1 comments about The Essential Joseph Cornell.

1. Joseph Cornell's work which I just recently discovered,appeals to me a great deal,especially since I tend to work in the same area(mixed media) this small book is a fine,easy to read introduction to the unusual late artist and his oddly enchanting artwork. Like I said,it is an overview.so if you want to learn more about Cornell and his works,their are many books that go into more detail. However, This book is a good place to start.

5 comments about Sculpture in Stone.

1. I have bought a lot of books on carving stone. And this book had a lot and more,of all the other books. I would have saved a lot of time and money if I would have bought this book first.



2. SCULPTURE IN STONE relates in words and pictures the history of the world's oldest form of sculpture and serves as a valuable resource for practitioners of the art of carving, for art historians, and for collectors of both ancient and contemporary stone sculpture.
   
   Beginning with a brief but informative survey of making art from earth's resources, author Cami walks us through the complexities of the refinement of the tools from the original stone chisels to the most modern equipment. The portion on conceptualization of how to transform a formless body of solid material into an artistic statement usurps a large portion of this volume - with copious references to the author/sculptor's own work.
   
   But the real glory of this beautiful volume is the plethora of fine photographs of famous works, contemporary works, tools, pillars, sarcophagi, monuments, figures and abstractions that fill the pages of this resource book. The tendency towards the 'how to' aspect of the volume intrudes a bit too often, but that only widens the audience for readers interested in the history of Egyptian and Greco-Roman secrets as well as the means by which contemporary artists still marry their inspiration to the stone. Grady Harp, June 05



3. This is not at all a silly book! It is a wonderful book that covers a lot for the professional sculptor who may not be familiar with working in stone. It is not for the untrained hobby buff wanting someone to hold their hand. This is valuable information coming from a highly qualified professional in their field. Yes he is a good sculptor! In his own right! This kind of work is a tremendous amount of physical labour and one would have to be crazy to not hire stone masons if the money was available. This book is very helpful and tastefully done. A treasure to find this level in a market flooded with how to do books for mickey mouse. I am not jealous of this person's accomplishments or the quality of the presentation. Congratulations Cami! and colleagues!



4. This slim volume is disappointingly brief in its treatment of the process of sculpture, and confoundingly obscurant in its discussions of capital-A-Art. "Nature, forming caverns, wanted to open up its heart to reveal moments of living intimacy," this book begins. What?!?

   Except for 10 pages on direct carving, the whole first half of this book is utterly useless. The second half delves into process in slightly greater depth, but Camí frustratingly concentrates on such professional aspects as large-scale sculpture, enlarging from models, and site selection and preparation for public monumental sculpture; all of this is beyond the journeyman, and anyone advanced enough to be creating public commissions will have no need for such a summary overview.

   The primary problem here is with Camí himself -- he identifies himself as a sculptor as distinct from a "practitioner." In other words, Camí generates the concept of his sculptures, but leaves the actual carving of the stone to subordinates. Almost none of the photos show Camí himself doing anything more than supervising the creation of "his" works, and he spends as much time explaining why the people who do work of carving the stone are less important than the one who envisions the form as he does explaining how that form is created. I wish his "practitioners" had written this book instead of the "sculptor" himself.

   While in general disappointing, this book does actually have a few insights -- and, more importantly, photographs -- that expand slightly upon the instruction offered in Liebson's book, but that alone is hradly enough to recommend it. You'd be better served spending the money on a new chisel than on this slim and spuerficial homage to Camí's own genius.




5. A VERY FINE BOOK, especially for the diversity of carving processes. I recommend it.

1 comments about Shore Bird Patterns (Blue Ribbon Pattern Series, Book 5).

1. I carve and paint (at least I make a feeble effort at it) birds. I have hundreds of books and pictures of various birds, shore birds included. Each, in it's own way, is quite helpful, coupled with my personal observations of the birds themselves in the wild. This work is quite good. Excellent scale in provided and the color is quite good. Using this work and others, to pick up more detail, one should be able to work at their peak ability. Recommend this one highly.

No comments about Native American Fetishes.

5 comments about Curiosa: Celebrity Relics, Historical Fossils, and Other Metamorphic Rubbish.

1. 
   Anyone who has ever collected anything will be mesmerized by this book.It shows what it means to be bitten by the urge to "collect".There are many terms used to describe it; collections,assemblages,amassment,stockpile,assortment,bunch,hoard,gathering and many other descriptions. The thing is,that with a personal collection ,there are absolutely no nules,other than those the collector decides to impose upon himself. Even then,the only reason for restrictions is that the collection is forever struggling to get out of hand;not that some object isn't worthwhile. The one thing every collector soon learns,and which is immediately evident with this collector and his museum and book,is that the real fun is in acquiring the object and the people and experiences along the way.No sooner is an object added to the collection,catalogued and given its home,in a box,drawer,shelf,cabinet,or whatever;that accomplishment is absorbed;now onward and upward to the next.
   Some collectors start off with the objects in mind and set out to acquire them.The author does some of that,as do any collectors,but his approach is to be totally open for any item;and in most cases had not even thought of the object before it ,or the opportunity, presented itself.
   I have always admired the art of collecting,even as a kid;and as an adult have a special admiration for a collection that is unique or "off-the - wall",such as this one. How anyone can go through life and never collect anything always amazes me.I guess come people do it with money,taking trips,buying companies,having mistresses,or whatever;and isn't that all the same thing?
   The author with his collection shows that it can be,but it is not necessarily,a matter of money,to build a collection. Even in his case,when people get to know what his interests are; the "stuff"just keeps coming and coming.
   Keeping the whole thing focused and controlled becomes a major problem.
   Personally,I have been a collector most of my life.
   The first one I dreamed up as a kid was a twig collection.In my hometown was a Government Experimental Farm featuring,trees,plants and other agricultural sciences. One day,I noticed that trees were labeled with their species in English and Latin. So,off I'd go with my little notebook,pencil and jackknife and clip me a twig. I would display it by splitting the twig,exposing the inside,alongside with the bark .
   There is no limit to what one can collect other than ones imagination,and of course where to keep it all.
   In no way,have I taken this obsession as serious as the author;but I do have something from my time in New York,where I worked a block away ,while they were building The World Trade Towers.During the initial excavation;I picked up a piece of the bedrock.It is a piece of Gneiss ,with tiny,sparkling ruby-red Garnets in it .Worth nothing but its sentimental value. Then later, when they were covering the outside of the the plaza with marble,I picked up a piece .There was a pile of scrap pieces.Though,who would have thought at the time,these pieces would have made great bookends.
   I am sure every knows someone who collects something,be it stamps,coffee spoons,Election paraphernalia,coins,matchbook covers,swizzle sticks,beer cans,puzzles,books,postcards,etc.I have a friend who collects a little soil,sand or stones,from famous spots,beaches etc. and displays them in little bottles. Worthless, but for the memories.
   I have another friend who ,has a fairly large property ,and through the years collected various species of birch trees, and now has probably the largest collection in the Province.Part of his enjoymentis in having Naturalist groups visit him as he tells the source of them and the stories behind them.
   All in all ,a fascinating read for anyone bitten by the "collecting bug".



2. As you browse the book you think, "How did the artist get this stuff? How do we know it's authentic?" Then you trust that it is, because he would have artistic integrity. "Who cares!" you say to yourself. You're in the next phase of enjoying the book - the voyeuristic delight of being so up close and personal to all these bizarre snipets of fame and history. What a collector! Thoroughly enjoyable!



3. I think that readers will most enjoy this book if they, like Benes, have a compulsion for keepsakes. But this book is not a typical museum (even though Benes calls his curio cabinets "museums"-probably ironically?). He preserves mostly mundane everyday objects that are identifiable as extraordinary only by descriptive captions; this is what makes his work fascinating. But Benes doesn't approach "preservation" as a museum would; like saints' relics, he willingly destroys some objects to maximize the number of relics, which he then sells. Most museums would never do that--at least not with a typical painting or sculpture. When Benes got Julia Child's mug, he apparently broke off the handle. He put a Picasso lithograph in a blender, and then sold it in cocaine bottles by the gram. Eventually, when down to the last vial, he blended the remainder with plain paper and sold "cut" Picasso. His work made me think about why we preserve what we do, what it is we are trying to remember and record about our lives and our society, perhaps especially why a brush with celebrity makes an object special. The joy of the book, however, is Benes' storytelling. No less voyeuristic than marveling at his friend's prosthetic testicle or Eunice Shriver's toothbrush, there is guilty pleasure in reading the stories of how Benes or his friends acquired the relics... often by stealing.



4. I gave Curiosa to friends, relatives and business associates for Christmas this year and it was a hit every time. The book itself is beautifully produced, with gorgeous photography and excellent design. Benes' text is funny, engaging and insightful. Leafing through the book is addictive; once started, it is difficult to put down. I hope Benes produces more books of his work. Midnight in the Garden of Good and Evil author John Berendt's humorous introduction tells the story of how he saved a prescription medicine bottle ("one nasal douche, use twice daily or as needed") belonging to Roy Rogers for 30 years, not knowing what to do with it but not quite being able to throw it away. When he meant Benes at a dinner party, he knew he had finally found its ultimate home, in one of Benes' museums. Some of Benes' relics could cause squeamishness in a different context, but Benes' work and in particular the beautiful presentation in Curiosa, makes them palatable and meaningful to virtually anyone.



5. Barton's work is amazing. I've seen many of the pieces featured in his book and they are breathtaking and hilarious.

4 comments about Restaurant China : Identification & Value Guide for Restaurant, Airline, Ship & Railroad Dinnerware (Volume 1).

1. I was very disappointed in this book. The colors in the photographs are beautiful. But as a reference for china patterns, it is seriously lacking. Except for a select few companies, the author seems to offer only one example rather than a more complete listing of the different china patterns used by each company over the years. There are some very nice photographs of railroad dining cars, steamship dining rooms, and airline meals being served, but again as a reference, the pictures do not show the china in these photos very clearly at all. In addition, the listings and descriptions of company logos as well as time-frames for china patterns are sometimes inaccurate and other times incomplete. As always, price guides become outdated quickly and would have been better in a separate addendum instead of being placed with text and captions throughout the book. I feel the book was too generalized. As a new collector I wanted help in identifying the different china patterns used by these transportation companies, when each pattern was used, and who manufactured them. All this book provided were scattered bits and pieces of that information. I do not intend to buy Volume II.



2. I was referred to this book for price and identification and was sadly disappointed to get the book and look up the china I had to find that it had some of the pieces and history but by NO MEANS is a complete guide. The China Company I had was in there but it didn't have the history from the year the company started but it did have the identification stamps from the year the company started go figure. The price guide consisted of showing a few pictures of china this particular company producted and gave a few prices. I couldn't believe it. The only reason I kept this book is because I was so busy I didn't get to return it before the 30 day return was over. Oh well I'll know better next time.



3. Barbara Conroy shares her extensive personal experience as a collector in this invaluable reference work. The photography is exceptional, with hundreds of examples of dinnerware pictured in each of the four main categories, along with copies of period advertisements and brochures. Each section also includes a painstakingly assembled collection of hundreds of logos to assist the collector in identifying the company the dinnerware was produced for. A must-have reference book for the serious restaurant, airline, ship and railroad china collector! Pair this book up with Volume 2 of the series and you can push all your other books to the back of the shelf, you won't need them anymore.



4. Barbara Conroy's new volume on restaurant china is a welcome addition to the growing body of literature regarding this largely American genre of utilitarian ceramic art.

   Restaurant china represents an age of americana where restuarants cared enough to invest capital in individualized ceramic pieces that would advertise and represent their establishments. It is a practice that is being undertaken with less and less frequency in our time. Many manufacturers are no longer in business. It is accordingly a genre of increasing interest to collectors.

   Conroy's book chronicles this fine craft form well. It offers a fairly exhaustive listing of topmarks and backstamps of interest to collectors. Substantial full-color illustrations are both informative and entertaining. Historical information as well as primer material about production processes are welcome inclusions.

   The book's title is a bit midsleading, however. It is really a volume focusing primarily on airline, ship, and railroad china... with some coverage of military, western, government, oriental, sports-related, casino, department store and corporate pieces. Logo china manufactured for restaurants and diners receives is afforded little coverage. And non-logo pieces in stock patterns receive virtually no mention at all; the topic is beyond the scope of the book (though Conroy plans, I believe, additional volumes which may address these areas in further detail.)

   Future volumes may benfit from incuding information on how to read backstamps to determine date of manufacture, information on stock patterns, and changes in ceramic form and decorative practices from the 1950's and 60's to the present day.

   No one volume, however, can be expected to exhaustively cover all facets of this increasingly valued utilitarian art form. On the whole, Conroy's volume enriches the literature currently available to growing number of restaurant china fans and collectors in our culture.

1 comments about Authentic Chinese Cut-Paper Designs (Dover Design Library).

1. i wouldn't miss the every chance to obosorb the essence of the chinese fine art and craft art. paper cutting is worth appreciating and collected.

No comments about Olafur Eliasson (Contemporary Artists).

2 comments about Ultimate Origami Kit: The Complete Step-by-Step Guide to the Art of Paper Folding.

1. The tittle says "ultimate" but the contents are far from it. There's a modest selection of traditional models and several weak original models. The diagrams are clear and easy to follow. This book is geared to the beginner but is so limited in it's scope and quality of artistic expression that it does nothing to kindle an interest in origami." Origami Treasure Chest" is a great book for beginners, with loads of fun models.Try "Easy Origami" by Montrol for similar models, or better yet get Honda's "The World of Origami", perhaps the best origami book available.



2. Easy step by step instructions. Color pictures for each step with written descriptions. Comes complete with 2 sizes of paper in many colors and one pre-folded example. Starts with simple folds, includes action projects and more complicated folds. Explains the basic folds, and common bases such as Kite, Bird, Waterbomb and more. Lots of fun right from the start.

3 comments about Fundamentals of Figure Carving.

1. I have just started to learn, how to carve stone. And like averyone else, I wanted to carve a figure,face,eye etc. But did not know how to even start. Even though it is about wood carving,it helped a lot.



2. Lots of pictures and very detailed descriptions of the process. He spends a lot of time on the technique. It's a very hard thing to do, but if you want to carve people, you must own this book.



3. Mr. Bradbury has written the best book I've seen for the woodworker that would like to do realistic full relief carving of the human figure. Having started out to do this myself (without the aid of his book) the very practical way that he approaches carving picked up for me right where I was stuck: I found that it was one thing to carve an abstract figure but quite another to carve one with a high degree of realism.

   In multiple cases, for both full figure and busts and for both male and female subjects, he shows the process from initial photos or sketches through outlining, blanking, and all of the succeeding carving, sanding, and finishing steps. All of the steps are well and amply illustrated. There is no hiding on his part, either, with each step described along with his intended purpose for it. Comparing his finished product with the photos of the original subject shows that you are being taught by a master who makes you understand the objective of each step and how to do it.