. He is an artist (better yet an angry artist with a lot to say and a n excellent sense of humor). This book is a must for lovers of contemporary art.



5. I bought this book for my girlfriend for Christmas, because she is a big fan of street art. I had originally seen it at a friend's house and was intrigued by it.
   If you're a fan of street art in general or Banksy in particular, you'll do well to invest in this book!