5 comments about A Graveyard Preservation Primer (American Association for State and Local History Book Series).

1. If you've ever had a question about preserving a single headstones or need a complete primer to fully restore a historic graveyard, this book tells how. I admit I was unaware the "Association For Gravestone Studies" existed before reading this book, but the AGS has compliled a wealth of information and photos here. The book is concise, less than 200 pages, but proof a book doesn't need be thick and heavy as a 10 Lb. bag of kitty litter to cover a topic thoroughly. The wealth of actual grave marker photos are very interesting in themselves. Dozens of actual photos illustrate, no better way to understand how correct and incorrect methods can damage or beautifully restore 18th and 19th century headstones. For projects bigger than preserving a single headstone or family plot, information is included on everything from understanding symbolism on historic markers to acquiring funding for graveyard restoration, assessment, cleaning, landscaping, rules posting, survey forms, involving voluteers, even legislation proposal. There is also an appendix of sources to contact for Contractors, Conservators and Carvers in your area. This book is well worth the money, and will not end up in your next yard sale!



2. This provides exactly the information one needs to (a) appreciate the historical and material sensitivity of gravestones/markers; and the techniques, tools, and materials available to the interested amateur as well as professional to appropriately salvage, restore and protect these sensitive, often forgotten, resources. Especially useful for 17th-19th century graveyards and markers.



3. You'd think to clean an old gravestone all you'd need is a wire brush and some bleach, right? Or maybe a sand blaster? Turns out, that couldn't be more wrong. A Graveyard Preservation Primer is the most up to date guide for those wishing to conserve the old stones in their local graveyards, without unwittingly causing more damage. Materials and techniques for safely ridding stones of lichen, molds, and just plain dirt are explained, and they turn out to be surprisingly simple. But get ready to apply some good old fashioned elbow grease. As far as conserving/repairing stones that have already incurred damage, this has now become science, and Strangstad warns that it should not be undertaken by amateurs, however well-intentioned. Suggestions for locating professional assistance are included in this comprehensive manual. Anyone interested in cemetery preservation should begin by reading this work.



4. This is a great concise, basic book on graveyard preservation - a real "primer" indeed. Anyone interested in such work should read this through at least once before ever attempting it, then it can be a quick reference after that. Covers briefly yet thoroughly all aspects of gravesite preservation, explaining what you'll have to think about even if it can't give you precise instruction. Lynnette Strangstad, writing for the Association for Gravestone Studies (AGS), does a fine job and includes bibliography and even some possible contacts for proceeding on preservation.



5. The Graveyard Preservation Primer is a must read for anyone interested in the reasons to save old graveyards and how to go about doing so in a respectful and historically accurate manner. Her book is well researched and well written. It is straightforward and simple enough for novices, yet has enough insightful information for even the most informed reader. Her topics range from how to organize volunteers to do gravestone and graveyard cleaning to photographic techniques to get outstanding records of the stones. Her suggestions for cleaning techniques are well researched and very sound. Overall, this is just a superb manual. A must read before any work is done on an old graveyard. It will also enhance the experience of the graveyard afficionado, by exposing them to a whole new set of ways to observe the gravestones and yard.

5 comments about How to Build 35 Great Clocks.

1. Joseph W. Daniele has written several books on historical reproduction woodworking. As a former editor for Early American Life, you have to believe he knows the subject matter. He does, in fact each design, no matter how simple or complex, has a history. Ask yourself, do I just want to make a clock or do I want to make a historical reproduction? Funny, some people buy a book without knowing what it involves and then write a crappy review, as if their ignorance is the author's fault.



2. I loved this book! Includes a brief history of each design, wide range of plans, from the simple plaque type clock to more complex cabinets. Easily followed directions,detailed drawings, and most importantly - construction can be done with tools from the average home workshop. PS If this isn't what you are looking for, don't blame the author!



3. I bought this book based on the title, which for me was a mistake. I was expecting drawing and guidance on making reproductions of time honored classics. While it is helpful it lacks the details about the originals that are needed to built future classics.



4. Maybe I'm crazy, but I've always considered a clock to be the inner workings - springs, pendulums, and such. This book doesn't tell you how to build those - it is merely a woodworking book that talks about the design of the cabinets that house clocks. Not for a horologist.



5. I have this book and was looking for other books by Mr. Daniele since I had him as a teacher years ago at Ludlow. One of the best classes I've ever taken. He is a master craftsman with wood and metal, and certainly respected and admired the colonial period. He conveyed this respect to his classes,and through his books, I am able to convey it to my sons. The drawings and instructions are clear and easily used by all levels of woodworker. Lots of photos of finished peices. Ideal for the home hobbiest.

2 comments about Multimodular Origami Polyhedra: Archimedeans, Buckyballs and Duality.

1. After reading Tomoko Fuse's excellent book on Unit Origami I wanted to get a little farther into it. This books seemed a good place to start. It is not.

   On the plus side, there are many, many models in the book. Also, there seems to be some fundamental "theory" that generates them, which would allow a great deal of flexibility and range of design to anyone who used it.

   On the negative side, I can't for the life of me figure out how to make even a single model. The whole first 3/4 of the book consists of things like this: A line drawing of a polyhedron labelled, for instance, "Rhombicuboctahedron" and then a photo of an origami pice that doesn't seem related. Finally on page 40 (of ~75) there's a second on "Model Construction". It turns out you need paper in multiple sizes (1.6875 inches is one of them) to make almost all the models. And it still doesn't explain just how to put the units together or even how to make the units (other than "this is how to make a flat hexagon" type of instructions)!

   There's also some kind of method or technique called "gyroscoping" that I can't figure out.

   I would give this 0 stars, but the other review is so positive that I feel sure that, if one could penetrate the dense prose sections or understand the seemingly-content-free main body, great things could be done.




2. This is a book designed for constructing geometric models using small folded units or modules. A large number of polyhedra are explained in this volume.

   The beginning of the book (first 50 pages or so), talks about the different classes of figures and give detailed information about each figure, including photographs.

   There is then a short section devoted to creating different shapes of paper from squares (triangles, pentagons, hexagons, etc.).

   Finally there is a section for folding the individual units themselves. Each unit is capable of connecting to the others.

   There is an interesting feature that I would like to see in other unit books. After a particularly well-detailed unit, there was a one-page summary of the folding thus making it easier on the folder who does not memorize the unit and just needs a guide while folding the requisite number of units.

   This is a well laid out book that does an excellent job of covering the material and achieves is goal. But this is not a book for all folders. It is aimed at the serious folder of geometric solids.

   The typical low price from Dover makes this an easy volume to add to one's origami or geometry library.

No comments about Louise Bourgeois.

4 comments about An Illustrated Dictionary of Jewelry.

1. While I will admit that this book is very informative, I was slightly disappointed for the same reason I have experienced with some other jewelry books. Of all the pictures only a handful are in color. Always confusing to me why they do this because jewelry is one thing that you really need to see in color to appreciate. I would recommend this book for it's information but if you are looking for great color pictures to go along with the definitions I would pass on buying it.



2. I have a problem with a book whose first words are: "The first problem".



3. This book is wonderful! Visually stunning, some of the pictures are enough to make you drool! Filled with extremely well photographed color and B&W photos of museum quality pieces, used to illustrate the jewelry terms being defined. The definitions are well written, and reference related terms in a very smooth and easy to follow way. This book is a MUST if you are fond of jewelry! MORE than worth the money!



4. From A to Z, the best jewelry dictionary I've seen. Aside from looking something up, it gives you the opportunity to learn terms you've never heard before. Even if you've been in the business a long time. Fantastic. Every antique lover should have this book!

1 comments about Passages in Modern Sculpture.

1. This is Krauss's first book, and the one I like best. Her history of modern sculpture from Rodin to Robert Smithson is grounded in a sophisticated theoretical perspective, but it's not collapsing under the weight of theory like many later Krauss's texts. Her theoretical framework in this early book is phenomenological -- she made a transition to structuralist and poststructuralist theories later in the seventies. Phenomenology -- in particular, Merleau-Pontyan phenomenology -- allows for many thought-provoking readings of modern sculpture. However, the basic assumption of the book -- viz., that there have been some parallels between the development of modern sculpture and phenomenological thought -- is flawed. There is no evidence that the artists discussed by Krauss heard of Husserl and Merleau-Ponty and their theories. Many other authors beside Krauss make a similar unjustified assumption of various "parallelisms" and "influences." Basically, this is historicism -- a belief in some sort of Zeitgeist at work in all cultural forms of a particular age. Still, the book makes for a much more rewarding read that coutless superficial, merely descriptive histories of modern sculpture, or modern art in general.

4 comments about Teach Yourself Origami.

1. Sometimes, I didn't understand the diagrams in other books.
   So, It was frustrating, and I said "this is not for me".
   I start with this book "Teach Yourself Origami".
   And... Every project is a success. It's an excellent book. Very nice diagrams. Because Montroll teachs step by step. If you have this book you will learn origami.
   You will learn something funny, and you will relax.
   Start to fold!



2. I learned a lot from this book. Montroll follows a very logical sequence, with a very gradual increase in difficulty. Along the way, he not only explains how the folds are done, but why. My progress using this book was faster than I would have believed possible (I have succeeded in folding the elephant, and am about to attempt the bee with reasonable confidence.)
   Highly recommended



3. I couldn't pass up a book on origami with "teach yourself" in the title. I was expecting an organized presentation of the basics, and that's just what I got. The author introduces the basic folds one at a tim, using simple models for practice, and then expects you to be able to use them by just referring to their names. That can make for some paging back and forth, but I have no problem with that. But I did wish that he included more verbal instructions for some of the steps. Studying the diagram alone just fdid do it for me, though I eventually figured out what I was supposed to do. I think this criticism could be applied to very origami book I've seen.
   
   I'm am still at what the author calls the beginner level. The book contains 27 models at the beginner's level, 12 intermediate, and 5 advance,. Most of these are animals, with lots of birds.



4. Not only a carefully sorted collection of origami models, this is a book explicitly written for the aspiring paperfolder. Nice features include:

   - very clear diagrams and instructions using standard notation

   - can be used either as a self-study guide or as a teacher's aid

   - nearly 27 simple models, 12 intermediate, 5 complex (the latter include 2 models by classic creater Fred Rohm, the "impossible" vase and waterwheel)

   - each model introduces more advanced techniques and new folding maneuvers explained in detail, so just by following the book the reader learns not only _how_ each fold is done but also _why_ it is employed

   Excepting a few models like the Elephant, this is not a book for fans of Montroll's "complex" work (like "Origami for the Enthusiast", "Origami Sea Life" and "Origami Sculptures"); on the other hand, it is longer and more didactic than "Easy Origami" and also has more original models. Beware: there's a classic book by R. Harbin reprinted with the same title.

5 comments about Painted Ponies.

1. This book is a must have for any carousel enthusiast or anyone interested in the art of wood carving. All major carvers/manufacturers of the golden age of carousel building are covered. The photography is wonderful and there is a census of operating carousels in the back of the book. Since the book is written in 1986, many of the carousels that are listed have dissappeared. Check National Carousel Association for an updated list.



2. Awesome book! An absolute must for anyone interested in American Carousel Art! Loaded with close up photos of all the love of labor that went into these beautiful animals! Brings back many memories of the Great Danbury Fair in Danbury, CT which now unfortunately is a shopping mall.



3. OK I gotta give the book a great review as one of the authors is a very dear friend. (Marianne Stevens) I love the photos of the carousel that she purchased from my cousins!
   
   Seriously though this book is an absolute must have for anybody not only interested in Carousels but also in amusement park history. It's a wonderful coffe table book with to die for color photographs and fascinating information.
   
   Even children will love this book! It's beautifully done with glossy photos. Absolutely super.
   
   Warren Crandall



4. This an excellent book giving a good insight into the history of carousels from their early beginnings. Crammed with beautiful photographs of the various animals and some rare photographs of the carvers and their workshops. A must reference book if you are into carousels.



5. A delightful book on a vanishing art form: hand carved carousel animals, sleighs, and ornaments. The color photographs are excellent. The background on merry-go-rounds and round-abouts is fun. The carvers and their companies are discussed in detail. Timelines, a directory, publications, restoration services, music, and a brief bibliography are included. I would have preferred an annotated bibliography, and citations of non-bound materials. In any event, this one is a keeper, and will give many hours of enjoyment.

3 comments about Joseph Cornell: Master of Dreams.

1. Joseph Cornell's work is beautiful. It's a pity that he is such a poorly-known artist but as the author suggests perhaps he was born a few decades too late or his art was a few decades too early. He has certainly missed out on his rightful place in most books on Surrealist art. This book is very-well presented - a photograph or two of Cornell's work on almost every page and text not only explaining the inspiration and the work process behind the assemblages but also conveying the quirky nature of the artist. If Joseph Cornell showed little humour as a person then there is plenty of it to be found in his work (e.g., lobster ballet box). This art book is so well-written and interesting that it can be read from cover to cover in one day. There is something new to be found in the photographs every time.



2. Fortunate is the arts library to have the restored and embellished 1977 monograph on the life and work of American artist Joseph Cornell, an artist whose importance not only to the craft of assemblage but to the history of American art continues to grow as the years pass. Author Diane Waldman initially based her monograph on extensive interviews with Cornell and his confreres in preparing the 1967 retrospective of Cornell's art for the Guggenheim Museum. And fine though that now extinct monograph was, it was important to update it with the added information gleaned from the 1978 gift of the bulk of Cornell's archives donated by the heirs of Cornell to the Smithsonian Museum, forming the Joseph Cornell Study Center in Washington, DC.
   
   But enough of background. Waldman the writer and historian presents here one of the more sensitive tributes to Joseph Cornell in print. Included in this rather brief book are over forty color plates of many of Cornell's greatest works. The color reproductions and photography of these basically three-dimensional works is outstanding and allows the viewer to pause with each work, enhance the visual appreciation with the accompanying writing by the author, and then return once again to the biographical data of a man at odds with conformity and with somewhat fractured social graces.
   
   Joseph Cornell was a unique artist and one whose impact on all forms of art (especially the eventual 'installation art' phase) is yearly more appreciated. This fine book is as sound a source of information on his life and works as any of the now many volumes on the shelves. Highly Recommended to both the novice and the expert. Grady Harp, February 06



3. Finally, a beautiful, comprehensive book about Joseph Cornell and his work. Diane Waldman knew Cornell intimately ever since she was an art student (and through doing gallery shows for him), and this affinity shows; this is ultimately a book of love and tribute to a friend.

   The biographical material is excellent. Most fascinating segments deal with Cornell's stranger sides, such as when at his brother Robert's funeral, Joseph put a sheet over his head and laughed, creeping everyone out, and explained it was only a side joke that Robert would have understood. Cornell was terribly timid in front of women (particularly the ones he fancied) and had a complete dependence on his mother (he died months after she did). Waldman probes these and other significant personal issues (such as his association with Surrealism, and how the younger artists that have passed through him have influenced his work) and examines how they factored in Cornell's art. The book is generous with illustrations - Waldman supports her points with not only Cornell's work, but with other artists that were influential to him.

   However, it is the lonely and telling poetry of Cornell's work that is the heart of this book. The boxes that Waldman chooses to include are presented intelligently, and beautifully. The innocence and nostalgia of each box is lovingly portrayed. The Medici series - Cornell's especially heartbreakingly beautiful and mysteriously passionate work - is presented perfectly by Waldman with thoughtful commentary and context, capturing in full its yearning and ardor. Waldman has given us a book that speaks eloquently about why Cornell is an artists people will remember for generations hereafter.

5 comments about The Writer's Brush: Paintings, Drawings, and Sculpture by Writers.

1. This is the bargain of the year. Wonderful full-color plates and extremely interesting biographies of the writer/artists.



2. I had seen a brief review of the book on t.v. prior to the holidays & ordered it for a friend of mine who is an avid reader & also dabbles in painting. He positively LOVED it, and this is a man who is not easy to please.....He said the book was insightful & gave glimpses into the other artistic side of writers....



3. This book is truly a treasure! Every page unveils little known talents and secrets of literary artists whose talents as painters, sculptors, and so on are every bit as fascinating as their written work. What is even more special is that the artists include such an immense variety of men and women from various periods of history. It is not a book to be read page-by-page, but like the greatest culinary delights from truffles to the purest chocolates, it needs to be savored in small, rich, fulfilling portions. I expect to see The Writer's Brush published in other languages, if that, indeed, has not already begun.



4. The Writer's Brush is a remarkable achievement. It's a unique work that is simultaneously a very interesting read and a valuable resource. The collection of artwork is a window into the oft unknown alternate lives of many of our best known writers. It is fascinating to see the artwork of Joseph Conrad, Winston Churchill, Emily Bronte and Kurt Vonnegut, Kipling, Ibsen and Ionesco... who knew that their talents transcended the page to the canvas. I am also enjoying learning about authors that I didn't recognize and then seeking our their writings. Bravo.



5. I just got this book, and it is one of the best literary compendia I have ever seen or read. I love learning more about some of my favorite writers and was surprised at how talented some were - some I never knew painted - and it was strange to see how some of the art would have been what you expect, and some wasn't. For example I am a huge Dostoyevsky fan and his drawings looked a little ragged and strange and dark like his characters. I didn't know he drew in the margins of his manuscripts. At over 400 pages I will probably spend the next 10 years taking this book down from the shelf to read the quick bio and look again at the art of a writer who comes up in conversation around our house or who I am reading...Really beautiful and inspiring book.