Book Description

In Give Our Regards to the Atom-smashers!, some of our most intriguing and creative contemporary writers weigh in on the world of comics: the ones they love versus the ones they hate, the comics they devoured as kids and still can't live without, and the comics that have influenced them in their work and their lives.

Here is Jonathan Lethem on childhood friendships, comic books, and the genius of artist Jack Kirby . . . Brad Meltzer on spending a summer vacation with the New Teen Titans. . . Glen David Gold on the obsessive nature of collecting . . . Myla Goldberg writing about the disturbed visions of Chris Ware and Renee French . . . Steve Erickson riffing on the perverse patriotism of American Flagg. Here, too, are Luc Sante on Tintin, Aimee Bender on Yummy Fur, Greil Marcus on Uncle Sam, Lydia Millet on Little Nemo in Slumberland, and many others. Give Our Regards to the Atomsmashers! is a quirky, thrilling, and compulsively readable celebration of the unique alchemy of words and drawings that forms the language of comic books. It is a book that will delight the seasoned comics reader and invite everyone else into a whole new world. ... Read more

Reviews (1)

Nostalgic Variety
Sean Howe has done an exemplary job of collecting together a varied and interesting set of essays. Give Our Regards to the Atomsmashers includes many different writers examining their passion, both past and/or present, for comics, whether of the superhero or alternative variety, ranging from discussions of Chris Ware to Jack Kirby to Tintin. The most obvious joy for the reader will be in reading an essay in which a writer finds joy in the same memories you yourself possess but the slyer pleasure comes in reading an essay that will lead you into a new discovery, and, for me, there were many of these essays. Virtually every piece is touching as each one leads a writer to reveal something personal and, for many, so private a thing; a love of comics. It is a wonderful collection. ... Read more

Book Description

Walk down any street in Mexico, and you'll be greeted by images of soccer stars, mariachi singers, space ships, taxis, tortas, tequila, or any one of the colorful posters that shopkeepers, advertisers, designers, and artists have put up throughout their cities and towns. Sensacional: Mexican Street Graphics is the definitive collection of these outrageous, vivid, exuberant, and downright beautiful images that so often define public space south of the border.

In contrast to the corporate efficiency of so much American signage, the images collected here depict a vibrant and experimental visual culture. Advertising everything from sex clubs, wrestling arenas, and restaurants to dentist's offices, auto-body shops, locksmiths, and shoe-repair stores, these images provide an inspiring monument to the craft of vernacular design, and are as much a part of the streetscape as the buildings they cover.

Following a foreword by renowned musician and artist David Byrne, and an introduction by design historian Steven Heller, Sensacional presents more than 300 full-color illustrations of Mexico's most animated street graphics. ... Read more

Reviews (1)

brilliant!
For once, a graphic book that lets the images speak for themselves. Outstanding printing, true to the essence. Highly recommended! ... Read more

Book Description

Reviews (4)

Very good, in some respects
This book is an enjoyable enough read, especially for one who can understand Peter Conrad's intense interest in Hitchcock's films.But make no mistake: Conrad is not a film critic.This is not to denigrate him in the least.On the contrary, he is a knowledgeable, capable writer whose knowledge of literature certainly adds to the book's interest.
Still, too much of the book is devoted to pointing out what is plainly there on the screen.
As a much more fascinating and critical resource, I highly recommend reading Robin Wood's Hitchcock's Film Revisited.That book, even more than Hitchcock/Truffaut, is the book I will return to the most often for insightful discussion of these great films.

very good, but too many digressions
If you're a big Hitchcock fan -- and if you've bothered to even reach this review, then you MUST be -- then go on and buy this book.It is far from perfect, but it's still one of the better books on the Master that I've read.Most of the criticism is insightful, and Conrad finds plenty of things in the movies that no other critic (at least none I've read) has written about.Perhaps most useful of all, Conrad has read all of the source material (novels, plays, short stories, etc.) that Hitchcock adapted for his films, and goes into detail about them at various points.This is interesting info, and again, not really something other Hitchcock critics have done.

Here's the problem: Conrad goes on frequent digressions away from discussing the actual movies, or even their source material, and toward discussing other peoples' movies, or artists, or novelists, or philosophers, so on and so forth.The idea, I think, is to place Hitchcock in a frame of reference so as to come to some sort of a conclusion on how to judge him as an artist.And that is a noble goal.However, the digressions are too frequent, too long, and too convenient; many of the examples reek of having been dug up to support a point Conrad wanted to make, rather than being actually appropriate to a discussion of Hitchcock.

Still, this is a valuable addition to the ever-growing canon of works investigating cinema's most profoundly excellent director.Go ahead and buy it; just don't expect it to be perfect.

Conrad does a great job analyzing Hitchcocks themes
Peter Conrad has long loved the films of Sir Alfred Hitchcock. Ever since he was a boy who skipped school to peer in wonder at the master filmmakers Psycho he has studied the works of Hitch.
Conrad's book is fascinating as he delineates the major themes and preoccupations (and yes-hangups!) of the Cockney genius. The author explores such subjects as Hitch's thoughts on music, food, religion, authority figures, sex and art.
I will use this book more than the Truffaut interviews as I view again and again the great films of the Master of Suspense.
Well recommended.

Enlightening and engrossing
I'm a huge fan of Hitchcock and I've read quite a bit about him.I picked up this book in London and enjoyed it immensely.I like how Conrad uses works from the entire Hitchcock canon (not just critical favorites) to illustrate the central themes of his films.The fine line between sex and death, Hitch's mistrust of authority figures and organized religion, his love/hate relationship with the idealized "Hitchcock blond", the often even more perverse nature of his favorite source material ... it's all here.There are a number of other interesting topics as well: food, music, Hitchcock's dark sense of humor and penchant for practical jokes ... well worth the read for any Hitchcock fan. ... Read more

Book Description

The first comprehensive retrospective of one of the greatest artists of the 20th Century, who began his career as one of the most innovative comic book creators of his generation.

A gigantic retrospective/biography/critical assessment of one of the most important cartoonists in the history of comics, who went on to become a renowned fine artist and teacher in New York. The author had full access to Bernard Krigstein's archives and files and has written a compelling biography of the artist from his childhood in New York to his days as a comics artist from the late '40s to the early '60s, and through his post-comics career as a fine artist, commercial illustrator, and teacher. Krigstein is renowned as one of the great innovators working within the commercial comics industry: his story about a Nazi commandant, "Master Race," published by the legendary EC Comics, is studied in college courses and considered one of the most fascinating formal experiments in comics. This book reproduces many of Krigstein's comics stories as well as many of his commercial assignments (such as the line of paperback covers he did for the reissues of Joyce Cary's novels) as well as his fine art paintings. Most of this work has never been seen outside its original publication. Most of the comics stories are obscure and have not been reprinted since their initial publication (mostly from the '50s) and his fine art has only appeared in galleries and exhibitions.

Krigstein (1919-1990), classically trained in Fine Art, was a Brooklyn-born painter who was one of the first practitioners who approached comics with the respect, integrity, and psychological depth of a serious artist. After an innovative and contentious decade, he was forced to abandon the field due to its narrow-minded and formulaic tendencies, which continue to this day. This first of two volumes traces Krigstein's groundbreaking comic-book work at Hillman, Atlas, DC, and EC, as well as his parallel development as an illustrator and painter. ... Read more

Reviews (3)

An artist in full
Greg Sadowski's biography of Bernard Krigstein, who possessed one of the most innovative minds---and pens---in comic book history, is a labor of love that is revealed as such on every page. From the high quality of the paper to the superb graphic design, from the sharp reproductions to the text that details his life, career, and reputation, B. KRIGSTEIN is a book that would grace any library. But it covers not only his comic book work. For here are also his many book illustrations, his World War II field sketches and paintings, his canvases and gallery works (among them portraits of his wife and family), urban vignettes and rural landscapes, even greeting cards, gum cards,
and advertising art. He was truly a modern-day Renaissance man, fully deserving of this highly focused, incredibly beautiful tribute. There have been many innovators in comic art over the decades (George Herriman and Art Spiegelman, to name just two), but none of them had Krigstein's range of powers and depth of creativity. His was a name that the centuries will remember.

One of the great forgotten comic artist
This book will show you all the reasons for my title. Mr.Krigstein was truly a master at pacing and design on the comic page.
His art speaks far better than I can write so I'll just tell you if you buy this book you will not be disapointed.
The comic Master Race alone is worth the price of this book.

absolutely essential for comic fans and artists of all types
the world was not ready for the work of bernie krigstein when he hit his stride in comics in the early 50's. a fine artist at heart, he became obsessed with the art form of comics and the possibilities that it held. few were attempting to take comics so seriously and in those days, they were just above pornography as far as respectability goes. he produced some brilliant works, but the book reveals just how much of a struggle it was to get these masterworks in print. the artwork speaks for itself, but i was really drawn into the text which details the inner workings of the comics machine of the 1940's-50's and how ridiculously it was run. although he begged and pleaded with management, he was never able to bring a story out further than 9 pages, and had to threaten leaving in order to even ink his own work rather than have it butchered by someone else. considering the roadblocks that constantly stood in front of him, it was amazing that he was able to experiment as much as he did.

among his more famous experiments was panel subdivision, breaking away from the standard 6-9 panels per page and, in one instance, producing some 75 panels in 6 pages. this brought an entirely new dimension to comics, introducing the break down of time and space within the page. he also brought a style of cinematography that was never thought of in comics before that must have influenced filmmakers years down the road.

greg sadowski has assembled a truly staggering biography. he had direct access to the artists collection and publishes for the first time many works that have never seen the light of day. rare artist photostats of pencil artwork that went on to be mutiliated by someone else's inks. original panels that were ordered by management to be covered up with different artwork. exhaustive research with coworkers, friends and family, as well as unbelievably wise words from the artist himself given in various interviews many years ago that gives a definitive look into the workings of this man's artistic mind.

it must [stink] being the pioneer, you never get to see the fruits of your labor. but all who charged through the door that b krigstein kicked down acknowledge him as the man who started it all.

THIS BOOK IS ABSOLUTELY ESSENTIAL FOR ANY COMIC ART FAN, AS WELL AS ANY ARTIST OF ANY TYPE. IT IS VERY INSPIRING AND IS A GREAT READ. ... Read more

Reviews (15)

If you're an idiot, don't buy this book!!!
Don't blame R. Crumb for ruining your pitiful childhood. If you must watch Clint Eastwood movies to prove to your friends that you're a "real man" then, I think you need some help.
You're supposed to laugh at Crumb and at Crumb's work and Crumb knows it! Don't "real men" (read idiots) like to laugh at other people? Not all humor is apreciated by everyone, especially if you're and nit-wit and don't get it.
Crumb is a premier artist who's drawings are the best in the genre. His stories are fables to learn from - or laugh at depending on you're perception and experience.
Most people who buy Crumb's books already know what they're getting into. If you're a first time Crumb buyer, go to a comic book store and check out what you're getting into before you buy.
Anyone who buys online either enjoys taking chances or has researched the product before they buy.... or you may just be an idiot!!!
A great book for any Crumb fan!!!

An Entertaing Autobiography
I first became a Robert Crumb fan in the sixties. I remember buying Zap#1 at the Free Press Book Store in Los Angeles. It was to art as Jimi Hendrix's "Are You Experienced?" was to music at the time. Both pretty much blew my mind as a young impressionable teenager. (Sold to "Adults Only"? hah!)

Its Nothing Sacred attitude and straight-up uncensored dialogue and art got me. The artist himself remained sort of a mystery man. How could someone be so brilliant in one series,

and then disappoint me so much in another? He seemed so afraid of "selling out" he occasionally just went for shock value or put out some junk calculated to alienate. (News Flash: Crumb disdains most of his fans...yeah- you too, fan-boy.)

This book is an autobiography told in art and text that reveals a lot about Crumb's character and influences. Do not buy this book if you are not into biographies, you won't like it. However, if you are a Crumb fan, it gives an entertaining insight into his struggles and regrets as an artist trying to maintain his own code of artistic integrity. I see his influences every day in commercial and popular art and get enjoyment from knowing who the "real deal" is that they've been influenced by or are out and out ripping off. Buy this book.

- - - FEELIN' LUCKY ?
You don't need the lamer bosh of escapist nerd Bob Crumb. You need the integrity and courage of Clint Eastwood.

Take the money you were going to blow on this book, and go rent some good Dirty Harry films and Clint's 'Man with no Name' westerns.

Of course, if you are unconsciously oppressed and alienated, and looking to become even more lost in your own little cowardly world, Bob 'articial culture' Crumb is the place to go. But it wont get you anywhere. And it will separate you even further from your own potential, and what it means to be a Real Human Being with Real Courage and Integrity. Unreal 'Sleazy Bob,' ultimately, has none.

Go ahead. Take risks with your sanity and isolatory tendencies. Maybe a cheap therapy operation will take you in. But it will take you years to recover.

The Amazing Id Of Robert Crumb
There's an illustration on the back cover of The R. Crumb Coffee Table Art Book that perfectly encapsulates the artist's work - it depicts the top of Robert's head exploding, with several of his creations, famous, infamous, and otherwise, leaping out.

That, to me, sums up Crumb's work - this incredibly inventive artist with, to paraphrase Bob Dylan, a head full of ideas that are drivin' him insane.

There are frequent complaints about Crumb's work being too dark, racist, sexist, and/or misogynistic. While I can see where these criticisms come from, I really don't think Crumb is any darker, more racist, sexist, or misogynistic than any of us - he simply is unafraid to - COMPELLED to, almost - lay his cards on the table. Some people find this offensive. Would it be absurd of me to suggest that some of those who are offended by his work have their own issues with sexism, racism, and/or misogyny that they are unwilling to confront?

What I'm trying to get at here, I guess, is that this IS NOT a book for little kids. There's a sticker on the front of my copy of the book that says "FOR ADULT INTELLECTUALS ONLY!", and while I'm not so sure about the "intellectuals" part, this is probably not a book you want your grade-school age child to get ahold of, unless you're okay with said child seeing depictions of graphic (and I do mean GRAPHIC) sex, hard-core drug use, and extreme (albiet cartoonish) violence.

I realize all I've spent all this space talking about Crumb without ever really discussing what I like about his work. I think there's two main things: (1) his unflinching honesty (as I touched upon earlier), and (2) the incredible beauty of his draftsmanship. I think my favotite chapter in the whole book is the one that features his pen-and-ink still-lifes and landscapes. Just beautiful stuff - worth studying for his use of cross-hatching alone.

In conclusion, if you're at all interested in checking out the work of one of the finest artists to ever work in the comics medium, I highly recommend you get this book. It's easily worth the 25 bucks.

Oh, yeah - and it DOES make a wonderful coffee table book. :)

The Conventionalization of Crumb
(revised and corrected, 8/27/02)
Thirty years ago, as a teen-ager, I was touting Crumb all over the place, in the form of those little floppy "underground" comic books, not really realising their relatively dubious intellectual and artistic value.

Amusing they were. They also appeared to come from the "We'll save you" left wing, who were going to rescue us from the evil-doings of the Establishment, and Vietnam, and Nixon and conservatism and complacency and bourgeois America and pollution and what-not. . .

Some of my friends simply said, "where did you get these?" Needless to say, it did not increase my stature in their eyes. They were rather shocked. Some found them disgusting.
One needs a sturdy income behind one to endure earhquakes to one's reputation. If you are going to alienate Mrs. Grundy, be prepared to have something to hide behind.

. . .however, "What were once vices are now virtues. . . " Now, thirty years later, R. Crumb is a household word. People think of MR.NATURAL like they would PEANUTS or DOONESBURY. A dimension of the new form of liberalism "permits" this access, although some decry Crumb's alleged "political incorrectness" and dubious "sexual politics." Yet, what good has Crumbianity, any of it, good or bad, done anyone?

Everyone thinks Bob Crumb and Mr. Natural and Fritz the Cat are all something very special. Yet, just how special are they? Crumb's strips remain curiously under-analyzed. People seem simply to either embrace him as a fashionable "alternative," or despise him for his grotesques.

I wonder if my classmates can recall when I let them in on what seemed an obscure, unfashionable, and even reprehensible "secret" thirty years ago.

Yet I no longer think Bob is really worth it. Better to spend your time and money on good film and literature. Please grow up, if at all possible: you will be doing the rest of us a favor. And for good "picture" books, get Edward Gorey("The GashleyCrumb Tinies", "Amphigorey,1,2,3")and William Steig's "The Lonely Ones", and any Charles Adams cartoon books. . . You will at least then have a healthy perspective from which to regard R. CRUMB from, and make tolerant, educated, and useful judgments on him with more discretion than otherwise.

Let old Bob Crumb languish on the Riviera. He never really made me any smarter or any more sophisticated. I had to go elsewehere for that. (Hours in the art libraries, paging through art books and folios... hours reading the classics...)

Rather than indulge oneself with the semi-sophistication of Bob Crumb, why not go the rest of the way and read real literature ?
Do the job right. What's the point of getting part-smart and semi-sophisticated with Bob Crumb ?

Ultimately, all Bob helped me to do was waste my young life and energies...I wish I had returned to me the precious time I lavished/wasted on his silly cartoons. I would have done something useful with it.

I hope I have saved others some trouble.

. . .and I hope my revised and corrected review proves more useful than the previously posted.
-moosbrugger ... Read more

Book Description

For those who enjoy the rigors of a good workout, there's nothing like some intricate rope tricks to get the kinks out! Or at least that's one way of describing the fetish-filled-fun of bondage illustrator Alazar's second tome of too-many knots! In the tradition of Eric Stanton and John Willie, Alazar makes the incredibly uncomfortable look amazingly inviting! Page after page of curvacious cutie, bound helpless and straining against her cruel imprisonment! ... Read more

Book Description

Bart Simpson is back with another big book dedicated exclusively to that rabble-rousing, misbehaving menace – Springfield’s favourite son, Homer’s only son, and TV’s favourite son – Bart Simpson!

Following the great success of Big Book of Bart Simpson, Big Bratty Book of Bart Simpson – the third comic book compilation in a series dedicated exclusively to Bart Simpson. Join Bart Simpson and the Springfield kids in the newest collection of comics and stories filled with mistaken identities, alien abduction recipes, cereal package prizes, unrequited love, lima beans, facial hair, karaoke, cafeteria shenanigans, talk shows, mail-order brides, sidekicks gone mad, hideous monsters, balloon animals, girl scout cookies, circus popcorn, martial arts, and history gone very, very wrong. It’s all here in one ‘bratty’ book – all the chaos, commotion, and confusion that can only be caused by one uncontrollable force: Bart Simpson.

Book Description

An acclaimed young artist takes readers on a visual journey through the colorful streets of D.C., featuring the hit-and-run stories of the city's most notorious graffiti artists. Candid interviews reveal their motivations, offering glimpses into a unique lifestyle and an underappreciated art form. ... Read more

Reviews (3)

I want a book on local muggers!
Having suffered at the visual diarrhea that these low-level criminals and thugs threw up throughout my city, I checked it out at a bookstore.Yes, you see advertisements that were merely written on (web surfers should check out the excerpt page on "Seven" who defaced an add- how bland and unoriginal and flat out borrrring!), you see beautiful buildings, offices and homes turned ugly and you see pictures of a bunch of... who could have been artists but instead were the pettiest of petty criminals.

By all means buy this book if you want to glorify the meaningless of talent wasted by tag...-- me?I'm waiting on a study of muggers as "class warriors."Only the most hardened city-hating suburban fool could enjoy this.Buy a book on architecture instead and see real beauty before the dummies drew all over it.

Up there with "Getting Up"
A great addition to the scope of graff books that, so far, have concentrated on NY (too many books to mention) and Philly (a mere chapter in Espo's "Getting Over"). Yes, there was a DC scene, and it was independent of the rest of the world, so much so that the entire vibe and style there seems to have been preserved in some sort of isolation, not really a copy of any other city but a mode that was hatched from what appears to be the most stifling police presence of any graff town. Technically speaking, writing in DC was about as impossible as stealing a car from the White House lawn (at least after old-timers like Seven and Cycle set the pace).

Hats off to the ideas, themes, and guys/girls in this book: a worthwhile trip.

Write on!
Gastman has compiled a truly unique collection here. Any reader will be pulled in bythe graff artists' stories, but writers themselves will cheer that they finally have some 'permanent' documentation of their own in "Free Agents." It shows that it was a labor of love. ... Read more

Book Description

This book reveals how five distinct African civilizations have shaped the specific cultures of their New World descendants. ... Read more

Reviews (3)

Seminal, Uplifting, Beautiful
If I could give this book 6 stars I would. Robert Farris Thompson presents our rich, ancient history making it quite clear that African Americans are not an isolated group but a group intimately connected to particular cultures and societies in West Africa and the African diaspora. The rich text is generously supported by illustrated plates. Essential reading for those who wish to gain an understanding of African cosmology, philosophy and art in relation to the African diaspora (North and South America, copious information on Brazil, the Carribean etc) Great reference material for students, artists, writers, researchers and thinkers. As an educator, writer and author I highly recommend this book.

An eye-opening look at the African soul in America
I enjoyed this book when I first read it as much for the kinds of bridges it seemed to make as for his own writing style and subject matter. R.F. Thompson, who I had the pleasure of meeting once in the Metropolitan Museum of Art in New York, is someone who along with being highly knowledgeable cares a great deal for the subject. Where the book could be considered lacking I would say is it's way of seeming dated. It bares some cultural prejudice which, considering the cultural remoteness of the subject matter when compared to the intellectual/cultural arena of the writer(African and African-American, Afro-Cuban/Hispanic culture vs. Post-World War II Ivy League) - and how well he did anyway- is forgiveable, but present nonetheless. If you are expecting some pretty powerful things to be said about Coltrane, or the early days of Rap music and Hip-hop dance (now in its third decade of existence already), or Modigliani, or other things that are in the forefront of the present culture's mind, to a certain degree you will be disappointed. However, if you had no idea other than the Alex Haley "Roots" era rhetoricals about the derivation of many African-American and Hispanic/Hispanic-American cultural paradigms, this will enlighten you in ways that will have you going to the bookstore to see what else he and many others have written on the subjects. I recommend it- particularly for lovers of European modern art, studies of religion, and other things influenced by the Mother country.

African threads in Diasporan artforms
Thompson's work on African retentions in New World artforms is seminal in the field of African Diasporan art history. However, Flash of the Spirit reads more like a best seller than a textbook. Fascinating details and insights into the meanings of art from Haiti to Georgia to Brazil, with excellent context for all objects. Great for anyone at all curious about African heritage, religion, and art. Occasionally thick reading, as one must trace entire cosmologies, but well layed out, full of illustrations, and textually easy to follow. Thompson makes an obscure genre easily accesible to readers of varied backgrounds. ... Read more

Book Description

With Peter Jackson's Acadamy Award-winning epic motion picture trilogy drawing to a spectacular and triumphant close, Gary Russell's detailed research takes us back into the world of Middle-earth, to relive all the visual drama and excitement of The Return of the King.

The Art of The Return of the King illustrates the creative development of the film from sketch to special effect and features 600 images, most appearing nowhere else. This fully authorized book includes pencil sketches by Alan Lee and John Howe, costume designes by Ngila Dickson, magnificent full-color paintings by Jeremy Bennett, and prop designs, concepts, sculptures and digital artwork from Weta Workshop and Weta Digital. From Minas Tirith to Mount Doom, from the Army of the Dead to Shelob the monstrous spider, all the spectacular landscapes, characters and creatures are covered in stunning detail, including concepts that did not make it into the final film.

To accompany this wealth of imagery, detailed and informative commentaries appear by all the featured artists and designers, together with a special afterword by Peter Jackson. Their personal thoughts and explanations offer unique and fascinating insight into how The Return of the King was brought to life. An artistic journey begun in 1997 reaches its glorious conclusion within these pages, giving the reader a unique chance to witness the creative process that led to one of the most spectacular movies of all time. ... Read more

Reviews (5)

Okay But Could've Been Better
I always thought that an ideal Art of book should include powerful imageries that capture the movie's best scenes in initial stages. Yet this book leaves out many of those elements in favor of blurred panoramic art pieces that I found rather wasteful to the content of the book.Don't get me wrong, I like this book. Most of the artworks are astounding, it's just that I found many of the splash pages should've been devoted to more breathtaking images such as the Fell Beasts attacking Minas Tirith or Sam fighting off Shelob.

New insights into "Return of the King"
Any sweeping epic is going to have tons of concept art, and "The Lord of the Rings" is no exceptional. In the third collection of movie art, Gary Russell introduces us to the images and models that helped Middle-Earth come alive, and the excellent people behind them.

"Return of the King" introduces us to new civilizations, new monsters, and lots of new enemies and allies -- even more than "Two Towers" did. So the concept art ranges from armor and clothing (Faramir's regal armor, the Haradrim, Eowyn's masculine disguise, the archaic "Dead" armor), the perfect pirate ships, different kinds of Mumakil (prehistoric elephants), weaponry (different sketches of the Grond battering ram), and monsters like the hideous spider Shelob, whose sketches take up a full six pages.

On a more sweeping scale, there are full-fledged paintings, mattes, models and special effects shots. Among the artists are the excellent Alan Lee and John Howe, who both paint and sketch their usual beautiful material. Jeremy Bennett also does a good job, although his stuff is substantially rougher. As for models? Try the ghoulish head of the dead king, different Fell Beast models, the Mumakil, and much more.

It's nice to see the concept art in all its stages. For example, one Witch-King sketch from 1996 shows (Ben Wootten apologetically says) D&D-influenced armor. At the same time, an early sketch of Gandalf confronting one of the Black Riders is shown in nearly identical form in the finished movie. Okay, Pippin isn't there -- but the pose and setting are similar.

The comments from the many artists also give a greater insight into how the various things in the film evolved. Some things (like battering ram Grond) were pretty thoroughly described in the original novel. With other things, like the Fell Beast, the concept artists had to be a little more creative. So it's intriguing to see how their designs shifted and changed, ranging from the grotesque to the silly to the final designs used in the movie.

"The Art of Return of the King" is a good insight into the making of the epic film, and the concept art behind everything from spiders to siege towers. Well worth having.

A great Book
The last of the Lord of the Rings books was my personal favorite. It took all of the sub plots that had been going on throughout the book and made them all come together at the end. As in all cases the book is wat better then the movie, and if you are thinking about just watching the movie you are missing out on many events that happen. The book also paints its own picture in your head and takes you to a fantacy world where wizards and evil beast come to life. Humans are not the most powerful creatures and are actually regarded as weak. I would tell people of all ages to read this book, it is for all ages. I loved it!

Adds Depth and Appreciation to LOTR: ROTK
Impressed by astounding cinematography of LOTR? I am. "The Art of The Return of the King (The Lord of the Rings)" by Gary Russell shows the amazing art behind the movie is more than pretty pictures.

From "The Siege of Gondor" to "Shelob's Lair," Russell walks us through the stages of design that created a real and surreal world of Middle Earth.

With Shelob, for different artist's reasons for the balance of spider- and crab-like characteristics. Part of the problem was in trying to stay as close to Tolkien's own version while bringing plausible life to Shelob that would work in a movie.

Some of the pictures are pencils. Others are full-color, finely detailed views. Various angles are provided as in the many scenes of Mordor. There are photos of early models, both colored and plain, giving a 3D perspective of what the artists were thinking.

The insight here will intrigue nonartists like myself who are amazed at how complex the making of LOTR was, and serve as a primer for character and building studies. There are elements of technical discussion, but I felt I learned about the relationships of style and message.

I fully recommend "The Art of The Return of the King (The Lord of the Rings). It is a beautiful book, with interesting text. Having recently watched the movie, I appreciated both Tolkien and the makers of the movie so much more.

Anthony Trendl

Movie companions don't get any better than this.
In my opinion this is by far the best of the three "The Art of..." books from Lord of the Rings. I can definitely see why this was released well after the Return of the Kings release. There are plenty of images in this book that have not been previously scene in any of the companion or other ROTK visual guides. I'm sure most of the material in this book will also be included in the ROTK Extended version, but why wait a year when you can see these stunning images now? ... Read more

Book Description

"Weasels ripped my flesh!"

Battling dangerous beasts such as ferocious lions, venomous snakes, or swarms of man-eating weasels, the hunky heroes of men’s adventure magazines were frequently depicted struggling to protect themselves and especially their buxom female companions from the gruesome tragic ends that threatened their every waking moment.

Whether stranded on desert islands, clashing with motorcycle gangs, or shackled in prison camps, the magazines’ male and female protagonists were perpetually fighting their ways out of dangerous predicaments.

To pay homage to the American periodicals of the 1950s, 60s, and 70s that "documented" such outrageous exploits, TASCHEN brings you this hefty, comprehensive guide packed full of colorful cover art, sumptuous sample spreads, and enlightening essays.

With an in-depth introductory essay describing the history, culture, and artistry of men’s adventure—a.k.a. "sweat"—magazines, as well as chapter-by-chapter exploration of various subjects including the role of women and the portrayal of Nazis and Communists, this definitive study of the genre examines not only the popular appeal of the magazines but also their social and political implications. Also included are publisher listings and profiles of artists and writers, as well as an interview with Norm Eastman, one of the genre’s most important artists. ... Read more

Book Description

"Cheeky," "saucy," "randy," and a variety of other British euphemisms can be employed when describing the works of Archie Dickens. An Englishman from the old school, his fondness for lovely young innocents in not-so-innocent situations has delighted pin-up enthusiasts throughout the world for several generations. Angelic faces with devilish designs has always been the hallmark of this illustrator. ... Read more

Book Description

A close-up look at the gifted graphic novelist the New York Times Book Review called “the most versatile and innovative artist the medium has ever known”

As one of today’s most renowned graphic novelists, Chris Ware is widely considered an artist of genius. Combining innovative comic book art, hand lettering, and graphic design, Ware’s uniquely appealing work is characterized by ceaseless experimentation with narrative and graphic forms. The publication of his novel Jimmy Corrigan: The Smartest Kid on Earth in 2000 inspired a near avalanche of praise from critics and general readers alike and demonstrated that Ware’s graphic novels challenged traditional definitions of literature. This book is the first to explore the life and work of Chris Ware.

Daniel Raeburn looks closely at Ware’s career, work methods, and graphic innovations, which include pullout, flip-up, and three-dimensional insertions, along with cut-out-and-assemble-paper projects that require construction by readers. Based on many hours of interviews with the artist, Raeburn offers fascinating insights into the connections between Jimmy Corrigan’s biography and that of his creator. In addition, the book encompasses Ware’s many other works and examines his place in the world of literature, graphic art, and popular culture.

Daniel Raeburn self-publishes The Imp, an annual booklet of comics criticism. His writings have appeared in the Village Voice Literary Supplement.






... Read more

Book Description

Now you can see how the other half lives -- and get expert design tips to boot! Step inside the private domiciles of

Destiny's Child
Tommy Lee
Ice-T
Mariah Carey
Moby
Snoop Dogg
Boy George
Master P
Missy Elliott
Nelly
Usher
Lil' Romeo
Pamela Anderson
O-Town
Rob Zombie
Joey McIntyre

...and other luminaries in this revealing companion book to MTV's hit show Cribs. This exclusive behind-the-scenes tour takes you through the English estates, glam-rock living rooms, chic L.A. bungalows, Manhattan lofts, gothic mansions, French country bedrooms, playrooms, hideaways, and hangouts of the rich and famous. MTV's Cribs calls on architects and interior decorators to re-create their spaces on a less-than-celebrity-size budget. With a little creativity and ingenuity, you can make a style statement or surround yourself in faux fabulousness -- when you get "home-schooled" by MTV's Cribs! ... Read more

Reviews (4)

SO DISAPPOINTED!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
SHOULD HAVE READ THE REVIEWS BEFORE BUYING!!! As stated by previous victims, pictures are small, blurry screen shots from the tv show. Gets 2 stars because the book gives SOME good pointers and gossip into some of the famous peoples' lives or whatever. NOT WORTH IT!

Blurry pictures, not worth it!
This book was very disappointing. As someone stated before, the pictures are very blurry and are video captions. The print is so small, you need a damn magnifying glass to read it. It was not what I was expecting. My advice to all potential buyers is to save your money and just watch the re-runs.

Disappointing...
I love Mtv's Cribs and couldn't wait to get the book. Unfortunately, all the pictures in the book are NOT photographs, but video stills from the show. The pictures are rather small and the clarity isn't very good.

good
this is a great book if you want to be an interior designer ... Read more

Reviews (3)

Olivia's done it again!
I've been an Olivia fan since I first saw her piece "Second Skin Memories" in 1996. As a Bettie Page fan (the model for that particular picture), I was attracted to it at once and I almost could have sworn it was a photograph if not for my familiarity with Bettie's pictures. Since then, I have been captivated by the realism of Olivia's work. American Geisha is BY FAR Olivia's best work yet! These paintings are not only more realistic but more imaginative (see the adorable Sorceress and the Alien women that would put Barbarella to shame). It's also exciting to see that Olivia has been experimenting with textures and mediums. I'm captivated and I'm sure you will be, too!

Another slice of Heaven
This book like her previous two hardcovers and Cheescake Chronicles vol 1 just goes to further demonstrate Olivia's total dominance over this type of art. Her art continues to grow and amaze with every piece. If you're a fan of Olivias this book is a must buy!

a slight disappointment
I was expecting much better from Olivia. Many of her models seem masculine, especially the cover model. Any long time fan of her's will miss Bella, Rhonda, & (and even Pam) her other more feminine models. Check out her other books "Let them eat Cheesecake" & "Second Slice". They're sure to not disappoint. ... Read more

Book Description

The Question-and-Answer interview was one of Andy Warhol's favorite communication vehicles, so much so that he named his own magazine after the form. Yet, never before has anyone published a collection of interviews that Warhol himself gave. I'll Be Your Mirror contains more then thirty conversations revealing this unique and important artist. Each piece presents a different facet of the Sphinx-like Warhol's ever-evolving personality. Writer Kenneth Goldsmith provides context and provenance for each selection. Beginning in 1962 with a notorious interview in which Warhol literally begs the interviewer to put words into his mouth, the book covers Warhol's most important artistic period during the '60s. As Warhol shifts to filmmaking in the '70s, this collection explores his emergence as socialite, scene-maker, and trendsetter; his influential Interview magazine; and the Studio 54 scene. In the 80s, his support of young artists like Jean-Michel Basquait, his perspective on art history and the growing relationship to technology in his work are shown. Finally, his return to religious imagery and spirituality are available in an interview conducted just months before his death. Including photographs and previous unpublished interviews, this collage of Warhol showcases the artist's ability to manipulate, captivate, and enrich American culture. ... Read more

Book Description

Constellations, tri-motors, and DC-3s are featured decked-out in the liveries of their owners and presented in stunning color artworks created by such famed artists as Norman Rockwell, Calder, and other popular painters. Nostalgic poster art contained within tells the history of yesteryear's airways through its free-spirited and colorful advertising. ... Read more

Reviews (2)

A lovely book
If you take an interest in world aviation history from the passsengers' viewpoint, this book should conjour up the romance and adventure of flying by air during the last century. And in the days when it was extremely expensive relative to sea and land travel, you can understand the need of the airlines to entice people to spend the money.
The book has posters from around the world, even from Australia's Qantas (which the author mis-spells as Quantas), but not alas from a New Zealand airline (but don't worry, the book "The Aircraft of Air New Zealand and affiliates since 1940" puts that right). All posters in this book are superbly reproduced, with an adequate commentary and the page design is very nice. Good stuff!

Up, up and away.
The main difference between early airline posters and later years was the size of the plane. The new winged transport was a prominent design element and the end location, if any, was hardly mentioned. Now, with air travel so commonplace and lots of airlines using the same jet (thanks Boeing and Airbus) the destination is the selling point. Geza Szurovy has selected some fascinating examples of the genre for his book.

Page eleven shows the first airline poster, the 1914 St Petersburg to Tampa route, in a tiny Benoist flying boat, that amazingly only carried one passenger. The venture lasted three months. Of the 170 posters shown there's plenty of choice to nominate your favorites, I like the ones that feature cut-aways of the aircraft and also the beautiful stylised airbrush rendering of New York that TWA used for their Transcontinental Boeing 307 poster from 1940, on page fifty-eight.

Presented in a book these posters create their own interest but I don't think many of them would have won any design awards. The typography and graphics, mostly paintings, just reflect what the airlines marketing department wanted. However ignore the type and look at the artwork and you'll see some wonderful illustrations from Cassandre, Jean Carlu, McKnight Kauffer, David Klein and Stan Galli and one from ace cartoonist Jack Davis, for Icelandic Air.

This is a large size all-color book but I was disappointed by the bland presentation, all the posters are butted into a light grey top-to-bottom panel on each page and even more annoying, on many pages, someone had the silly idea of adding small black and white photos of the planes that appear in the posters. This addition makes the depth of many posters smaller than they need be and the little photo, frequently showing plenty of detail, is just wasted. Fortunately this design treatment does not apply to every page.

If you are interested in the graphics of the airline business have a look at the beautifully designed 'En Route' by Lynn Johnson and Michael O'Leary, this concentrates on airline luggage label art and shows some super examples from airlines featured in 'The Art of the Airways'. ... Read more

Reviews (11)

The best book of Gil Elvgren's art you can buy
This is a great collection of his work. There are few artists to rival his ability, not only in drawing the female form, but in capturing innocence, playfulness, and seduction all at the same time. He's been called the "Norman Rockwell of pin-up art" and in a way, it's a shame that he is limited to that category of art, but the comparison to Rockwell's ability is warranted. Some of Elvgren's advertising art is in this book too, and it is all well worth having.

All hail the Master of Pin-Ups!!
This book is a good 300-400 pages thick, all in colorful high quality papers! It pretty much contains all(about 99%) of Gil Elvgren's works ever painted. It's even got some exceptional nude pictures that Gil had presented to his close friends as gifts. Buy this book for its beautiful American sweet hearts! Buy this book for its vivid brush works. Buy this book for its historical value as an momento of America! :)

The Best Pin-Up Book Ever
Gil Elvgren was the best of all the pin-up artists and also the most prolific and this book collects much of his work. The plates, nearly six hundred of them, are almost all in color and each one is of decent size. This book is the definitive volume on pin-up art to any collection, his art, a masterwork on the same level as any of the great painters. The fashions on his models may change throughout the forties, fifties and sixties, but their beauty (and cuteness) remain consistent. His fleshtones are truly amazing and the poses suggestive and fun. Elvgren's models weren't just gorgeous, they were friendly, inviting and playful. Just having this book lifts your mood, recalling an earlier time when life was a lot simpler.

I've found my cheesecake Eden right here!
If I was to choose a coffee table book of cheesecake and magically, could live on an island surrounded by the models in that book, I'd have to pass up Sorayama, Olivia, and Vargas, and go for Gil Elvgren, the collection being this 200+ page work that covers Elvgren's work from the 1930's to the 1970's.

The girls in Elvgren's paintings not only come alive, but seem more warm and human, innocent with a twinge of spice. So this is what they meant by "sugar, spice, and everything nice." Maybe because most of them are smiling, with those pearly whites showing. I could spend hours looking through those pages, forming stories around the paintings.

Many look like celebrities. In "Let's Go (1957)," the blonde getting out of a white car looks a lot like Marilyn Monroe. The girl in "True To You (Sitting Pretty) (1950)" also resembles Marilyn but with brown hair. And the honey in "Evening Out (1969)" reminds me of Geri Halliwell.

Okay, so many of the drawings can be construed as sexist. The particular theme on that being girls who get their skirt lifted up by well handles, pipes, fence rails, ladders, and elevator doors, revealing two very shapely legs.

Equally interesting are paintings that were repaints of earlier work. "In For A Tanning" featured a sitting nude girl holding her bikini with a black dog to her side. "Dumb Pluck" featured the girl in the same pose, except she was wearing a candy-cane striped bathing suit and holding a shovel, the dog still on her left.

Some were risque even for their time and the more amusing ones are beach shots where the girls get into distress, such as having their beachware stolen by a dachsund (Taking Ways, 1950) And his nudes were never full frontal, only seen from the rear or side, the sole exception being "Harem," an undated painting of an innocent maiden captured by Arabs.

It's when looking at his work during the 1960's and 1970's, that yes, the models have changed with the times and despite having Elvgren's signature style, their hairstyle are with their times.
Other notes: the paintings are clearly better than the real-live model replications hands and legs down.

So, my favorites? That's a difficult one, as the models are oh so cute, but I'd have to settle for "Well Picked," of a girl in yellow dress wading in a pool and picking up a lily flower, "Golden Beauty," of a Diana Dors-lookalike, "Surprise Package," where the girl wrapping the X-mas present is clearly the title object, and "Lazy Days," of the girl lying leisurely on the summer grass.

Proof that too much of a good thing is better, and that too much cheesecake can be good for one and not be fattening. And with all apologies to the Beach Boys, "I wish they all could be Gil Elvgren girls!"

Fabulosamente Increible
Esta compilación es una obra de arte total, que parece emana de las musas. Vale mucho mas de lo que pague por ella!!!!! Es inspiradora e increible. ... Read more

Book Description

Reviews (4)

Fleur's flight of fancy.
These facsimile pages from the twelve issues of Flair are a celebration of Fleur Cowles zest for creativity in the arts. The 338 pages must have been a challenge for the Hong Kong printers, they had to cope with various foldout pages, die-cut holes, different paper stock and bind in several short pages, two concertina foldouts and five sixteen page booklets.

Sumptuous though the book is I feel that Flair is resting in its reputation. To my mind, having worked as a publication art director, the photos, typography and layouts are very conservative and do not show any particular innovative design. Other magazines and designers were much more creative in the fifties, 'Fortune' with Will Burtin, 'Glamour' with Cipe Pineless, 'Harper's Bazaar' with Alexey Brodovitch and 'Vogue' with Alexander Liberman. Certainly the covers with their die-cut holes (sadly only six of the twelve are included) and the bound in booklets were unique to consumer magazines at the time but I think that Flair should be remembered as a magazine concept rather than a magazine full of creativity.

Fleur Cowles writes a short piece about the origins of Flair (handwritten in gold on dark blue paper) but does not give enough detail (I believe each issue involved several printers and binders) and as there were only twelve issues a list of all the articles should have been included. Another reviewer has commented that the high price (reassuringly expensive?) and the cloth covered box the book comes in reflects snob appeal, I agree but I'm still pleased to have a copy.

The return of Flair
I first became acquainted with Fleur Cowles' revolutionary 'Flair' magazine during my childhood in the fifties. At that time the publication impressed me with its cultured blend of cosmopolitan sophistication and innovative design, although it didn't escape me that its pages also included a great deal of elitism, snobbery and self-congratulatory arrogance. Although I wasn't fortunate to keep any of the original issues, the magazine became a significant influence in the development of my literary and artistic tastes and in my life-long quest for beauty and elegance. For that I was grateful. So it was a joy to learn that a best-of compilation put together by Fleur Cowles herself had finally appeared. The original 1996 printing sold out before I could manage to acquire a copy and when Rizzoli recently published a second run I quickly got one. This edition has a foreword by writer-socialite Dominick Dunne. Now, is it really worth the rather steep price of [price]? Well... I think that for that kind of money the publishers could have managed to provide us with something much more substantial, for example: a slipcased set containing facsimile editions of all twelve original issues, rather than this comprehensive but ultimately limited look. A complete reprint would have given us the full impression of the range and period feel of a unique magazine, and at this price I think that they could have well afforded to do it. I understand that part of the reason for this expensive price tag is the snob appeal that has always been a part of the Flair mystique and that perhaps this offering is to be regarded as literary caviar for the more discerning (and well-off) among us. On the plus side I must say that the large-format book is lavishly printed, that the articles are indeed very well selected - containing not quite all but much of the best of the short-lived magazine - and that the presentation is very handsome indeed. Several of the covers are reproduced with their distinctive die-cuts and embossing and the book is housed in an elegant cloth-covered box. I still think it could have been more reasonably priced but there it is. Caviar lovers, enjoy it before it disappears again!

Grab it!
Get this book. Do anything you have to in order to own it. I paid $250 at the Art Institute of Chicago because I was afraid I would miss out...again. This is a collector's piece if you got the first edition. If not, don't hesitate. It is interesting, intriging, thought provoking, ahead of it's time....and not just for 'creative' types. Something good for everyone.

dazzling!
This is the most extraordinary book I've ever owned! I missed out when it was first published as a limited edition and I vowed that if it ever came back,I would grab one. Bravo to Rizzoli Publishers for re-issuing this hard-to-find classic! ... Read more