Amazon.com

To achieve the quiet beauty of his art, Andy Goldsworthy spends long hours in rough weather, engaged in a tug-of-war with nature. He wrestles heavy stones on top of one another to form tall, egg-shaped landmarks known as cairns. He painstakingly covers fallen logs with bright golden bands of Dutch elm leaves—a last hurrah for a proud species decimated by disease. He pulverizes white chalk to lay a long, wandering path in the woods that gleams in the moonlight. Works like these are as much about the transience of life as they are about a sense of place and the pleasures of color, light and form. In Passage, the British artist's latest book, he once again provides diary excerpts that chronicle his daily successes and failures. The lush color photographs he takes to document peak moments of the birth, glory and decay of his art are as beautiful as ever. Unlike the other books, however, Passage--which begins in 2000 and darts back and forth over the next few years--is shadowed by a more urgent sense of mortality. Goldworthy's recently deceased father is in his thoughts, and a major project he tackles is the memorial Garden of Stones for the Museum of Jewish Heritage in New York. The garden's giant boulders pose many difficulties--finding the right ones, acquiring them, moving them, experimenting with cutting processes and coping with the elderly stonecutter's frequent tantrums. Hollowed out, the stones will be filled with trowels of earth (a ritual recalling burial) and tiny oak saplings, symbolic of life. "The partnership between tree and stone will be stronger for the tree having grown from the stone, rather than being stuck into it," Goldsworthy writes in his straightforward style. (An essay about this project by the historian Simon Schama, previously published in The New Yorker, is one of several pieces by other writers included in the book.) Once again, Goldsworthy succeeds in showing how seemingly simple ideas and actions can deeply engage both natural forces and human emotions. —Cathy Curtis ... Read more

Reviews (5)

What a work of creative and artistic genius!
What a work of creative and artistic genius!

What to say about such an amazing work? For the first few times I
mainly absorbed the photos of his works, with only reading the
little captions and it wiped me off my feet. After a few rounds
of these I decided to read all of the writing in the book that
accompany the works he made and it totally blew me away. This
book has definitely altered something deep inside about the way
Ilook at nature, change, the seasons and time in general.

Time, as the title of the book suggests is the main topic of the
book and Andy Goldsworthy's art in general or at least his
approach and intention towards it. The body of work presented in
numerous photos and with corresponding writing in the form of a
journal covers the whole range Goldsworthy's work. For example
works made from stone, wood, leaves, snow, ice,...

As a result it gives an excellent overview and introduction of
his work and via the numerous writings a very deep, personal and
detailed insight into how he approaches different places, how he
reacts to change and works with the weather. The writing is on
par with his work. Very clear, direct, honest and poetic.

His insight into the concepts of time and change and seasons and
nature is truly breath taking. The introduction he wrote for the
book is a wonderful example illustrating this. Part of it can be
read by using the "Look inside the book" feature of Amazon.

Spending time with this book really cracks ones mind wide open
about time, change, nature and seasons and how to look at it and
perceive it.

And honestly I don't know what's more amazing. These amazing
and unbelievable pieces of art. Or the incredibly crisp and poetic
writing, deepening so much ones understanding of the works and
give insight into Goldsworthys view and approach and thoughts. Or
simply that out there somewhere a human being is walking this
earth with such an amazing understanding of time and nature and
able to transform this into amazing art an writing.

If the idea of Goldsworthys work is for him to work with time and
change and nature and to further his awareness of these concepts
and make sense of them in the most beautiful way then that is
exactly what this book excells marvelously at for the reader.

Another superb look at Andy Goldsworthy's ephemeral art
Andy Goldsworthy's artwork is utterly ephemeral and fleeting, and perhaps because of this, utterly transfixing. There is something of the ancients in the way Goldsworthy puts together stone, or wood, or leaves--or even in the way he lays himself down on a dry patch of ground in the rain so that when he gets up, we see a sort of reverse shadow of his body. There is an astonishing intellect at work here, and a soul which sees the value in what some art snobs might term "mere beauty."

Goldsworthy's many mediums are covered in "Time," which features sumptuous photography by Terry Friedman. We see perfectly constructed stone cairns--some pyramidal, some only half done and all the more startling for what isn't there as for what is. We see ruddy sandstone arches four times the height of a man. But Goldsworthy's most consistently inviting work is done not in stone, but in the ephemera nature leaves for him everywhere he looks. Goldsworthy's work is sometimes so fleeting as to question the very nature of whether it constitutes art when it lasts only minutes or hours. The frost shadows, for instance, are simply photographs of the still-iced patches of grass over which Goldsworthy stood in the early morning, then stepped aside so that a photograph could be taken. Of course these are gone within minutes as the sun warms the now-exposed grass. Is this art? Merely the fact that you question it shows your engagement with the work--Goldsworthy fosters a kind of subtle dialogue between reader and artist and the dialogue is consistently engaging. Another heat-destroyed piece is the thinnest imaginable sheet of ice, laid against a moss-covered rock, and Goldsworthy's handprint visible on it. As it thawed, it buckled and disappeared and we see its disappearance in the photographs. It's lovely, it's witty and it is, improbably art.

Other things disappear, too, but not from the sun's warmth. There is a "stick hole" Goldsworthy built early one spring which he and Friedman came back to photograph throughout the summer until the final photograph shows it utterly covered with the lacy ferns which grew up around it. There are the perfectly circular or perfectly ovoid leaf rafts Goldsworthy stitches together, then sends on their way down a meandering stream, having their path photographed before they disappear. There are the piled of rocks he constructs leading into the ocean so that the tides swallow them up--each stage meticulously recorded on film.

Perhaps the most transformative art in the book is the mud wall displayed on the cover. Goldsworthy applied mud to walls and floor in such a way that when the mud cracked and dried, it showed the meandering, snakelike pattern he'd put into it. It has become something entirely different solely through the passage of time. This book is filled with surprises and delights, and will have you utterly absorbed, charmed, and astonished. I can't recommend it highly enough.

Mature Work by a Great Artist
This is perhaps Goldsworthy's most elegiac and moving book, a profound meditation on time and change. If you like his work, you won't be disappointed. This volume and "A Collaboration with Nature" are wonderful and permanent sources of inspiration.

Time
Entropy. Order versus Disorder, structure versus chaos, these are the forces that we all deal with, and Andy Goldsworth displays this primal struggle elegantly in this beautiful new book. What the artist creates nature returns to itself. We see the process from inspiring begininng to intriging end with the key player being Time. It is hard to envision a more perfect book of this artists' work.

The best yet
If you are already an Andy Goldsworthy fan, this book is an essential coming together of his various design phases. It explains chronologically his life's work. The commentary describes his methods and his feelings. The photography as always is breathtaking making every page a joy.

If you are not already a fan this book represents a 'best of' summation of his work and makes his other three books a more indepth look at each phase of his working life. So buy this one first. ... Read more

Amazon.com

In the 1960s, the American artist Lee Bontecou was heralded as one of the most important young artists of her time. Painstakingly crafted from castoffs--Army surplus and canvas conveyor belts from a neighboring laundry--her wall reliefs evoked a fearsome sci-fi world of black holes and bared teeth, a mysterious doom-filled terrain no one had ever seen before. In the mid-'70s, however, Bontecou disappeared from the art scene, declining to take part in exhibitions. Lee Bontecou: A Retrospective revisits five decades of this extraordinary artist's work. The texts include Elizabeth A.T. Smith's overview of Bontecou's career, Robert Storr's nuanced analysis of the cultural context of the work, Donna De Salvo's remarks about the otherworldly drawings, and a pivotal essay from 1965 by the sculptor Donald Judd. Especially intriguing is Mona Hadler's brief discussion of Bontecou's personal interests (insect life, model airplanes) and political beliefs. No one has much to say about the critically disparaged vacuum-formed plastic sculptures of fish and flowers from the 1970s. But Bontecou's intricate drawings and recent series of suspended sculptures, which Smith describes as "something between a helicopter and an insect," continue to explore a natural realm that combines delicacy and menace. Lee Bontecou, which contains 175 full-color illustrations, accompanies an exhibition of the same title at the UCLA Hammer Museum in Los Angeles through Jan. 11, 2004, which travels to Chicago and New York. --Cathy Curtis ... Read more

Reviews (2)

re: the photographic record
I just studied both the book and the exhibition in Chicago. The works are wonderful first hand. The book is a nice supplement in some ways, the quality of the prints is good on the surface, and there are some contextual pictures of studio environment etc. But the book is enormously disappointing in one very important way: Most of the photographs of works in the first section are taken from only one angle, head on, and lit evenly so they give *no* idea of the geometry and depth of the works. The actual works have very dramatic physical depth, but the photographs make them look as flat as paintings. It's great that there is at least an inventory presented here, unfortunately, this book missed the rare opportunity to definitively fill the need for a photographic record of Bontecou's major works. It would have been greatly improved with multiple angles or more informative lighting for the works that demand it. You still have to see an exhibition to really have any idea what her works are like.

Regrettably, Amazon guidelines do not allow me to provide the URLs to Bontecou's own press release response to Storr's statements (search for "bontecou" on ereleases.com headlines).

Catalog is a Wonderful Companion to the Exhibition
It is difficult to review the exhibition catalog without first taking in the Lee Bontecou survey at one of the museum exhibitions currently traveling the US. Unfortunately the exhibition will travel to only three museums in the three largest cities in the US, yet most of the works come from public and private collections throughout the country. Luckily, readers get to see all of the pieces in a carefully written, scholarly book full of full-color reproductions, several essays about the artist and her process, essays about the artist and surrounding influences from (and in) art history, and a detailed exhibition checklist with thumbnail photos of each work in the full exhibition. There are over 150 works in the traveling exhibition presented in a catalog of 240 pages. The photographs are standard for a catalog presentation but photographs of the sculptural works may not give accurate renderings of scale or detail; once again, this is a catalog and not a coffee table book of a few of the artist's better-known works. For just a few dollars more than the softcover, get the hardbound edition; you will want to keep this book for a lifetime. ... Read more

Book Description

Reviews (13)

YUM!
This is one beautiful book. Warning: if you see the cover - you will have to have this book. I was happily surprised by the sheer number of "recipes" for metals, stones, and natural items like leather and bone. The recipes are separate from the project, thus allowing one to concentrate on making the faux surface and not becoming bogged down with making pattern pieces. Every recipe has a great project one can easily change into something to fit personal style. In reading the first part of the book, it is obvious Irene is very experienced and talented in working in polymer clay. There is much information she has shared so freely. I feel she truly wants the readers to enjoy the PC experience instead of "finding things out the hard way". The "recipe artisans" are very talented and amazingly clever. If you don't have time to get involved in a project, reading through this book will give you so much inspiration you will somehow make time for yourself and your clay!

YUM!!
This is one beautiful book. Warning: if you see the cover - you will have to have this book. I was really surprised by the sheer number of "recipes". The recipes are separate from the project, thus allowing one to concentrate on making the faux surface and not becoming bogged down with making pattern pieces. Every recipe has a great project one can easily change into something to fit personal style. In reading over the first part of the book, it's obvious Irene is very experienced and talented in working in polymer clay. There is so much information she has shared so freely. I got the idea she truly wants the readers to enjoy the PC experience instead of "finding things out the hard way". The "recipe artisans" are very talented and amazingly clever. If you don't have time to get involved in a project, reading through this book will give you so much inspiration you will somehow make time for yourself and your clay!

I must admit to some bias
I am somewhat biased on this topic, because I helped with a few of the projects in this book. Irene and Valerie (the editor) were absolutely fabulous to work for and I enjoyed the whole process, immensely!

I'm not usually one to submit projects for books and magazines, but they made it easy - they asked me to do specific things and set a deadline for each step - that made it easier for me (not very well self-directed ;) to get things done.

It was a very long process - over a year from the first contact, and interesting to observe.

The day that the book came in the mail, there were a few wild minutes of jumping-up-and-down noisy hooplah, and then I settled down with a cup of coffee to read it like a calm and rational human being, instead of like a screeching jumping bean. ;)

I was already excited just to be part of this project, but I was doubly proud to be associated with it after I saw the beauty and the originality and the finely-executed craftsmanship shown throughout the book. Beautiful paper and text, well-organized and laid out, it's just a gorgeous book.

Thirty faux substances and thirty different projects. I was intrigued by this idea from the start, but I wasn't sure how it would show up. Turns out that it works very well - the recipe for the faux surface flows right into the project that goes with it or right into some other project.

The photographs are rich and beautiful and the array of different faux surfaces is amazingly wide. The book has basic information about the clays and materials in the beginning, and the instructions for the projects and recipes are clear and easy to follow.

I love the rusted steel and copper verdigris by Alison Ingham - what a novel approach!

Luann Udell, who got me started with the addicting hobby of carving my own rubber stamps with her book has a gorgeous rendition of bone project for buttons.

Gerry Newfry's celadon pottery and Lynn Krucke's raku faux's are innovative and exciting, too.

Dawn Schiller's "bronze" green man would be a beautiful outside wall decoration.

Diane Villano provided one of the most original applications of faux Balinese filigree silver that I've ever seen!

Julia Sober's Baisse-Taille book is on my "must do" list.

In fact, I loved all of the projects in this book, even though I can't remember them all at the moment.

I plan to try as many of them as I can... the level of realism demonstrated is just incredible.

If you're as fascinated with the possibilities of this wonderful medium as I am, you will love this book. It's aimed at people who have some experience with the clay, but even if you're a beginner, try a couple of the projects and practice and I'll bet you can do these things, too.

Another of my favorite books is Tory Hughes' "Chameleon Clay," and I'd recommend buying that one, too - these are two completely different books with very little overlap in the processes by which we arrive at the different faux looks. They complement each other very nicely.

zig

Delightfully Surprised!
I now have quite a collection of Polymer Clay books that I have aquired over the years. I decided on a whim to purchase this one hoping to learn a few new tricks to add to my repetoire. I won't list all the surfaces one learns to imitate in this book...previous reviewers have already done this. What I will say is that I am very pleased with this purchase. The photos are clear and easy to understand. Each technique is explained fairly well. What I like most of all is that for each surface/stone/substance that is taught, an example project describing how to utilize your newly made substance is included. For example, the malachite section shows how to make a make-up compact and powder brush cover. It offers a launchpad from which to create your own ideas.

Summary:
If you are brand new to polymer clay, I still recommend The New Clay by Nan Roche. A better book or more bang for the buck does not exist...trust me, I've looked! If you're somewhat experienced and are looking to broaden your polymer clay horizons, this is a great place to start.

You Want The Newest & Best FauxTechniques? Look No Further.
This book is wonderful. When it arrived, I poured myself a cup of hot coffee, put my feet up and drifted off to happy, happy land.

The books begins by covering basics~ yes, this may seem boring to some, but I've learned a little something each time I've taken to time to read what I thought I already knew. For instance: tiger eye mutation, leaching, plaquing, carving, to making your own texture sheet. And this is still in the Basic "Materials, Tools & Techniques" part of the book. Yikes.

She also includes Recipes & Projects for:
Malachite
Lapis Lazuli
Tiger-Eye
Turquoise
Opal
Jade
Balinese Silver
Bronze
Rusted Steel
Pewter
Copper Verdigris
Bone
Abalone
Cork
Mother-of-Pearl
Leather
Burled Red Maple
Cinnabar
Jasper
Slate
Marble
Agate
River Rock
Celadon
Dichroic Glass
Faience
Cloisonne
Raku
Scrimshaw on Faux Ivory
and last, but not least
Basse-Taille Enamel (which is a totally new technique derivation that is wonderful)

Oh my . . . what a great book. She includes work from Elizabeth Campbell, Alison Ingham, Lynn Krucke, Chryse Laukkonen, Pat Laukkonen, Gerri Newfry, Pat Pettyjohn, Heather Roselli, Dawn Schiller, Julia Sober, Luann Udell, Diane Villano and, of course, her own wonderful art as well.

Check out Irene's website for even more Eye Candy:
http://www.good-night-irene.com/

My recommendation: Run, don't walk, to get this book. It's fabulous.

Babette
<*})))))><
Mystic Mermaid ... 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 raisonn&eacute; 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 raisonn&eacute; 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 raisonn&eacute; 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.
... Read more

Reviews (7)

What an imagination!
I've been seeing examples of this talented sculptor's work on the internet for several years, so when this book came out I snatched it up! I love the humorous, whimsical projects in this well-done book, and I love the free-spirited sculpting he does - detailed, yes, but not painstakingly precise - just plain fun. The result is that everyone, regardless of their previous sculpting experience (or inexperience), is tickled with their own clay "masterpiece." My favorite is the little dragon. Or maybe the Santa. What a hoot! :)

FANTASTIC
This book is SUPER,the cheeks make the models look so cute.
I dont no how the author comes up with the ideas [at the end theres even a half goblin half pirate gambler!]
I've finished every model in the book and now I can even make my own designs!

Paul

amazing
I had writtena review before i dont know where it went! so if you see it twice dont be surprised.
What i wanted to say about this books is that its a truly amazing book for beginers and alike.I have been making fantasy cartoon charatcers, after buying dinko's book its has become easier to make them.The book i sso detailed and easy to understand.And yesi agree, every time you see one of his characters u have to grin, cuz they are so funny!The book has lots of lessons to begin with , the cutest is the santa leson.Dinko shows through his book, that its easy to make acessories for the creature with things lying useless at home.Tha armature he uses are the tin foil and wire which are eaaily avaiable in the hardware and grocery shop.the only negative thing i'd like to say is there are no female critters in the book.But on the whole the book is worth the price.
Love the book.
(...)

amazing
Dinko's book has made it so much easier for me to make those cute little humourous critters. The book is so detailed , that anyone without any clay experience can start creating by just reading through.I am glad I bought the book.And the price is so reasonable.I just absolutely love it.The speciality of the book is that Dinko does not use those "special clay tools". The tools he uses are all found at home with out hassle.Truly an artist, and truly an amazing book.<(...)

Cute and Creepy!
I just received this book in the mail. I am looking forward to starting on some of the critters. I think this is a good book for a beginner. Tilov stresses there are no hard and fast rules, and the book provides photos for most of the steps in building the characters. All the photographs are in color. I've read through several of the projects, and he gives a lot of detailed instructions. I think it was a very good purchase for the price, and I can't wait to get started! ... Read more

Reviews (5)

An Absolutely Inspiring Book
A truly beautiful book, with rich photographs and nice summaries. Inspiring to the last page - and particularly useful for igniting one's creative juices. A small note to the Amazon reviewer: Andy Goldsworthy was born in England in 1956. He lives in Penpont, Scotland, but is English - not Scottish.

Astonishing natural art
In "Stone," as in his other books, Andy Goldsworthy takes the natural play of a child--fooling around with sticks, leaves, water, stones, mud, and more--and elevates it to something above and beyond its natural status. He uses his adult design skills to create great manmade beauty from existing natural beauty. He never falls over the line into obvious, coy, or precious art--he simply lets nature be what it is with a tiny little bit of rearranging on his part.

The results are never short of astonishing. Witness the sharp-edged rocks against which Goldsworthy has "glued" (with plain water) the leaves of brilliantly red Japanese maples, thereby making the edges look almost bloodied (p. 76). Witness the delicate, calligraphic tracery Goldsworthy stitched up by pinning together rush after rush after rush with thorns and then hanging these on a gallery wall so that it appears that either Calder or Matisse have wandered in and scribbled elegantly on the walls (p. 83). Witness the balanced oval boulders Goldsworthy lays in a curvaceous line from beach to the sea, and see how they roll and disappear from view as the tide comes crashing in (p. 101). These are but three of the many visual astonishments Goldsworthy shares in this book. The book is a never-ending source of delight and admiration for the feverish workings of one of 20th-century art's most creative minds.

breathtaking simple beauty of nature & imagination
Andy Goldsworthy's art is so inspiring. In this book, the art pieces focus on, as the title says, stone. It's unbelievable. He just unveils so much magic in the world with his brilliant thinking. "Otherworldly" is surely the word to describe how much of the art in this book feels. I keep thinking it couldn't possibly be this planet, but I suppose it's not even a planet anymore; it's the mind of the artist. Time also plays a significant role in this art. He builds pieces with the intent to photograph it when the day moves & the light hits it a certain way. Or he builds things that the incoming tide tears apart. In a piece I love in this book, he gathered ice from a lake & put it on the shade side of a rock. The ice gradually melted & was shed. I wish I could have listened & watched. Something that adds so wonderfully to this book's beauty made from such simple natural materials is that he also accompanies photographs with very Haiku-like, very poetic, short descriptions of the art pieces & how they existed in time & in the act of his making them.

ingenious natural art
Of this book, my mother said, "I can't understand artwork that's not meant to last." I replied, "That's the whole point." The beauty of Goldworthy's artistry is in its impermanence -- the sand sculptures will be washed out with the tide, the leaves will be carried away in a river current, the cairns will fall...and part of the artist's charm is that he never harms the landscape. In time, his art will vanish and so will his footprints... Nature leaves us constant gifts, and it's up to us to see them, digest their beauty -- and accept wholeheartedly that it may not be here in a few minutes, days, or weeks. A wonderful book that provides insight into the nature of art -- time -- and the physical world.

Goldworthy's art is an unfailing source of wonder, delight!
This book is a revelation! Goldsworthy's conceptual art never fails to stir a sense of wonder and delight. As I paged through Stone, which is filled with beautiful photographs of Goldworthy's work, not only installed in museums, but in the natural settings which harbor some of his best (and most ephemeral) works, I was constantly calling friends over to see. The freshness and astonishing beauty of Goldworthy's work is evident on every page. All who love the beauties of art and nature should see this book. ... Read more

Amazon.com

For more than 30 years, Dale Chihuly's work, principally in glass (but occasionally including such unconventional media as neon and ice), has challenged traditional distinctions between craft and art. Chihuly's oeuvre is notable for its vibrancy of color, the boldness of its shape and execution, and, in recent years, its studied mimicry of natural forms, from cacti to seaweed and jellyfish. The scale of these blown-glass works ranges from pieces suitable for a coffee table to vast hanging chandeliers that drape from ceiling to floor or shoot up like Christmas trees from below. At times, Chihuly's work is merely decorative, a collection of brightly colored, softened glass forms that resemble melted Christmas tree ornaments, sea anemones, squash, wriggling eels, and other organic shapes. The dizzying abundance of work created by Chihuly himself and his students-cum-assistants at his Pilchuk Glass School, and the enormously successful marketing of this art (Pilchuk, located near Seattle, is open to visitors), has lead some viewers to an overfamiliarity with the work. But art critics Donald Kuspit and Jack Cowart argue for its originality and importance in their introductory essays. (Perhaps overly so: Cowart compares the pieces to Matisse, Turner, and Walt Disney's Fantasia, while Kuspit evokes Freud, symbolism, and T.S. Eliot to argue for the works' seriousness of intent.) Even those readers familiar with Chihuly will be impressed with the capacious variety of form and function--candy bowls to chandeliers--captured in over 280 pages of photographs that exhaustively chart the artist's creations, along with the two essays mentioned above and a biographical time-line. For Chihuly fans who may not be able to afford a Chihuly original of their own, this book is the next best thing. --John Longenbaugh ... Read more

Reviews (4)

Hypnotizing and beautiful
I was introduced to Chihuly through a special on my local PBS station many years ago. I couldn't remember his name, but I always remembered that he was the brilliant man with the unorthodox style. His vision and his artistic talents are immense. This book is absolutely mesmerizing and gorgeous with page after page of color photos. From the "Chihuly Over Venice" project to his designs for the set of the opera "Pelléas et Mélisande" for the Seattle Opera. This book truly is a feast for the eyes and the soul. Chihuly is a master of glass and this book proves it.

Truly a worthwhile book
Among the thousands of art books on the market, Kuspit's exhaustive look at Dale Chihuly's career in glass is a bargain for the Amazon price. Filled with gorgeous color photos of Chihuly's unique work, and intelligently written, this book will grace any art lover's shelf.

As Alice in Wonderland!
From the front page to the end this book you will be mesmorized. For those familiar with Maestro Chihuly's work this is a bible, for those that just come to learn about his creations this book is a must have. I feel that Dale Chihuly is one of the most talented artists of this century. His vision and creativity are so outstanding in a world of modern art sometimes too bare and conceptual. The book is an array of picture after picture of Chihuly's work. Splendid details can inspire from a decorator to a fashion designer, every page is a microcosmo of creativity. If I had to travel the universe with just a suitcase full of books, this is absolutly one of them.

Critic Kuspit provides a superb overview of Chihuly's art.
Noted critic Donald Kuspit has written what is perhaps the best essay about the work of Seattle artist Dale Chihuly. Those familiar with the burgeoning studio glass movement may nonetheless wonder about the use of glass as a medium for art; Kuspit forcefully argues that Chihuly has pioneered a new art form that is in many ways an extension of traditional art and in some ways superior to current art styles. Kuspit shows how Chihuly's work gives fresh artistic meaning to traditional aspects of the glassmakers craft such as fragility, transparency, etc. The book is lavishly illustrated with color images of all aspects of the artist's work, including the early pivotal neon and ice sculptures and the recent "Chihuly Over Venice" project, and concludes with a detailed and illustrated chronology. ... Read more

Reviews (9)

A Sheer Delight To Read
Ms. Carlson was born to do this and is gracious in sharing her techniques with the world!

A Great Book.
In the book "Family and Friends in Polymer Clay,"
by Maureen Carlson many of the figures look life like. It takes you step by step through the process in easy to read language. I just wish I now had the time to use it!

One of the BEST ever!
Maureen Carlson writes this great book with passion, skill, and humor. She starts the reader out with simple, step-by-step instructions that can't be better. I am a Polymer Clay Instructor, and I found this book to be invaluable! The one area with which I had trouble in sculpting polymer clay, the human form and face, are now no longer a mystery to me. I highly recommend this wonderful book to anyone even vaguely interested in dollmaking for fun and/or for profit.

EXCELLENT BOOK
This book was excellent! The instructions were written in such a manner - that it is simple enough for a beginner, and yet challenging enough for a seasoned sculptor. Every page is filled with excellent examples, techniques and exciting ideas.
A 'must have' for anyone really interested in learning to sculpt fun 'little people'!

Must Have Book!
This book is fantastic! This is one of my favorite books to work with. The book is full of color photos and lots of projects. It gives very detailed instructions with step-by-step pictures. If you enjoy sculpting whimsical figures or if you have someone you want to immortalize in clay, this is the book for you. This is a must have for any serious polymer clay crafter. ... Read more

Book Description

Christo and Jeanne-Claude are renowned for their dramatic and innovative public projects.Their installations often feature fabric - sometimes wrapped around existing structures or used to create large-scale temporary environments. Some of their most influential projects include Running Fence in Sonoma and Marin Counties, California, Surrounded Islands in Miami, the Pont Neuf Wrapped in Paris, the Wrapped Reichstag in Berlin, and The Umbrellas simultaneously in Japan and California. Now New York City, where they have lived and worked for forty years, will be the site for a much-anticipated Christo and Jeanne-Claude project. The Gates will consist of saffron-colored fabric panels suspended from the horizontal tops of over 7,500 sixteen-foot-tall vinyl gates, positioned at regular intervals throughout 23 miles of walkways of Central Park. The installation will be on view for sixteen days, beginning February 12, 2005 (weather permitting). This book, published in conjunction with a major exhibition that opens in April 2004 at The Metropolitan Museum of Art, celebrates the culmination of the artists' vision for The Gates, a project that began in 1979.It includes an illustrated introduction by Jonathan Fineberg that surveys the career of Christo and Jeanne-Claude and assesses their contribution to contemporary art and culture. The heart of the book consists of beautiful reproductions of the various preparatory collages and drawings that Christo has created for The Gates project, many of which have not been previously published, and detailed documentation of the personalities and events that have led up to the project. This volume also features four highly engaging, unpublished interviews conducted by Fineberg with the artists, from the 1970s to a recent interview of July 2003. ... Read more

Reviews (1)

The Gates by Christo and Jeanne-Claude
This book depicts a project began by the authors circa 1979.
The presentation contains many full-color pictures i.e.
The Wrapped Coast of Sydney, Australia. The Wrapped Coast is
a spectacular presentation of a rock formation set in contrast
to the sea and sky. The work has a presentation by Da Vinci
in Milan and a panorama of umbrellas called the "Japan Gates".
The volume is well worth the price for art and world culture
enthusiasts. ... Read more

Book Description

A crenellated turret here, a winding, arched staircase there, maybe even a giant turtle-fairy tale ideas are at the heart of every sandcastle. Summer after summer, children and adults alike make valiant efforts to infuse their sandy structures with such inspiration, but the results are generally disappointing.

With Sandcastles Made Simple, Lucinda "sandy feet" Wierenga, a renowned sand sculptor, puts a permanent end to less-than-perfect beach creations. She provides the ultimate step-by-step guide to building impressive sandcastles, and shows that with a few simple tools and a basic understanding of sand, building dream castles can be easy. The book features instructions for each of the elements-base, staircase, roof, balcony, and more-that can be combined to fashion one-of-a-kind castles. Also included are two projects designed specifically for younger children. Like a shovel and pail, Sandcastles Made Simple is an on-the-beach necessity. AUTHOR BIO: Lucinda Wierenga is a widely recognized sand sculptor who has won numerous international competitions. Her work has been featured in numerous publications and on a variety of television programs. Jamey Fountain is a professional photographer who lives in Massachusetts. ... Read more

From the Publisher

Celebrated throughout the world, fiber artist Mein combines into one textile work weaving, knitting, crochet, trapunto, applique and other methods, sometimes adding paints to her soft scultpures. Included are field studies and pieces from museums and private collections. Distributed by Woodstocker Books division, Arthur Schwartz & Company, Inc. ... Read more

Reviews (3)

A perfect experience!
The first time you look at this book, you will want to rush through just to make sure that the images inside match the promise of the cover. Then you will want to find a place where you can linger as long as you please to take in the beauty of each page. The bonus of having design sketches with notes by the artist makes this book absolutely captivating. You do not have to be a "Mein wannabe" but you may well be tempted to try. This book will become your newest favorite book.

Magnificent! Breathtaking!
Annemieke Mein is one the worlds greatest textile artists. Her attention to detail and incredible sense of colour make her work of a standard unsurpassed by others. She creates a world magical and realistic that will open the eyes of any observer. Annemieke has incredible artistic talent and imagination which she has utilised in her works. A heightening experience!

Art of Annemieke Mein: Wildlife Artist in Textiles
This book is absolutely breathtaking! The art alone is worth buying the book for. The ideas this lady generates with her views of nature will get your creative juices flowing so much that before you know it you'll be outside hunting down bugs and drawing them. My dogs get frustrated with me because instead of walking them as I used to I now stop every few feet to look at an insect or the odd-shaped leaf or grass, etc. I would recommend this book as THE greatest art/craft/fiberart book ever and this compliment isn't given lightly. I have many, many beautiful craft books but this one is the BEST! ... Read more

Book Description

Going beyond theory straight to hands-on practice, this studio workbook is devoted to the creation of a large, realistic bronze figure, from initial studies through the complex processes of enlarging, modeling, molding, casting, and finishing. First the book deals with preparing the clay, building the armature, developing the figure study, and enlarging it. Then casting is explored, plaster waste, flexible molds, systems of lost-wax casting, metal chasing, welding, mounting, and patinas. Tips on the maintenance and restoration of bronze sculpture are included. ... Read more

Reviews (12)

Finally, an outstanding book for sculptors
First off, buy this book. I borrowed it from a friend and then ordered it promptly. I read every book that comes out that includes fabrication and mold making. This was a well organized, visually helpful and well written. The information in the book is solid...useful for students and those who have already logged a lot of bronze time. There is always room for improvements, but this book really holds its own. Hats off to all who worked on it. This one will be around for a long time.

A must have studio resource!
I am a sculptor, well versed in bronze work and I love this book! Langland has written an emminently useful studio guide for sculptors interested in bronze casting. Whether you are experienced or a pure novice you will find useful information and handy hints, right from the most base material useage through to advice on setting up a studio of whatever calibre. The only thing that I feel might have been overlooked is information on how to tackle the irksome troubles of "drawback" where the bronze cools unevenly and pulls away from the mould. None-the-less, if you're looking for a comprehensive resource, this is it! (I should know, I've read a lot of these)So, buy it! Do it now!
p.s. A supurb comliment to this book is "Patinas for Silicone Bronze" by P. Kipper

A Brief Review of "From Clay to Bronze"
I have been sculpting in bronze for nearly twenty years. Had I owned a copy of Tuck Langland's book when I started out, the quality of my bronzes would have taken a quantum leap, and I would have become a better instructor sooner. In my opinion, Mr. Langland has an excellent working knowledge of the sculpting process, and he presents it in an interesting and witty writing style. This is the best "how to" book on bronze sculpture I have seen.

Tuck is awesome!
This is a great overview of the whole bronze casting process. If I was teaching an sculpture class, I would use this book. Tuck Langland is both an acoumplished artist and an enthusiastic educator. I work at a foundry that has cast some of his monumental pieces, and I love it when he comes to check on his work. He is a very educated man who loves what he does. What more could you ask for?

Great review of sculpturing
A very practical view of the processes involved in sculpture making.
The book is filled with practical tips and technical references.
The author shares, in a delightful manner, his passion and experience about sculptures.
It is a great reference even if you are only interested in parts of the process (i.e. Mold making, Finishing, Clay processing) ... Read more

Book Description

Legend has it that the forest of the world are inhabited by elusive creatures known as "Wood Spirits." Tom Wolfe finds them everywhere and brings them to life in this delightful new instructional book. Using found wood such as driftwood, roots, and old beams from dilapidated barns, he leads the reader through the carving of wondrous, fanciful faces, that are both enchanting and beautiful. On a smaller scale, Tom also finds the Wood Spirits in walking sticks, creating treasures that are handsome and functional at the same time. Tom has been carving these Spirits for years, and they are constantly in demand. Now he leads the carver, step-by-step, through their creation, each step illustrated in beautiful color photographs. An extensive gallery is included, jam-packed with examples and ideas for the reader's own work.

, 250+ color photos, 8 1/2" x 11" ... Read more

Reviews (2)

Informative, Instructive, Well written, Great pictures
I used this book as a basis for all my carvings, This book actually started me in the buisness of woodcarving and I created my first Walking stick from the instructions therein.

The best carving instruction I have ever received.
Two years ago I purchased this book and a set of six tools. My goal was to create a hobby that was rewarding and relaxing. I can truthfully say that I have never been more satisfied with any purchase. I have found a world of enjoyment from the simple act of cutting wood. In three days, I will exhibit in my first show, The Tupelo Gum Tree Festival, Tupelo, MS. I have never been more relaxed and proud of anything I have done before. Thank you Tom Wolfe! Dennis Renfro ... Read more

Book Description

Out of the fantasies that enriched an often reclusive life, the enigmaticAmerican artist Joseph Cornell (1903–1972) created a world of enchantment with hisfamed shadow boxes and collages. Using common objects such as cordial glasses,marbles, and mirrors, Cornell beckons us into a realm vivid with half-remembereddreams, at once magical and tantalizingly, nostalgically "home." His work reminds us ofthe strangeness of the familiar, the odd familiarity of the strange, and the finalmysteriousness of the world we thought we knew.

The respected art historian Diane Waldman probes the elusive imagery that marksCornell's work. Interviews with Cornell and his family and access to the artist's lettersand papers inform her text. With Cornell's popularity soaring, this richly illustratedbook—one of the few to cover his entire career—will be essential reading. ... Read more

Reviews (1)

An Excellent Primer On Cornell and His Work
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. ... Read more

Book Description

Here is an important and lavishly beautiful new study of the discovery, appreciation, recognition and selection of fine bronze statuary created during the 19th and early 20th centuries. This period was an era of great social and cultural change in which bronze sculpture managed to capture the evolving spirit of romance, turbulence and excitement. Art Bronzes presents over 1,100 illustrations, 200 in full color, and many pages of carefully researched text with relevant marks, inscriptions, artist signatures, dates, and foundry stamps. Over 450 well-and lesser-known artists in Romantic, Animal, Oriental, Frontier, Victorian, and Exotic styles working in Europe, Asia and the Americas are represented. Dealers, collectors, artists, and art historians all will find inspiration and important, newly discovered information in Art Bronzes. ... Read more

Reviews (1)

A must for art lovers... A must for Artists...
I bought this book out of the blue, based only on the subject matter promised. I did have to think it, though, as it is indeed quite an investment, and not just something to be dismissed and shelved with a shrug if the material is not what you expected. As a sculptor and art lover, I am always in search of a little boost... Inspiration of sorts... Things that push me towards higher goals. But, finding myself in a third world country at the time (Bolivia), a place where art is at the bottom of the ladder and there is no access to museums, galleries, or basically anything to enrich the mind, I have had to rely on books and only books to fulfill my interests and needs. I have made mistakes, and ended up stuck with expensive books, way below my expectations, but I finally decided to take the chance on this one. Let me just say that, in my modest, but decent personal library on books on art, I have set Art Bronzes at the top of the list. It goes way beyond anything I had expected! If I had received but half of what this book offers, I would have been satisfied! But this book goes all the way! I have been through it countless times, and I always end up with an amazing need to run of and start working on a sculpture! The pictures are beautiful, inspiring, detailed, devided into sections for every taste and need. The writing is above average, short, to the point, and with all that is needed to know on a particular piece. Above all, and going beyond my artistic interests, it is a book for anyone who has ever stood in front of a sculpture and felt something tingle inside them. Art lovers and artists everywhere... This is the book... If no other... Go through it, and you will not be able to set it down... When you finally do, place it anywhere, and I can assure you that whomever takes a glipmse at it, interested in art or not, will indeed start loooking at art, at sculpture, in a whole different light. A real find... A real treasure... ... Read more

Book Description

An excellent beginner's book for those who want to make molds, and/or casts in plaster and rubber, but have no prior experience. Format designed to make the text easy to read with step-by-step instruction on all phases of the mold making, casting and patina process.First edition publication with 116 pages of instruction and over 200 photos and line drawings of specific methods and procedures for any mold making and casting project clearly showing everything needed to make exacting casts of original pieces of sculpture.The text also includes guidance in the repair of casts, as well as mounting for display, and the art of patina or coloring. Includes appendices on mixing procedures for plaster, troubleshooting, general information on gypsum products, enlarging, bronze casting.Charts on proportional requirements of materials, weights and measures, and a glossary of terms are also provided. Recommended for the novice sculptor, mold maker and caster. ... Read more

Reviews (3)

missed the mark
If you are already a technical person who is looking for more information...skip this book. Unfortuneatly it is vague and unhelpful. I say this technically speaking...if you are curious about the process and just want to pick up a bit of vocabulary.. have a look. They could have done a great job with this book... but once again the process falls flat. Don't let the cover fool you.

Only for beginners
While I was able to glean some marginal information from the book, I found it totally unsuitable for an intermediate approach to lost wax casting. This is a great book for a housewife who wants to show her kids how to make relief sculture or simple plaster casts. If you want to find out about the intricacies of casting for bronzes, save your money; you won't find it here. "Moldmaking" describes waste molds and latex, "Casting" is in plaster, and "Patina" is only for gypsum products. I expected more from the title, and I was disappointed.

Wonderful instruction book for a first time mold maker.
Very clear and simple instructions. Takes you step-by-step through several different basic mold making procedures, using simple latex molds and plaster casts. There are a multitude of pictures and line drawings with clear repetitive step-by-step instructions as though the author were working with you in your own home. It is a basic book and not so advanced as to confuse you. Great beginner book. ... Read more

Reviews (18)

Fantastic
Unfortunately I couldn't get MY little clay face to be so expressive, but the book is a delight to read and look at. In addition to the figures, a good number of basic techniques are presented. I found the instructions and photographs quite clear.

Polymer Clay from start to finish
This book is a must have for anyone who works with Polymer Clay and wants the inside information at their fingertips on how to make sculted polymer clay creations rather than canes. Even veteran clayers can brush up on their artistry with the carefully written techniques and detailed photographs in this book.

I have been making polymer clay figures for over ten years, and have used some of Maureen Carlson's techniques which formerly were only available in magazines which I just "happened" to read and buy. Now, with this book, I have all the information that I need to get the cute smiles and playful positions for my polymer clay characters. In addition, this book shares Maureen's time-tested methods of making clothing, armatures and adornments that give her characters their special and unique appeal.

I highly rate and recommend this book to anyone, novice or experienced, who has the desire to produce their own Santa Claus or Tooth Fairy, or favourite charachter. With this book, and a little creative ingenuity on your own, your are equipped to create the delightful little folk out of this expressive medium.

A wonderful book
This book had me out buying clay and a pasta roller. If you follow the instructions you will amaze yourself at what you can produce. The little figures are wonderful and I've gotten good at detailing the little faces with lots of personality. Maureen should be commended.
-P-

Excellent book!!
This is a fantastic book easy enough for anyone. I had never touched a piece of clay before buying this book and now I am making dolls that people are offering to buy from me. It is easy step by step instructions and information on anything you need to complete. A+++

Great lessons on faces!
This book is excellent.

I have fought for months to make a realistic looking face/head on a figurine. The lessons in this book made it easy and I was able to complete a sculpted face for the first time.

There's a lot of information packed into this book on making clothing, faces of all ages, hands, and realistic looking and cartoonish looking figurines.

I highly recommend the book if you're having trouble creating good faces. It's not as hard as it looks, just go step by step like the book shows. ... Read more