2 comments about Every Quilt Tells a Story.

1. This book is a must for any quilter. It is a comedic approch to the craft, sure to put a smile on your face.



2. What a wonderful collection...a joy to read for any quilter who knows what it's like to trip over the ironing cords and cut holes in fabric where they don't belong. :0) Highly recommend!

5 comments about Everything That Creeps.

1. In "Everything That Creeps" by Elizabeth McGrath you'll get a rare view into the mind of an astounding and original sculptor and artist.
   
   There's more to be found on the web about her influences, her world and there's even a peep into her studio and her living and workspace. McGrath's art seems to draw on bits of life we might sooner keep in the background, but which fascinate us all the same...sideshows, freaks, the darkness that religion can harbor, and that ol' grim reaper. Her art can bubble with that uncomfortableness we feel when we brush up against the those gristly and grisly things that live in our dreams and nightmares but also draw us to them irresistibly.
   
   In spite of the description above, her work breathes with a tenderness and human warmth that makes one feel protective about her pieces when you view them, almost as if you're looking into the cage of a rescued animal at a humane shelter.
   
   McGrath has the eye of a naturalist, and though some of her work seems cobbled together from taxidermist's leftovers, she presently uses no animal parts in her art. If you appreciate the vision of artists like Edward Gorey and Tim Burton along with an original mix of old museums, funeral parlors and faded circus sideshows, this book is for you. Elizabeth McGrath is a totally original artist.
   
   The book is beautifully printed and presented as well and makes a perfect gift for that special someone.



2. Not for a large audience. Me, I'm disturbed so I love it. If you like Tim Burton's movies you will like this book. I wish I could do art like this but I guess my love for horror everything has not yet made me creepy enough. Elizabeth you are awesome, you rock! (or whatever the latest expression is)



3. This one really knows her own niche, and it is fantastic! I love this book and I'm mesmerized and inspired by the metaphors, and hysterical and haunting irony she poses with her art, photographed beautifully in this book. Everything she does has so many elements to it, you could look at each piece over and over and bring something new to your analysis of it. If you aren't someone who analyzes art, though, it's just as fabulous for the visual effect. This woman merits all the attention she's gotten in Juxtapoz and on the art scene, because she is clearly dedicated, to the core, and her artistic and socially expressive creations are pure gold. I would love to find more artists that measure up to the bar she's set for this kind of work, so I can suck up the inspiration and drown myself in it, until it's coming out my ears. Yes please.



4. I bought this book for my friend as a birthday gift. And the next day I bought another one for myself cuz the book is really fantastic! I wanna share it with my other friends who like creepy things. The details are so delicate that I could spend hours reading it. Highly recommend it!



5. This book is really great for the close up photos of Elizabeth's work and gives you background information on her.

5 comments about Sculpture: Principles and Practice.

1. If you purchase this book knowing you are getting an outdated book you may enjoy it more. It has some good info in a few areas, especially in basic clay-up, but lacks in most modern mold making techniques. The sculpture in this book is basically classical to put it simply. I would still reccomend this book especially to beginners.



2. I was thinking that this book would give me tips and ideas... its more of a history then how to.



3. If you are a beginning sculpture student, this might be a book for you. Althought the information is somewhat dated (original copyright is 1949) the book is fairly direct and straight-forward in its writing style. Primary interest of the author--and the bulk of written information--is directed to modeling in clay and casting in plaster. The section on stone carving is short, but fairly complete. The woodcarving section is sketchy and, other than a good list of the tools needed, inadequate.
   The sections on cast stone (concrete) and casting metal are outdated. Certain steps are still the same, but the materials currently in use are so different as to be almost another whole chapter.
   A great deal of space is given to architectural sculpture, but again, the info is outdated. The book gives information on producing a stone monument, but does not address the cost factors (nor the steps in computing costs)of assembling the materials and placing the finished work. Nowadays that is of prime importance if a sculptor wants to compete for art in public places.



4. I agree with the comment below - this is a beginner's book. More power to it. It was written by someone who has taught as well as practiced & focuses on the sculpting process rather than on artistic technique. Some of the mediums he covers (casting stone, glue molds) have advanced in ease of use since this book was written, but this guide has stood the test of time.



5. I found this book to be overly simplfied and not very helpful accept maybe to the most novice sculptor. The appoach is that of amateur craft not serious art. I thought the photos of examples to be most uninspiring.

No comments about Antonio Lopez.

5 comments about Holy Terrors: Gargoyles on Medieval Buildings.

1. Almost every tourist who has ever climbed to the top of the North Tower of Notre-Dame de Paris has taken a photo of his or her companion leaning over the balustrade between two gargoyles (technically 'chimeras'), and surveying the streets below. It's the ultimate gargoyle photo-op. I'm surprised this author was able to photograph the gargoyles without a tourist leaning between them. I was only slightly disappointed to learn from this book that much of the stonework on this tower is nineteenth-century restoration by Eugène Viollet-le-Duc, "started in 1845 to repair damage done to the cathedral during the Revolution." However, he did attempt to use molds of the originals.
   
   Basically gargoyles are waterspouts, but to me they are proof that medieval stonemasons had a lively sense of humor--which they might have inherited from the Etruscans or the Egyptians, who also used animal-shaped stone waterspouts. Strictly speaking, gargoyles that do not spout water are known as 'grotesques' or 'chimeras.'
   
   It surprised me to learn that gargoyles used to be brightly colored--oranges, reds, and greens were favored--and sometimes gilded. The author believes that "gargoyles may be survivals of pagan beliefs...incorporated into church decorations for superstitious reasons." I've read many a horror story based on this assumption, most notably "The Cambridge Beast" and "The Sheelagh-na-gig" by Mary Ann Allen.
   
   Encounters between gargoyles and people are unique to the Cathedral of Saint John in Den Bosch, the Netherlands: "As a monstrous creature leaps out from the top of the buttress, the people cringe in terror, each one leaning back in an attempt to escape the attack of their horrible assailant." Americans tend to make pets of gargoyles, but that was not their original purpose. After all, midair is the reputed realm of demons (Ephesians 2:2).
   
   Some of the gargoyles pictured in this book are laughing at us. A carved gargoyle-monk of the Old Cathedral of Saint-Etienne in Toul, France appears to be emptying the contents of a barrel onto his unsuspecting colleagues below. "Some [gargoyles] are so appealing that it is hard to imagine they were intended to be regarded as anything other than good creatures. Indeed, the gargoyles of Notre-Dame in Paris are even said to keep watch for drowning victims in the Seine."
   
   This book is an enchanting collection of photographs, legends, and travelogue. If you ever intend to go gargoyle-hunting in Europe, make certain a copy of "Holy Terrors" is stored in your carry-on.



2. ...I got the two books Holy Terror's and American Gargolyes... it was a great deal. The book is loaded with pictures of gargoyles from across america and desrcibes what type of gargoyle and where it is located in america. The photographs are beautiful and descriptive through out the book. If you gargoyles get the two books for the price of one. Highly Recommended!!!!



3. This book is one of the best books I got from [amazon.com]. I got the two books Holy Terror's and American Gargolyes... it was a great deal. The book is loaded with pictures of gargoyles from across america and desrcibes what type of gargoyle and where it is located in america. The photographs are beautiful and descriptive through out the book. If you gargoyles get the two books for the price of one. Highly Recommended!!!!



4. "Holy Terrors" is that rarest of books, one that is of genuine value to adults curious about art and architecture, but also very much capable of holding the interest of children. My five-year-old son loves the pictures--especially the "Hairy human with animal head" that adorns the cathedral in Burgos, Spain. We also both appreciate the excellent selection of medieval illustrations, such as Schongauer's "Temptation of Saint Anthony." Skimming through "Holy Terrors" is a fun way to introduce kids to one of the cultural treasures of Europe.



5. After searching several times for a book that gives the true meaning behind what gargoyles are, and where to find them, it has been found. This book combines a great number of detailed pictures with excellent writing. Way to go Janetta Benton!!!!

5 comments about Family and Friends in Polymer Clay.

1. I love Maureen as an artist and my rating has nothing to do with her or her book in general. The detail in her artistry is fantastic and her instructions are easy to follow.
   
   I was dissapointed in the condition of this book though from the seller. It was used, but I was surprised at how bad the condition of it really would be. Out of all the used books I've purchased through Amazon, this was the worst...... Again, this has NOTHING to do with the author or her book in general. It is still worth your purchase.



2. this is a fun project one both young and young at heart will enjoy. Mom if you want a project you and your childern can do together, this is it. What a great feeling when you see the finished friend your child created. They will want to do more and more. It is very additive.



3. Polymer clay figures are difficult to make at first, but the book is easy to understand and entertaining to read.The author discusses topics from choosing clays and tools to learning to see the different shapes of faces and body proportions. She includes a variety of facial shapes to practice, with step by step guidance. There is no confusion and loads of clever ideas for caricatures. There is also a chapter on problems and solutions. I am working on caricatures of my family right now, and I don't know of another book that could be as helpful as this one. I am very pleased with it. I have a few others, but this is the one that I recommend to friends, and basically the only one I need.



4. Whether you are a beginning sculptor, or an experienced doll maker, this book is a good one to have on your reference shelf.
   
   The artist has a playful way of explaining/showing you how to do things, and the step-by-step color photographs are really helpful. She even shows you how to make tools from common everyday things you'll find around the house.
   
   I was impressed by her ability to sculpt perfect caracatures of her friends and family. There was no mistaking who it was when you saw the finished sculpt along side the photo of her person.
   
   Enjoyable book.



5. In this book, Maureen Carlson presents all of the information you will need to get started at making either figurines or art dolls . . . or both!
   
   Not limited to friends and family, the book contains basic information you can work from to also create your own characters. The information can be overwhelming if you just page through the book, but the author's fun tone and excellent photography work hand in hand to create a text that truly welcomes you into what should become a fulfilling hobby.
   
   I especially appreciate her focus on how everyday items probably already within your home will work just as well as the more expensive tools available in craft stores. So be sure NOT to stock up on supplies while waiting to receive the shipment of your book from Amazon!
   
   My one "complaint" is that the author focuses so much on her more mature friends and family. It would be nice to have more examples and instruction relating to children and babies.

5 comments about Cameos: Old & New, 3rd Edition.

1. The book is very thorough and spotting every important and relevant issue concerning old and newer cameos. Very easy to read and remember, giving all that's good to know about cameos. Recommended for anyone interested in knowing them - collectors, dealers, teachers...
   
   The only thing is that almost all of the photographs are in black & white, and in a rather poor quality. If the photos were in good quality color, this would have just made the book perfect. I, for one, would be happy to pay for the difference.



2. I liked the book. It could of had alot more information in it because there was a few things that I did not get answered...like I had hoped. But I guess you can't expect one book to give you all the information that a person seeks.



3. If you love cameos and collect them this is a wonderful little book for you. Tells you the history, the types, the reasons for certain styles, how to tell the age, how to tell the value, and all the necessary terminology for discussing them. Good illustrations are also a plus.



4. When most people think of cameos, they think of the standard woman's profile carved from shell and mounted as a brooch or necklace. But the art of the cameo encompasses far more than that. Historically, it dates back to the ancient world, and over the centuries many materials have been used in making these works of art. Although female heads are probably the most common subject, mythological figures, animals, portraits of individuals, and many other things have found their way onto cameos. The quality can range all the way from cheap mass-produced modern items to fine hand-crafted pieces worthy of any museum.
   
   Anna Miller's "Cameos" is a wonderful introduction to cameos. She covers the history of the form, the subjects normally found and what each one looks like--very useful in an age where few people know their mythology. She describes the different materials that have been used in making cameos--including lava from Mt. Vesuvius, shell, agate, onyx, plastic, and glass. There's an extensive section on how cameos are made and on the people who made (and make) them. One particularly useful discussion describes the differences between traditional hand-carved works and those made by modern ultrasonic machines (vital for any modern buyer). The author also gives information on how to evaluate quality and condition and on market value. The book is illustrated throughout with black and white pictures, and there is an extensive color section in the middle. One of the best things about this book is that the author is able to convey her appreciation of the art of cameos to the reader. "Cameos" is an essential reference for anyone who wants to acquire a knowledge and understanding of this art. Highly recommended.



5. I am one of the small number of portrait cameo carvers on gemstone.

   I found this book to be excellent. There is a wealth of detail on all aspects of cameos. There are also good illustrations. There is valuable info for collectors on identifying and valuing Cameos.

   Information on how to distinguish Ultrasonic Cameos from the more valuable hand-carved cameos is given.

   You will gain a lot of knowledge on how Cameos are made and valued from reading this title.

No comments about Emotions in Wood: Carving the Expressive Face.

5 comments about Kovels' Dictionary of Marks -- Pottery And Porcelain: 1650 to 1850 (Kovel's Dictionary of Marks).

1. Exactly what I was expecting. A bit difficult to understand at first, but once you understand the layout it really makes it easy to use for reference.



2. Overall it is helpful. I am really just getting into this, so it is great to have something I can refer to to get an idea of where the item I have comes from.



3. As with the Kovels other books, this reference is very exhaustive and complete. There are, perhaps, some mistakes, but given the volume of information here that is to be expected. I find I reach for this book first when I'm trying to identify a piece of this age group, and usually find what I'm looking for here. Easy to travel with, from antique shop to auction. A good buy.



4. Rather coplete book but-alas-full of mistakes in entries concerning German and Austrian porcelain.Take for example the Meissen porcelain:the authors put together in one large pile Meissen proper,Thieme factory,Fr.Hirsch,Helena Wolfsohn and other factories,though these are absolutely different things.The authors should make a bit of research before starting the project:What amazes me is that this is the 46th edition of the book and nobody ever corrected those mistakes.



5. Good research, accurate information, and voluminous (if not exhaustive) representation of marks. Brief yet succinct information identifying maker, circa date and geographical location are offered with marks. Don't expect a good read or scholarly discourse. Small and light; easy to take on the road.

5 comments about Robert Rauschenberg: Combines.

1. Living in a place where its rare to see an original Rauschenberg combine, this book has standout photgraphs of the works, with detailed views to complement the full image- the first two essays also provide some keen insights into the processes and influences on Rauschenberg's life and work. Definitely recommend for artists
   or interested art followers. These works constitute what I think were the finest in his career.



2. It is great to be able to have this book as a remembrance of the great exhibition it illustrates. Every single piece reproduced here is a masterpiece of creativity and the quality of the reproductions do justice to the works of art, which is no small achievement considering that the Combines are intricate mixtures of sculptures and paintings. You also discover what a master of color the artist is, an aspect often overlooked by his critics. I love Rauschenberg's Combines, they give me joy, they make me happy and so does this book.



3. This book blatantly rocks my world. It has a very nice selection of images, and is much more affordable than the godly $900 retrospective catalogue. Amen.



4. This book is a catalogue for current exhibit at the Metropolitan Museum of Art, New York, and then the Museum of Contemporary Art, LA, and in Europe at the Pompidou Center, Paris and the Moderna Museet, Stockholm.
   
   As installed at the Metropolitan Museum of art, the show is stunning. It's astonishing that this exhibit is the first time these works from the 1950's have been shown together. These "combines" -- art somewhere between painting, collage, and sculpture -- are a foundation of modern art, so much so that art of the second half of the century is hardly conceivable without them. This makes looking at the work afresh more difficult than usual, since seeing these pieces together in 2006 means also viewing through a legacy and school of influence.
   
   But what phenomenal pieces they are! You can see Rauschenberg gobbling down visual techniques whole - collage, assemblage, juxtaposing printed images, materials, sculpture. They are daringly junky and breathtakingly beautiful. I have know idea whether you'd call this conceptual art, or the most luscious, messy opposite of conceptual art you've ever seen. The works are fearlessness. Really inspiring.
   
   The catalogue has excellent reproductions, and the photography is quite good at conveying the depth of the pieces - some of the works are presented from several angles so the more sculptural pieces are well conveyed.



5. ROBERT RAUSCHENBERG: COMBIINES is the name of an exhibition currently on display and one garnering some of the warmest acceptance by both critics and public alike of any retrospective survey in years. Not that Rauschenberg is a 'discovery' unearthed by this generous volume: there have been many excellent monographs and catalogues printed about this extraordinarily gifted artist who for the past half century has been creating art from found and constructed objects.
   
   Rauschenberg's art has always had secondary messages - political, anti-war, ethnic, sexual, and ecological statements - housed in the fascinatingly complex assemblages that are part of the collections of the major museums around the world. This fine book limits its survey to the prescient years 1954 to 1964, that period during which Rauschenberg became well known and highly respected for his art and beliefs. Curator Paul Schimmel writes a fine essay about this period and accompanies his own perceptions with those garnered from a very informative shared conversation with Rauschenberg himself. Likewise Thomas Crow writes an immensely readable chapter on just how Rauschenberg came in this realm of artistic expression and from Crow's writing we learn much about the mid-century changes in American art.
   
   The reproductions of the art works are excellent and if there aren't as many images as one would wish, it is because of the self-imposed limited time frame in Rauschenberg's career of the exhibition. A fine volume, highly recommended for all art history majors and for those under the spell of this great artist. Grady Harp, February 06