2 comments about Miracle in the Scrap Heap: The Sculpture of Richard Stankiewicz.

1. This is the first Fathers' Day gift that my husband has showed off to his friends. The photos are excellent.



2. As I find out today, the late Mr. Richard Stankiewicz was my great great uncle. Many would say that this is a distant relationship, and seeing as I have never met the man I would have to agree, but I believe this book to be a great inspiration for all artists. My grandmother tells me stories her experiences with Richard and how he turned a pile of scrap in the yard into a beautiful design. Many see this art as trash or just pieces of metal put together, but you have to look deeper into the soul of the art, and I think this book does a beautiful job at giving you a look into the soul of this great artist so you can see it from his eyes.

No comments about Otherworld Uprising.

2 comments about Making Ceramic Sculpture: Techniques * Projects * Inspirations (A Lark Ceramics Book).

1. As a sculpture student who has worked primarily in wood and plaster, I wasn't interested in this book as much for technique as for a photo gallery of contemporary sculpture. I was blown away. I will be taking ceramics in the future, and now I can hardly wait to get my hands on clay; I was fascinated by the different styles possible in this medium. Those coming from a ceramics background will have an entirely different appreciation for this book (I don't know anything about the techniques introduced, but the author made them seem very 'do-able'). At any rate, it's a wonderful book to peruse, and stimulate that creative muse.



2. A beautiful ceramic sculpture book... this book deals with handbuilding sculpture work. It is both for learning and looking, has several step by step projects you can follow along with and a gallery full of wonderful images in the back half of the book. There is also good information on finishing your ceramic work, and even talks about alternative finishes on clay such as oil paints, acrylics and experimenting with your finishes.

2 comments about Attention's Loop.

1. Ms. King is not only a great artist but an original thinker. Her sculptures, mechanical self-portraits fashioned from wood and metal, are amazingly realistic and beautiful yet at the same time a step beyond reality. As a craftsman, she is truly gifted with her hands. As a writer, she is able to examine the fields of history, philosophy, and science through the lens of her art and make us rethink the meaning of the human brain and senses. Especially fascinating was her research into the history of the homunculus.

   As an added bonus, the book is beautifully designed (even won an award for book design).




2. A crystalline romp reflecting tension and reverie involved in the creation of that which is in our image. King's prose is elegant, pithy, never prolix, illuminating topics from the Golem to ETA Hoffman's Olympia while passing on the way thorough Jacquard's loom and Vaucanson's creations.

   Throughout this shimmering work are dispersed aching photographs of King's Pupil, a jointed movable sculpture; her Galetea, who seems, at any moment, about to spring to life.

   I without reservation recommend this work to anyone interested in the creation of works in the image of "Man," from sculptors to professors of AI.

2 comments about A Sculptor's Testimony in Bronze and Stone: The Sacred Sculpture of Avard T. Fairbanks.

1. The most complete reference of the sacred artwork of Avard Fairbanks. This book describes the sculpture in great detail, along with photos of the works.



2. The contents of this book depict the love and devotion of the members of the Church of Jesus Christ of Latter Day Saints as they endured trials and tragedies during the early years of the Church's organization (mid 1800's to mid 1900's). The descriptions given about each piece of artwork are clear and concise. Avard T. Fairbanks was truly a professional in his time. His artwork is thought provoking and provides the reader with a clear insight as to the devotion and hardships the Mormons had to endure. Truly an amazing compilation of sculpture.

2 comments about The Temptation: Edgar Tolson and the Genesis of Twentieth-Century Folk Art.

1. Whether you are a fan of Edgar Tolson's work or of woodcarving in general, this is an essential book to have if you are interested in folk art of the 20th century. The thorough research done on Edgar Tolson is fascinating and through his art and career the world of 20th century folk art is examined. From key folk art collectors to various museums and institutions, the 20th century folk art movement was created and sold to the buying public. By the time the "important" artists were established all of the "important" early work was already in the hands of a few collectors and the museums. It's no accident that Tolson's work ended up in a prestigious Whitney Biennial and his artwork sky-rocketed in price. The same with Howard Finster. By the time his work was presented as being important to the general public, a narrow group of collectors and critics had already hoarded the first few thousand of his numbered pieces which the critics then deemed as the most important of his career. And the story continues to this day with collectors / critics buying early key works, then recommending them to the general folk art buyers. This book is perhaps the best analysis of why and how a folk artist becomes "important" in the 20th century. It may or may not sour your view on 20th century folk art but is a great read either way. As with all art or decorative objects, if you just buy what you like and ignore the critics, you'll be happy. Who's to say 10, 20 or 50 years from now if anyone will even care about "20th century folk art."



2. Ms. Julia S. Ardey has put together an extraordinary work -- filled with stories and pictures of a poor Kentucky man who whittled stuff to which other folks took a liking. My grandfather Edgar Tolson will always remain an elusive character both in life and in death hard to explain and to understand. As all great artists he was not one dimensional. Ms. Ardey did a fine job of grasping enough bits and pieces of his life, through the eyes and hearts of those who knew him, to give a reasonable representation of who Edgar Tolson was and why he whittled. Ms. Ardey interviewed scores of people and personalities who all have their own opinion of Edgar Tolson the Man and Edgar Tolson the Woodcarver and the times in which he lived. Ms. Ardey managed a remarkable feat in compling those interviews into an a very good work. She included many pictures that give insight into an artisan and his art. Many pictures capture Edgar's soul in his eyes -- others show a family life of just real folks who just have a Daddy that whittles in the living room and lets the shavings fall to floor. As a granddaugther of Edgar Tolson, beloved Kentucky woodcarver, I am very pleased with the work Julia S. Ardery managed to put together on his life and extraordinary talent. With a family as large as he had I am sure that this book will be debated into generations, however, it is a real good starting point at which to kick off the debate of fact or fiction. The papaw I knew was a wonderful minister; he loved his God, knew his bible and had a passion for sharing the Biblical Truths of his God with others through his work. He managed to reach the very far corners of the earth with his renditions of Adam & Eve in Garden of Eden, Their Fall, and Noah's Ark among a few--how many ministers can stake that claim. He carved what was upon his heart to carve. He was discovered by others who marketed it to a world who craved his carvings and what they represented to them. I am so pleased that Ms. Ardery managed to compile so much ! of his life and work into this book. It makes for really good reading and gives the reader the opportunity to linger with story and photo's of Edgar Tolson and his artwork long enough to gain an understanding of why so many are so drawn to it, him and living upon this earth. Thank you Ms. Ardery for a job well done.

3 comments about Disarmed: The Story of the Venus de Milo.

1. The Venus de Milo has become a symbol of great art, as well as kitsch. It has been used in advertising throughout the world because of its ease of recognition. While everybody knows the identity of the statue almost immediately, few know the story of its discovery, transport from Melos in Greece to the Louvre, and the controversy that followed. Gregory Curtis has given "flesh" to the marble by his often masterful descriptions of the actions of a few all too human men who were associated in some way with the statue after its discovery. From Voutier, who actually recognized the stature as something of value after it had been discovered by a local farmer, through d'Urville who successfully took credit for the discovery, to Reinach and Furtwängler who argued over the history of the Venus, the story is one of intrigue and curiously eccentric people.
   
   We now know the Venus was a Hellenistic rather than a classical Greek sculpture. French pride kept that truth from emerging for many years, but also it was burdened with the idea that Hellenistic art was inferior. Indeed, so set was this idea that anything of such notable merit as the Venus must have come from the studio of a great of the classic age of Greece. The inscription found with it on an associated piece that fit the base had to thus be unassociated! Wishful thinking is a hallmark of humanity!
   
   This is a well-written piece and should find readership with those who like to not only appreciate art, but to understand its history as well.



2. What a remarkable book, especially for a "first-time" author! There is so much fascinating information contained in the space of 200 pages, it's a tribute to Mr. Curtis (and his editor) that he was able to sandwich everything in - and to keep the sandwich neat and tidy. The book is a joy to read, from when the statue is uncovered by a farmer on the Aegean island of Melos right up until the final flourish, when Mr. Curtis presents his conclusions concerning who sculpted the Venus, when it was done, and what makes the statue a great piece of art. At first, there was a dispute about who was going to get possession of the Venus - the Turks or the French. Mr. Curtis explains why it was so important for the French to bring home this prize: Greek works were considered the epitome of art, if they were from the classical period (around the 4th century B.C.). It was thought that you could do no better than to imitate what the Greeks had done, and the best way to imitate the Greeks was to have their works where your own artists could study them, copy them, and gain inspiration from them. The British had the famous Elgin marbles and the Vatican had the Apollo Belvedere (which was removed from the Louvre and returned to Italy after Napoleon's final defeat), so it was very important to the French that they "bring home the bacon" and get the Venus to Paris. Mr. Curtis did extensive research and it really shows: in addition to the story of the Venus, we learn a lot about Greek society, including the role of women and female sexuality. Mr. Curtis also gives us a crash course in Greek mythology (we need this information in order to understand his conclusions about why the statue was located where it was, its purpose, and what position the missing arms would have been in and what they were doing). The author also gives us a blow-by-blow description of the "battles of the scholars." French scholars were desperate to prove that the sculpture came from the "right" (classical) period and was not carved at a later date. (This was due to the huge influence of a thinker named Johann Winckelmann, who stated that Greek art from after the classical period was inferior.) Battling against the "French School" was the highly respected Adolf Furtwangler, who concluded (based on physical evidence found at the same site where the Venus had been unearthed) that the statue was created during the Hellenistic period, sometime around 100 B.C. This argument seems silly to us - after all, if the Venus is a great work of art, what's the difference? But it points out the importance of historical context and frames of reference. At that time, it was important to the cognoscenti that the sculpture have the right pedigree. This all allows Mr. Curtis to have a lot of fun showing us the mental "loop-the-loops" the various scholars went through trying to prove they were right and their opponents were wrong. This included much wishful thinking and groundless speculation, in addition to selective use of the available data. (Does this sound surprisingly modern to anyone out there?) Another section of the book I really enjoyed was where Mr. Curtis explained how the Venus de Milo would have been displayed back at the time she was created. Based on standard practice of the time, she would have been adorned with bracelets, earrings and a necklace; her hair would have been painted blonde and her lips would have been painted red; likewise, her drapery would have been painted. Mr. Curtis explains that nowadays we would think all of this would ruin the statue, but to the Greeks it all would have made her more lifelike. Over the years many people were involved with the story of the Venus de Milo, and the author doesn't miss out on the chance to humanize the story by letting us in on their idiosyncrasies. For example, one of the Frenchmen who went to Melos to try and get possession of the statue after the discovery was the comte de Marcellus. He was very eager to sail to the island, but not because he was an art lover. He had happened to see a beautiful girl in a painting by a Viennese painter by the name of Johann Ender. Marcellus was obsessed with the girl in the painting, and found out from Ender that she lived on Melos. So, Marcellus was interested in beauty - but not of the inanimate kind! The aforementioned Furtwangler was also a rather interesting specimen - he proposed to his future wife, Adelheid Wendt, on the first night he met her. As with many brilliant men, Furtwangler had no use for brains that he perceived as operating at a lower wattage. Thus, he referred to a fellow scholar as a "complete ignoramus" and he was never happier than when he was able to pick out a museum's prize piece and label it a fake. The book is full of people such as Marcellus and Furtwangler - brilliant, odd, and entertaining. There is one last thing I should mention: the title of my review refers to the artist who sculpted the Venus, a Greek man named Alexandros of Antioch. He also wrote poetry, and composed and sang songs. Those works are all lost to us, but we still cherish his greatest creation.



3. There aren't many titles about the Venus de Milo, and far fewer in English yet.

   Gregory Curtis has written an entertaining and informative book that tells more than the usual cut and dry history and dates for the Venus de Milo. He has written a book that introduces a whole range of characters that had a direct influence on the statue from the time of her discovery on Milos through her arrival at the Louvre and her subsequent history.

   I've always fancied myself as an armchair student of the Venus, but learned some new and fascinating things.

   The book is a breeze to read. I only wish there had been many more illustrations and preferably some color shots.

   Mr. Curtis is convincing in his opinion that the somewhat rough and crude arms found with the statue were probably the originals, but unfortunately, there is no illustration to show how the statue would have looked when she was finished.

   This will make an excellent addition to art history libraries and enthusiasts bookcases everywhere.

1 comments about Contemporary Stone Sculpture: Aesthetics Methods Appreciation.

1. A fine reference volume, this book is perhaps less valuable in terms of instruction than Liebson's book, but Meilach picks up where Liebson leaves off. Liebson devotes his book entirely to technique -- to the craft of sculpting; only the first third of this book does the same, but with the help of over 350 photos, Meilach instead concentrates on the art of carving. Not so much art theory, but rather considerations of form, volume, and meaning, and how to impart those to your sculpture. Liebson will teach you how to carve; Meilach will help you figure out what to carve. Liebson's book is still #1, but Contemporary Stone Sculpture is its perfect complement.

5 comments about National Gem Collection.

1. Excellent information on the history of gemstones, understanding color and cuts. Exquisite examples, beautifully photographed. A must for anyone interested in gemstones or the history of jewelry.



2. This review is for the paperback version of the book, which I loved. It has a lovely balance of terrific photos & explanations of the various sources of the featured gems. It serves as a nice beginning reference when you have heard the terms sapphire & red sapphire (huh? I thought red gems were rubys or spinels) and would like to know more about which gems are related to others.
   
   And did I say the photos are just wonderful? Enjoy!



3. "The National Gem Collection," by Jeffrey E. Post, features photographs by Chip Clark. The book is a beautiful celebration of the title collection, which is part of the Smithsonian Institution. The informative text discusses the history of the collection, facts about types of different gemstones, and specific pieces in the collection.

   The full-color photography is really stunning, and brings a rich assortment of gems to glorious life. Some of the historic pieces pictured are the blue Hope Diamond, the diamond Napoleon Necklace, the Hooker Emerald, and more. Also shown are a colorful collection of "fancy" diamonds, a rare red diamond, the 858-carat uncut Gachala Emerald, the delightful "pink tutu" (a band of dainty rose quartz crystals on a large smoky quartz crystal), a dazzling group of fire opals, a lapis lazuli carving from Afghanistan, and more.

   I appreciate how the book celebrates gemstones at various stages: uncut, cut, and set in artfully crafted pieces of jewelry. Many different types of gemstones--aquamarine, garnet, spinel, chrysoberyl, turquoise, etc.--are covered. Features such as a scanning electron microscope photo of the inner structure of an opal give the reader a deeper understanding of the science behind gems. From start to finish, this book is a marvelous feast for both the eyes and the brain.




4. This is a beautiful book with lots of interesting information on the gem collection.



5. If you have visited the National Collection and want a souvenir to remind you of the stunning array of unique World Class Gems then this is the book for you. Both the format of the book and the superlative quality of the photography make this book the next best thing to being in the exhibition hall. There is a fairly light weight coverage of the gemmology in the text, but it mostly focusses on the history and ownership of these fabulous gems. The National Collection is unique, no where else in the world is there such a concentration of fabulous jewels with such an interesting history, with the possible exception of the British Crown Jewels in the Tower of London. This book is a fitting celebration of such a marvellous collection.

5 comments about Indian Jewelry Making [Volume I].

1. My silversmithing teacher is having us use her copies of this book to get ideas of what we want to learn how to make. She uses these books as THE bible(s) for Native American jewelry crafting. She owns her own business and is well known and respected in the jewelry community. She has the originals of these books, where volume I and volume II are separate editions. If you buy the book and it DOESN'T say Volume I OR Volume II on the outside cover of the book (and it lists the printing as being 2001 or later), then you have the consolidated version of both books in one. So Tyler, you probably bought Volume I, and then a copy of the newer consolidated book, instead of the actual older Volume II.
   
   This book has quite a few of the different Native American jewelry styles displayed inside, and has step-by-step photographs of how to make each one, as well as many variations for each type. Not only does it have bezel set rings, bracelets, and earrings, it shows how to do overlays and inlays. It is an outstanding book, and should be in every silversmith's library if they are at all interested in Native American style jewelry.



2. maybe you just got a bad copy, Ty - my copies are entirely different from each other. These are great books for the inspiring silversmith. Get anther copy!



3. Imagine my suprise when I ordered a copy of Volume II by this author and it is virtually identical to Volume I. There are two pairs of pages that are different -- the spoons are only in Volume II and Hopi-style jewelry is only in Volume I.
   
   Do NOT buy both "Indian Jewelry Making" and "Indian Jewelry Making: Volume II" -- you're wasting your money.
   
   If you're super-hot to make spoons track down Volume II -- otherwise "Indian Jewelry Making" will suffice.



4. I learned to silversmith using this book years ago. ...This book uses very basic tools and techniques - if American Indians could create jewelry using coal and coin silver - you can certainly do it with modern equipment (propane torch) and nice, smooth sheet silver. I just re-ordered myself. This book is well known in silversmith circles and definately worth your $!



5. I am an amatuer Silversmith, given basic instructions by a Navajo Sliversmith. Once a beginner has the basics then this book and the Volume II companion is easy to work from. There is no in-depth presentations in the one or two page photo instructions. Each project is laid out on one page in an excellent color photoghraph. At the top of the page the project usually starts with a short decripition of the stock silver required, with the tools pictured. Through a progression on the page, the stock silver is shown moving step-wise to the completed work. Around the border of the page are usually several different completed examples. There is a short text with each step that guides that production. The project styles seems to be mainly Navajo, with some Hopi and Zuni. This book is very traditional Indian jewelry and represents more than 50 projects or variations of design. The front of the book contains a short history in pictured period workshops from the 1870's to the present. The back part of the book has a thumb nail outline of some of the Silversmithing techniques. The spiral binding allows the pages to remain open as a visual guide as you work. I would recommend this to anyone interested in learning traditional Southwestern Indian Jewerly design and hand manufacture. Once you try out Volume I you will buy Volume II.