Book Description

This unique book by tattoo artist Takahiro Kitamura (Horitaka, a pupil of Horiyoshi III) discusses the art of the Japanese tattoo in the context of Ukiyo-e, concentrating on the parallel histories of the woodblock print and the tattoo. Through high quality illustrations it shows that the Japanese tattoo is highly reliant on and linked to the woodblock print and that it deserves a position among the other art forms. A range of typical ukiyo-e motifs in the Japanese tattoo are discussed and illustrated by the original Japanese prints, and sketches, drawings and tattoos by tattoo master Horiyoshi III. The book ends with a special essay by Don Ed Hardy. ... Read more

Reviews (2)

tops on the cultural context of the japanese tattoo
Takahiro Kitamura's "Tattoos of the Floating World" is far from a be-all and end-all guide to Japanese tattoos. However, it is for the moment without peer in providing a cultural context, and it thus adds depth to a reading of many other favorites, including Fellman's "The Japanese Tattoo," Addiss' "Japanese Ghosts and Demons," and Klompmakers' "Of Brigands and Bravery: Kuniyoshi's Heroes of the Suikoden."

In this slender volume, Kitamura's primary focus is the linkage of the woodblock printing tradition of the Edo period (1615-1868) to the development of the tattoo as art. With such a focus, afficionados of the print artists Kuniyoshi, Kunisada, and Kunichika will find many illustrations to delight them, and there are as well photographs of the current artistry being worked by tattoo masters. Adding to the value of the book are a preface written by Donald Richie and an afterword by Don Ed Hardy. The first essay is elegiac and lyrical in tone; the second provides personal insights by a Western connoisseur of the tattoo art form.

The shortcomings of "Tattoos of the Floating World" concern what is not included. The book would have benefitted greatly from having an index as well as a more generously-executed glossary. Moreover, I regret that Kitamura, who as a tattoo artist is uniquely qualified to do so, did not more systematically and fully catalogue and explain the symbolism of Japanese tattoos.

Masterful Examination of Floating World Arts
Most tattoo afficianados are aware that Japanese tattoos are steeped in history and culture. But Tattoos Of The Floating World: Ukiy-o Motifs In The Japanese tattoo explores this history and culture in a way never done before. Takahiro Kitamura's research and unique insight combine to present the reader with not only a history of the Japanese tattoo, but also with an understanding of how it came to be, how it continued to maintain its traditions through centuries of persecution and cultural metamorphosis, and how it both influenced and was influenced by the contemporary arts of early Japan.

The first half of this excellent work explores the early history of the Floating World (as pleasure districts were known as Japan's Edo period), focusing on the "triumvirate of arts": ukiyo-e (wood block prints), irezumi (tattoos), and kabuki theatre. Ukiyo-e and irezumi are so closely intertwined that tattoos of the day were referred to as horimono (carved object) in deference to the process of carving a wood block print. Kabuki was the theatre of the people and expressed not only the history and mythology of Japan, but the people's innermost desires as well. Kitamura's exploration of the ways in which these three arts intertwined demonstrates his love of the topic and inspires a similar affection in the reader.

The latter half of Tattoos Of The Floating World details many of the themes so strongly connected with Japanese Tattoo today. Sections devoted to such heroes as Fudo Myoo, Fujin and Raijin, Kumonryu Shishin, and Tennin give a basic understanding of their characters themselves and their endurance as tattoo motifs. Details are also provided on such traditional images as dragons, koi, shunga, falcons, the Kurikaraken, tigers and the phoenix.

Illustrated throughout with ukiyo-e, original sketches by Horiyoshi III, and photographs by Jai Tanju, this work is as beautiful as it is educational. The pairing of sketches next to their finished tattoos highlights the artistry involved in Japanese tattoo while the presentation of ukiyo-e prints alongside tattoos of the same characters and motifs demonstrates the cultural and historic similarities.

As a special bonus, Don Ed Hardy weighs in with an essay exploring his own discovery of Japanese tattoo. Ed Hardy is the foremost American authority on Japanese tattoo and was one of the first Westerners to write on the subject. This essay follows his discovery of Japanese tattoo and his adventures in crossing the borders (both physical and cultural) between Japanese and Western tattooing. ... Read more

Book Description

Previous studies of Picasso's involvement with the classical have tended to concentrate on the period immediately following the First World War, and to attribute that involvement to both the rise of political conservatism in France and the domesticating influence of the artist's marriage to Olga Koklova. Focusing instead on the later, classicizing prints of the 1930s, this book offers a radically different view of Picasso and the "classical" -- a view that aligns his work much more closely with Surrealist, and specifically Bataillean, revisions of antiquity.

The book's argument is built around detailed analyses of several separate print series: Picasso's illustrations for Ovid's Metamorphoses, the etchings of the Vollard Suite, and The Minotauromachy. Common to all of them, the book shows, is a strong engagement not only with the classical, but with the viewer. In the latter, Picasso's prints are clearly at odds with the understanding of the relationship between classical art and its audience that prevailed throughout most of the nineteenth and twentieth centuries -- an understanding that held the work's purported autonomy to mirror the viewer's own. By exposing that autonomy as a fantasy, Picasso opens the "classical" work and its viewer alike to the entanglements of desire and the dissolution of boundaries it inevitably brings.

Much of the argument turns on close readings of key Surrealist texts by Georges Bataille, Michel Leiris, and Roger Caillois. Even more important, however, are the prints' numerous references, heretofore unnoticed, to specific works by, among others, Rubens, Rembrandt, and Goya. These references effectively create an alternative "classical" tradition out of which Picasso's etchings can be seen to have emerged. ... Read more

Amazon.com

Since the publication of its first issue in 1992, Ray Gun has set the perimeters of the cutting edge in publishing. Abandoning such conventions as headlines, columns, and even page numbers, the alternative rock-and-roll magazine created a chaotic, abstract style that broke all the rules, clearing the way for a slew of fringe magazines devoted as much to style as to substance. This self-consciously hip, unconventional approach soon emerged on album covers, concert posters, and MTV, signaling the birth of a bona fide movement. The same irreverent approach to production is applied to Ray Gun: Out of Control, forcing you to wade through a maze of random graphics and typefaces to unearth the articles and essays. The search is half the fun, though, as the pieces are enough to capture your interest, even against the backdrop of so much graphic noise. ... Read more

Reviews (5)

ray gun - out of control
this book is a collection of spreads from the early years of raygun and other magazines whose art direction was lead by david carson. there is a lot of controversy surrounding carson's work, and carson as a graphic designer. i find the work visually stimulating and closer to art than most design i've encountered. i personally admire the intuitive beauty of this book and have spent countless hours looking at it. while i do not recomend carson's other books i do recomend this one.

Collection on the shelf
This book is for the Raygun collectors who admires clever typographic layout. A collector's item.

out of gas
As the elite of contemporary typograhpy will tell you, Art Director David Carsons was neither type designer nor graphic designer, but instead adept collector of typefaces and free favors from young talent. This book is an attempt, on the eve of the sellout of the Ray Gun Empire, to solidify the merit of a magazine built on 2 things: hype, and the desire of the design community and its afficionados to find a voice for the explosion of creativity ignited by the early macintosh design pioneers and their disciple, Ed Fella,while, initially at least, disregarding the need for relevant indie music reporting. Don't buy it.

Out of Control pushes the envelope
Use this book for ideas that will stun and amaze your staid audience whether it be in print or on the Web. I look at it as one giant idea book - it pushes the limit of type and design and gives us a new art form

A magazine picture book?
"Out of Control?" I don't get it. Is this a picture book, or a book that is supposed to honor the magazine? Magazines are about content and design, but here all we get is design. Now, I like design, I like it a lot, and hope to one day get into magazine desiggn, but this book seems to undermine what the magazine should be about. Design vs. Content. How well does the design and presentation relate to the article? I have no idea from looking at this. This is a picture book. From looking at this from a distance (which you are apparently supposed to do) Ray Gun is a nicely laid out and designed magazine. But what's it about? I love design, but I don't give a damn about a publication about information (no matter hhow good the design) if I can't have access to that information. As far as I'm concerned, this collection should showcase and celebrate the representation of information. IAs I've said, I enjoy the design and designers, but Ray Gun was started as a great means of maing the aarticles fun to read...lure the reader in with the design and hook 'em with the words. This may or may not have worked, but the intention was there. No matter how much of a design magazine this is, Ray Gun is the bible of mushc ansstyle, not a graphic design monthly. I think that this collection is a slap in the face to the people who wrote the articles in the mag. Buy "Out of Control" if you want a picture book, but if you want to get any idea at all about what the actual magazine is about, bo to the periodicals section and pick it up. ... Read more

Reviews (2)

Coffee table book
I have been reading reviews by one Mr Noshir Khambata who rates every book he reviews as 5 stars and this raises the issue. His reviews do not help and it seems that he is out to please everyone and hence his reviews of all books are without any value

I have doubts about this book also and it looks like a coffee table book fit to be kept as a showpiece

A Zarathushtrian Labour of Love and Sacrifice.
The Editors of this magnificent and massive volume (762 folio pages) deserves the deepest thanks of the Parsee community of Bombay in particular, and Zarathushtrians in general on a global basis, for compiling for us, what is truly a "labour of love and stupendous sacrifice". The high quality of paper, printing, the selection of the articles, the magnificent coloured illustrations, the comprehensive glossary and chronological tables, truly makes this volume as one of a kind, that every Parsee household would do well to have on their prized book-shelf. The list of article contributors to this volume almost constitute a who's-who in the field of Iranian studies. Many of the reproduced photographs and illustrations are made available to the public for the first time. Every page delights a reader with uncanny information or stunning pictures or a fact of odd rarity. However the list of "Select Bibliography" at the end could undergo a substantial upgrading.

Very easily this work deserves a five star rating and beyond. But it breaks my heart that under the magnificence and glitter of this entire volume lies buried a grievous faux pas. This is not so much a judgement of error on the part of the very industrious Editors, but rather on the number of individuals who collaborated on this project and even contributed scholarly articles to it. The faux pas is the continued usage of the three most unfortunate words, i.e. Zoroaster, Zoroastrians and Zoroastrianism, when the correct designation Zarathushtra, Zarathushtrians and the Zarathushtrian Religion as dictated by the syntax of the English language have long been in existence and used by scholars of the highest intellectual calibre. Little, if any, is achieved in perpetuating an unfortunate error
steeped in ignorance and arrogance.

Congratulations to Mapin Publishers and Grantha Corporation and their massive editorial team for undertaking so massive a work and giving us a magnificent volume to treasure for years and beyond. It would be a great blessing if after some time the full volume can be accessed on the Internet with more stunning photographs and information. ... Read more

Book Description

Well over a thousand years old, the tradition of swordmaking in Japan is one of the most highly regarded metal crafts in the world. When all sword manufacture was prohibited in Japan for seven years after World War II, the age-old techniques were in danger of being lost forever. Today, in the hands of a new generation of practitioners, the craft is making a startling comeback. Connoisseurs say that the swords being produced now are the equal of anything made in Japan in the past few hundred years.

This book takes the reader into the workshops of four of Japan's leading sword craftsmen. Each craftsman has a different role in the manufacture of a blade. Yoshindo Yoshihara, the swordsmith, begins with raw steel made in a traditional charcoal-fueled smelter and refines it by folding and forging, gradually shaping it into a sword with a hardened edge. Okisato Fujishiro then sharpens and polishes the sword with fine stones to reveal the color and texture of the steel. Metalworker Hiroshi Miyajima makes the small copper-and-gold habaki collar that fits between the blade and the scabbard. Finally, Kazuyuki Takayama carves the hilt and the scabbard out of a single piece of wood. Black-and-white photographs show every stage of the manufacture, while important information on history, metallurgy, and modern-day appraisal is presented in an extensive introduction.

The swords made in Japan today are not, of course, intended for actual use. But their design, the quality of their steel, and the techniques used to create them still derive from the sword's historical function as a lethal hand-held weapon. A sword must be razor sharp, light, well balanced, and strong, but not so brittle it will break. In the perfect resolution of these qualities lie the beauty of the blade and the challenge of the craft.

This book demonstrates how brilliantly Japan's sword craftsmen today have met this technological challenge. The impulse of the craft now is to preserve the utilitarian object and yet create an enduring art for the modern age. While many fine books on sword appreciation exist, these deal primarily with older blades or problems of appraisal. The Craft of the Japanese Sword is the first book in English devoted entirely to contemporary sword manufacture, and will thus be of enormous value to metal artists everywhere, as well as to collectors and students of weaponry. ... Read more

Reviews (13)

Best intro for the beginner
This is probably the best book in English ever written for learning how to understand and appreciate the Japanese sword. When this book first appeared almost 20 years ago, there was little detailed information in English outside of specialist journals and similar publications on how they were made, especially the details of the hand-forging, heat-treating, and tempering methods which are still being done today just as they were thousands of years ago.

By varying the carbon content and temperature of the forge, the smith can either add or remove carbon or oxygen from the steel to get the right carbon content in the finished blade (about 0.7 percent). I enjoyed reading about the tatara, or iron smelter, which wasn't invented in Japan but seems to have originated in Manchuria and then brought to Japan by way of China or Korea. It's during this phase that certain impurities such as sulphur are removed as slag and carbon is added to produce steel, although the resulting steel is still low quality as the distribution of carbon isn't uniform enough to produce a strong sword.

It was also fascinating to learn about how the hamon or temper line is created and made to appear (it marks the boundary between the hard martensite edge and the softer baenite), and the rediscovery of how to create the utsuri, which was highly prized on swords of the Bizen school but was lost for hundreds of years until just recently, and involves another change in the crystalline structure of the steel between the side and the back of the blade. I also learned how to appreciate the different crystal structures (nie and nioi) and textures that make up the appearance of the blade (jintetsu) and what to look for in a good sword. There is also a detailed discussion of the different types of hamon and which are preferred and prized.

Some of the details are humorous and ironic. I learned that a modern swordsmith can legally only make two swords a month. This is because the great smith Mayairi could only make two a month when they standardized on this more than half a century ago. But that's because Mayairi insisted on cutting up his charcoal by hand to make it uniformly fine with a scissors, which took up most of his time. Most smiths crush the charcoal and then use a sieve to select just the right size pieces for the forging process. But because Mayairi was the greatest smith of his time the law was based on his output and has never changed since. This has resulted in many smiths travelling to Taiwan or China to make extra swords for the export market during part of the year to increase their income, since they can't sell them in Japan.

There are also chapters on every phase of the sword-making process, including sharpening and polishing, the making of the habaki, the construction of the saya or scabbard and the other koshirae, or fittings such as the tsuba (guard), and so on. Just the polishing process itself can take two weeks and involve many different steps in terms of the sequence of polishing stones and polishing methods. Also almost all of the stones used are still natural, just like in the old days, some of which can cost thousands of dollars. Dozens of steps are involved as the polisher goes from the coarsest to the finest stones and to the final polishing of the sword. This is the phase during which the hamon can be brought out most strikingly, and the final lines of the sword defined. The polishing of the tip of the sword is a special step by itself, and the mune or back and the groove are actually burnished or rubbed rather than polished, using several different hardened, sharp needles.

The book begins with a brief history of the Japanese sword which covers the different types and styles and covering the characteristics of the five main schools of classical swordmaking, of which the Bizen and Soshu schools today are the most important and prized. The book is profusely illustrated with many photos and drawings of swords and the different aspects and features of the blades, and what they are called. All in all still a fine book on the Japanese sword which has become a modern classic.

Simply the best book available on the subject
This book suceeds in explaining the truth behind the numerous myths about the Japanese sword, and does it in a concise, complete, and entertaining fashion. For the knife nuts (like this reviewer) who are tired of scholarly translations of Japanese originals cluttered by footnotes and stuffy academic prose, this book is a breath of fresh air. Best of all, this book also covers in detail several related crafts like sword polishing, habaki-making, and scabbard carving which are rarely mentioned in other books. Generous helpings of photographs and diagrams complete the text. For the blade enthusiast, this is the only book you need to buy on the subject.

Exellent book for beginers.
This book gives good information and has a lot of good pictures to show you what they are talking about. The first few pages are in color but the rest are in black and white. If you are interested in swordsmithing then you should read this book.

It is a nexus of knowledge...
Japanese culture, like most cultures, has many roots. Its military history and Samuri traditions make up one of Japan's oldest roots. At the center of the Samuri tradition is the bow and the sword. THIS is the book that lets you understand what goes into the sword, the soul of a Samuri, the icon of the Samuri ideals and a symbol of their past.

Good book for understanding the art of the sword
This is a very thorough book on the beauty that is a Japanese sword. My main issue with the book was that it delved immediately into the technical without giving an appropriate level of introduction. I would have liked more thorough explanations of what each part of the sword was in layman's terms. But otherwise, a very good read. The diagrams could be better labeled and the number of illustrations could have been higher. Still highly recommended to the novice admirer and the intermediate buyer. Experts probably have read this already. ... Read more

Reviews (1)

Informative and Quite Interesting
I have finished reading a copy of Mr Bogle's latest book, and as always, I find it entertaining yet very interesting; For years, we have gotten via piecemeal, the efforts that African Americans have made in the cinema; This book brings it all together as well as telling us about L.A.'s famous Central Avenue, the various prominent black Los Angelenos such as architect Paul Williams, Dr John Sommerville, who built the hotel that eventually became the Dunbar; The only thing with this book is that the fifties spoke more about Nat King Cole, who although had a home in a predominately white neighborhood which was noteworthy for it's time, overshadowed it; despite it, I found it very informative of various people who worked in the industry including Madame Sul Te Wan, Noble Johnson, Stephin Fetchit, Eddie Anderson, Hattie McDaniel, Louise Beavers etc to name a very few; Please come and learn more; ... Read more

Book Description

Mark Hampton, long regarded as the "First Decorator" for his work on the White House for former president George Bush, was one of America's most prominent interior decorators. His clients included Estée Lauder, the Saul Steinbergs, the Mike Wallaces, and the Henry Kissingers, to name only a few. For the people who knew him well, his reputation as a decorator was surpassed by his generosity as a friend. In his lifetime, Hampton painted hundreds of watercolors as gifts for the people who were closest to him. Mark Hampton: The Art of Friendship, by his widow, Duane Hampton, is a collection of 140 watercolors that reveal his wit, affection, and sophistication.

Reviews (1)

Another Classic Mark Hampton Book
For those of us who love the wonderful watercolors of the late Mark Hampton, this book is essential. The watercolors in this book are of a very personal nature, whether interiors, architectural, or otherwise. I am pleased to own this book, and I will enjoy it as I do with the other two Mark Hampton books. Note that the price is somewhat steep (...), but given the way the other two books sell on the resale market for many times their list price, a good investment. ... Read more

Book Description

At a time when more and more travelers are discovering Cuba, which has been locked away from the outside world for more than 40 years, this lavishly illustrated, absorbing volume offers a completely different view of the island from the one seen by most visitors. This book presents not the picturesque Cuba of Castro's era with its derelict buildings and peeling paint, but the opulent world of the Spanish Creole aristocracy of the colonial period, which has continued to influence Cuban taste and cultural life on a more modest scale even to this day.

Emphasizing the palatial homes and elegant furnishings of the island's enormously rich sugar, cotton, and tobacco barons, Cuban Elegance relates the social, cultural, architectural, and interior design history of Cuba, and of the Caribbean region in general. With an engaging text and gorgeous photographs taken especially for this sumptuous volume, Cuban Elegance offers a fresh, surprising perspective on an intriguing country. ... Read more

Reviews (2)

Beautiful photos and fine writing about Cuban furniture
This book is the first comprehensive review of Cuban furniture from the sixteenth through the nineteenth century. Connors and Buck, the author and photographer, spent months touring Cuba and doing detective work to gain access to relics of past eras.

Connors stays clear of the contentious times of Cuba, avoiding this battleground of American politics over the past 50 years. He gained the cooperation of American and Cuban authorities, no mean feat, and produces a veritable feast. He also used archives and collections of Cuban artifacts from other Caribbean countries to gain this masterful view which he presents in a prose that is descriptive but not ornate.

The color and style of Cuban furniture needs only an honest narrative for its story to be told. Connors cites Hispanic-Moorish, African and French influences on the many pieces of furniture sited in rooms lit through mamparas (tinted glass swinging doors) and mediopuntos (fanlights, semicircular windows made of complex forms of stained and plain glass set above doors and windows) of old Cuban haciendas.

This is a beautiful book designed to bring a touch of our hemisphere's elegant beauty into everyone's living room and even our lives. It does to ours and to anyone who owns it.

Cuban Elegance
Cuban Elegance is one of those rare books that combines gorgeous photography with knowledgeable scholarship about the architecture, furniture and decorative arts it features. So often, books that are big on style are fluff to read, and books that are written by academics are heavy going and not fun to look at. As someone who writes in this field, I appreciate when people get it right. Michael Connors and Bruce Buck nailed it on this one -- the images throughout the book are as beautiful as the one on the cover, and the text is informative, readable and engaging. They have made it possible for people to have a glimpse of an incredible world that so few get to see -- 500 years of Cuban history and culture as expressed in buildings and their furnishings. Five stars. As folks in the antiques business say, this one's a keeper. ... Read more

Book Description

Jack Goldstein and the CalArts Mafia is anchored by Jack's reflections, dramatized by Hertz into first person narratives, of the early days of CalArts and the last days of Chouinard; the New York artworld; the trials and tribulations of finding and maintaining success; his inter-personal relationships; and his disappearance from the art scene.They are complemented by the dramatized first person narratives of Jack's friends, including John Baldessari, TroyBrauntuch, Rosetta Brooks, Jean Fisher, Robert Longo, Matt Mullican, and James Welling.There are provocative portraits of many well known personalities of the 80s, including Mary Boone, David Salle, and Helene Winer, all working at a time when "the competitive spirit was strong and often brutal, caring little about anything but oneself and making lots of money."Has anything changed? ... Read more

Reviews (1)

tells it like it is
This book is a must read for any artist, it is a realistic picture of the art world the way it was and the way things are done today. There is a poignancy in Jack Goldstein, and it is very moving. ... Read more

Book Description

Venetian artist Carlo Crivelli (c. 1430–1495) is a painter whose individuality of style and mastery of powerful line have fascinated many, but whose life and art have remained enigmatic. This absorbing book, drawing on extensive research in Venice and the Marches, the region of central Italy that Crivelli dominated artistically from 1468 until his death, examines his paintings in depth and traces the fundamental influences of the Vivarini, of Squarcione and Mantegna, and later of Flemish art.

Ronald Lightbown, eminent historian of Italian Renaissance art, interweaves stylistic and iconographical analysis of Crivelli’s work with historical and cultural background. The author uncovers the reasons that led patrons to choose the saints that figured in Crivelli’s altarpieces, discusses the initiations of new cults and the devising of an iconography for them, and demonstrates Crivelli’s independence from clerical dictation in the symbolism of his still-life pictures.

Ronald Lightbown was Keeper of the Library and, later, Keeper of the Department of Metalwork at the Victoria and Albert Museum, London, until 1989.He is the author of the standard works on Botticelli, Mantegna and Piero della Francesca.

... Read more

Book Description

Since the 19th century, the women of Gee’s Bend in southern Alabama have created stunning, vibrant quilts. Beautifully illustrated with 110 color illustrations, The Quilts of Gee’s Bend includes a historical overview of the two hundred years of extraordinary quilt-making in this African-American community, its people, and their art-making tradition. This book is being·released in conjunction with a national exhibition tour including The Museum of Fine Art, Houston, the Whitney Museum of American Art, The Corcoran Gallery of Art, The Museum of Fine Art, Boston, The Cleveland Museum of Art, The Milwaukee Art Museum, The High Museum of Art, Atlanta, The Mobile Museum of Art, and The Memphis Brooks Museum of Art. ... Read more

Reviews (7)

A BEAUTIFUL REMINDER
Not only did I purchase this book, I purchased one for a friend of mine who is a quilter. The quilts and the incredible stories behind them are powerful motivators for those who wish to accomplish anything, not just quilting. It is the triumph of the human spirit and proves that deep down, each of us has an indominable core. I am envious of the skill that these women posessed and of the oral history and cultural traditions which have been created and passed down. It's a reminder of the scope of human potential.

great collection of American Art
I am an Alabama native. I have visited Gee's Bend, Alabama many times, but mainly to EAT!! They have more than pretty quilts in Gee's Bend. I have seen the quilts but because I love quilts and even tried unsuccessully to make one but, not being an expert, I guess I did not appreciate how popular the Gee's Bend quilts would become until I saw the story on CBS's Sunday Morning about the quilts being on display at the Whitney Museum in New York. The current quilters visited the opening at the museum and song those old gospel songs to their many fans.

The book itself is filled with stories and lovely photographs of the quilts. All the quilts are hand-stitched, of course. I couldn't imagine anyone creating such beauty with a needle and thread.

I am so happy I pre-ordered the book from Amazon. It will be a prized part of my collection.

Long Over Due!!!
Congratulations!!!! A few of these women are my aunts and they have been working so hard at this all their lives, I am so happy that they are finally getting the recognition that they deserve. They used to make so many quilts when we were younger and just give them away to family members as Xmas gifts, now they are being hung in museums around the US and I have proudly displayed my childhood quilts so everyone will know just how proud I am of them!!! Now I know the Pettway woman will always be remembered for the proud and strong women they are.

don't let the word "quilt" fool you! A coffee table art bk.
This is truly a coffee table art book, not just a "quilt" book. The quality of the photographs, book paper, etc. has the look, feel, and smell of a fine art book. I was very impressed. The quilts themselves are beautiful -- some were more my taste than others, I'll admit; but all respectable. Many of them had a very modern art feel to them-- brilliant colors, textural, geometric. The supplemental photographs and text are also wonderful-- crisp black and white photos of the artists and worthy biographies. These are the best examples I've seen of African-American quilts, and indeed this is a stunning art book all the way around.

A Celebration of Women's Art!
This quality book details the beauty of the women and the quilts of Gee's Bend. I look forward to seeing the exhibit next week in New York, for the simple elegance of these works of art are not to be missed!

I am thankful someone had the insight to appreciate and celebrate the special arts women have created throughout the centuries! ... Read more

Book Description

Chinese workers in the third century b.c. created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century a.d., Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. In the seventeenth and eighteenth centuries, China exported more than a hundred million pieces of porcelain to the West. As these examples show, the Chinese throughout history have produced works of art in astonishing quantities--and have done so without sacrificing quality, affordability, or speed of manufacture. How have they managed this? Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. As he reveals, these systems have deep roots in Chinese thought--in the idea that the universe consists of ten thousand categories of things, for example--and reflect characteristically Chinese modes of social organization.

Ledderose begins with the modular system par excellence: Chinese script, an ancient system of fifty thousand characters produced from a repertoire of only about two hundred components. He shows how Chinese artists used related modular systems to create ritual bronzes, to produce the First Emperor's terracotta army, and to develop the world's first printing systems. He explores the dazzling variety of lacquerware and porcelain that the West found so seductive, and examines how works as diverse as imperial palaces and paintings of hell relied on elegant variation of standardized components. Ledderose explains that Chinese artists, unlike their Western counterparts, did not seek to reproduce individual objects of nature faithfully, but sought instead to mimic nature's ability to produce limitless numbers of objects. He shows as well how modular patterns of thought run through Chinese ideas about personal freedom, China's culture of bureaucracy, Chinese religion, and even the organization of Chinese restaurants.

Originally presented as a series of Mellon lectures at the National Gallery of Art, Ten Thousand Things combines keen aesthetic and cultural insights with a rich variety of illustrations to make a profound new statement about Chinese art and society.

Reviews (1)

An indispensable insight into Chinese thought
This is one of the clearest and most insightful examinations of ancient Chinese aesthetics and related philosophical and philogical materials that has been produced in the English language. We owe Prof. Ledderose a great debt of gratitude for having taken the care to lay out in such a readable volume the gist of a pragmatic approach to the creation of art and artifact that came to predominate throughout thousands of years of Chinese culture. His examination of the modular construction of the Chinese written language is compelling. The book should be required reading for students of any and all disciplines that begin with the phrase "traditional Chinese", be they students of medicine, martial arts, meditation, music, painting, or any other of a long list of subjects that have been influenced by the approach to thought and logic that is revealed in its pages. ... Read more

Book Description

A magisterial presentation of all the works of Barnett Newman, along with fascinating new insights into his artistic achievement

Barnett Newman (1905–1970), one of the greatest artists of the twentieth century, has captivated critics, scholars, and the general public for decades. This highly anticipated catalogue raisonné presents Newman’s entire oeuvre—paintings, drawings, sculpture, graphics, an architectural model, lost and unfinished works, and ephemera—in one stunning and definitive volume. Featured elements include color reproductions of unparalleled quality; extensive provenance, exhibition, and publication histories; and a listing of the contents of the artist’s library at the time of his death.

In addition to the catalogue raisonné prepared by Heidi Colsman-Freyberger, the book offers revelatory essays on the artist, his career, and his working methods and features fascinating photographs of Newman, his studios, and his installations. Richard Shiff draws on new documentation to explain why Newman chose to create abstract art, how he achieved “fullness” in his paintings, and how his works exemplify the social functions of an artist. Carol C. Mancusi-Ungaro reveals extraordinary details about Newman’s studio practice and materials and techniques, information not available to the public before because Newman only allowed his wife to observe him at work. Mancusi-Ungaro also discusses the fate of works that were damaged while traveling to exhibitions or by vandals.

Produced and designed to the highest possible standards, this magnificent catalogue raisonné is a critical purchase for anyone interested in twentieth-century art.

Richard Shiff is Effie Marie Cain Regents Chair in Art and Director of the Center for the Study of Modernism at the University of Texas; Carol C. Mancusi-Ungaro is Director of Conservation at the Whitney Museum of American Art; and Heidi Colsman-Freyberger is an independent scholar, researcher, and bibliographer.
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Book Description

Born in the final weeks of World War II--in what Germans who wished to erase it from collective memory called Year Zero--Anselm Kiefer has long sought to come to grips with his country's Nazi past. This monograph traces his development as an artist through four blocks of work which reflect the most important currents in his complex oeuvre. Moving chronologically from microcosm to macrocosm, from the intimate spaces of "Attic Images" in the 70s through the vaster "Stone Halls" of the early 80s and the archaic-looking clay architectures he created in the 90s, Kiefer's pictorial spaces climaxed in the endless universes of "Images of the Cosmos and Constellations," painted at the close of the century. With the monumental "Sunflower Paintings," the progression was complete and he returned to earth. Also included are photographs by Thomas Flechtner which document the greenhouses, underground corridor systems, and installations realized by Kiefer at his studio estate in Barjac since 1993. I think vertically, and Fascism was one vertical plane. Yet I see all these strata. I tell stories in my works in order to show what lies behind the story. I make a hole and I go through it. --Anselm Kiefer
Essay by Markus Bruderlin.
11 x 13 in.
62 color illustrations ... Read more

Reviews (1)

A high-quality gallery book
Anselm Kiefer: The Seven Heavenly Palaces 1973-2001 is a truly impressive volume showcasing Anselm Kiefer's paintings in full color. An essay by Christoph Ransmayr and contributions by three others offer insightful commentary on the period pieces, but the principle focus of Anselm Kiefer: The Seven Heavenly Palaces 1973-2001 is upon the art itself. Enthusiastically recommended for personal, art school, and community library art reference and history collections, Anselm Kiefer: The Seven Heavenly Palaces 1973-2001 is a high-quality gallery book filled with earthy architectural paintings and resounding emotion and spirit. ... Read more

Book Description

One of the most recognizable of American artists, and one of America's most innovative printmakers, Jim Dine has created a multidisciplinary oeuvre tied together by his continued use and reinvention of familiar imagery. Hearts, bathrobes, skulls, tools, the Crommelynck gate, Venus de Milo, self-portraits, plants, and flowers--Dine infuses these personal metaphors with new meanings and continually depicts them in novel and diverse contexts. Over time, some of these motifs have become recognized as clearly symbolic: the bathrobe figures as a self-portrait, the heart as a symbol of his love for wife Nancy. And also over time, Dine has added new images to his iconic repertory. Mountains, ancient Greco-Roman sculpture, owls, hands, trees, apes, Pinocchio, and ravens figure prominently in the prints he has made since 1985. This catalogue raisonne fully documents Dine's evolving imagery and technical experimentation from the late 80s through the millennium, including his limited-edition illustrated books, and establishes his absolute maturity as an artist. A glossary of printmaking terms, a selected print exhibition history and bibilography, and a discussion of his poetry and literary leanings make this catalog complete.
By Elizabeth Carpenter with an essay by Joseph Ruzicka. Foreword by Richard Campbell and Evan M. Maurer.

9.5 x 12 in.
400 color illustrations ... Read more

Book Description

Among the most important private art collections ever created were those of Imperial Russia. Catherine the Great, guided by Voltaire, amassed treasures on a Herculean scale, laying the basis for what is today the Russian State Hermitage. Favorite courtiers built palaces of unprecedented magnificence in St. Petersburg and Moscow for their vast collections of paintings, antiquities, and decorative arts. In a lively and anecdotal text, Oleg Neverov reassembles these now-legendary private collections-which, after the 1917 Revolution, were dispersed among the Hermitage, Pushkin, and Tretiakov museums, sold to foreign museums, or spirited abroad.

Represented here are works that once belonged to such famed aristocratic families as the Stroganovs and Yussupovs; to the merchant princes Mamontov and Tenischeva; and to the legendary Morozov and Schukin families, the largest purchasers of the early works of Picasso, Matisse, and Braque. Here, portraits of the collectors, period photography, and architectural drawings and watercolors, along with beautiful reproductions of the artworks and texts drawn from the latest research in Russian archives, bring this long-gone era and its treasures back to life. AUTHOR BIO: Oleg Neverov, a Russian art historian, is the keeper of the department of antiquities, Russian State Hermitage. He is the author of catalogues, monographs, and nearly 200 articles. Mikhail Piotrovsky is director of the Russian State Hermitage. Nicholas Romanov is head of the former imperial family. ... Read more

Reviews (1)

Beautiful
This is an unbelievably beautiful book! The photos are very good quality, the information accompanying them is interesting. Also loved the chronology at the end. Very lovely and well done. ... Read more

Book Description

Jack Vettriano’s rise to fame has been meteoric. His painting, “The Singing Butler,” recently sold for a record $1,350,000. This sumptuous volume showcases more than 30 new pieces, some unseen earlier work, plus the best of his paintings published in Lovers and Other Strangers and Fallen Angels. ... Read more

Book Description

In the late 1920s, conservative policies were the norm among traditional museums--that is, until three progressive patrons of the arts decided to establish an institution devoted exclusively to modern art. When The Museum of Modern Art was founded in 1929, its first director, Alfred H. Barr, Jr., dedicated it to helping people understand and enjoy the new visual arts of the time, his hope was that this new institution would offer New York " perhaps the greatest museum of modern art in the world." The public responded with enthusiasm--and has continued to do so over the history of the Museum's extraordinary development: from an initial gift of eight prints and one drawing, MoMA's collection has grown to include over 100,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects; 19,000 films and four million film stills; and 160,000 books, artists' books, and periodicals.

Published on the occasion of the Museum's 75th birthday and the opening of its new building, Art in Our Time:A History of MoMA, is a picture book of historical photographs and archival documents, many of which have never before been published. Included are images of the various Museum buildings and gardens, from its original home in the Heckscher Building at the corner of Fifth Avenue and 57th Street, to its present location in Yoshio Taniguchi's complex on 53rd Street; installation shots of major exhibitions and important events at the Museum, and photographs of curatorial staff and Museum officials whose discerning policies helped shape our understanding of modern art. Documents include excerpts from letters, invitations, and other archival material that tell the story of The Museum of Modern Art from its beginnings to the present. The book is divided into eight sections starting with documentation of the, modern art scene in New York prior to the Museum's opening; and then offering a chronology that covers the museum's 75-year history in seven parts divided into 10- to 15-year increments. Edited by Harriet Schoenholz Bee and Michelle Elligott.

Foreword by Glenn Lowry. Hardcover, 9.5 x 10.75 in. / 240 pgs / 300 color and 300 duotones. ... Read more