5 comments about The Corset: A Cultural History.

1. This is a very pretty book with great photo's and information. I have had people already try to take it to read but i'm not lending this one out just yet. Love the book.



2. Steele's books all feature informative text and beautiful pictures. In "The Corset", she discusses this mysterious undergarment and dispels myths, explains sociological and feminist aspects of it, and looks at controversies surrounding it throughout time.
   
   Steele discusses fashion from so many perspectives: class, gender, art, sexuality, medical, historical, and anthropological, and she does so with insight and clarity. Tracing its antecedents and moving to contemporary times, Steele outlines its influences on fashion and society.
   
   For anyone interested in deeply understanding this beautiful and controversial garment, Steele is the author to read. She merges the world of fashion with academia. This book is fascinating and insightful!



3. A great history of the corset, for both men and women. A must read for anyone interested in the history of costume.



4. Theonly problem with this book I would have to say is that the dress on the cover is amazing so amazing I can't find anyone anywhere! If you can in some way help me to get a dress like that one or find that on. I have prom coming up and that dress is amazing I would do anything to get that dress, thanks for reading this and your book is great!



5. Love the book!! Its a must have for any corset lover! Detailed history and pictures.

4 comments about The Conspiracy of Art.

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2. I always thought that Baudrillard's ideas were interesting. I always thought that they were an interesting way to look at certain issues, a new lens of sorts. However, upon reading this book, I finally understood Baudrillard and as a result found his theory to be inane. Baudrillard makes a lot of sense before you really read the evidence (oh, wait he doesn't use evidence) or rather analysis he provides.
   
   The first problem that I found with the book is its utter lack of defining terms. If a reader has not read Simulations and Simulacra, then this book would be completely unaccessible. However, Baudrillard just throws terms around, seemingly knowing the definition himself, but withholding it from the reader. Words like 'event' come to mind. Actually 'null' is also strangely ambiguous in this book. The 1970s seemed to pass over Baudrillard and this was written as though post-structuralism never happened (was that an event). So what does this come down to? A lot of Baudrillard's criticism is then nothing more than a linguistic problem... He says that a certain thing happens as a result of art, but then that is just a word, an undefined floating signifier that leaves me, and probably will leave you, uncertain as to what is the worth of anything written.
   
   Another gripe that I have is the sequence of the articles and interviews. (Actually I think many of the interviews could have been left out entirely, since many interviews were nothing more than the interviewers massaging Baudrillard's late-inflated ego.) Some of the essays make absolutely no sense until later essays are read. It seems as though they were thrown together randomly or perhaps intentionally in the most incomprehensible way possible.
   
   At the end of the day, I thought Baudrillard was cool. I thought his ideas were interesting, but upon reading this book I really lost faith. It isn't that I think that Baudrillard's ideas are irrelevant to current discourses, but rather that the analysis he provides is often questionable and so against the laws of logic and rationality. His ideas are interesting if you take them and attempt to formulate them into your own worldview, but otherwise I can't say that this conspiracy of an assertion-fest is worth reading.



3. This is a fascinating collection of some of Baudrillard's most polemical writings on art. He freely admits in one of the interviews within that he is, by no means, an art expert. He doesn't appreciate it and he doesn't necessarily *like* it. He does respect traditional/classical art's beauty and importance. This positions him in an excellent place to offer remarkably disinterested observations. He's not partial to any one movement, any one school, or any one artist (with the possible exception of Andy Warhol) and he pulls no punches in his critique of the meaninglessness of contemporary art.
   
   It is important to note that Baudrillard is NOT an art hater. From his interviews and from other writings, I get the impression that art is simply "not his thing". I believe this is a positive factor because he isn't required to tip-toe around issues for fear of being rejected by the art community, a community he is happy to avoid altogether.
   
   As a student of contemporary art, and as a contemporary artist myself, I don't always agree with Baudrillard, at least to the extent that he goes. In his essay, "The Conspiracy of Art", he tends to make sweeping generalizations. Such is the format of his polemic - a brief essay. Had he developed these ideas in a longer format, I'm sure some points would be smoothed by further explanation and clarification. Fortunately, this book includes and number of interviews where he explains some of his points and gets a chance to defend himself against his many critics.
   
   I believe this text would be most useful to any student of contemporary art. Baudrillard does raise many important issues, even if his conclusions are questionable. Even if you hate every word, it's at least an amusing read. I've always enjoyed his style. It's very conversational - a welcome relief from reading the prolix, convoluted texts of Deleuze and Lacan. He is clear, cogent, and concise.



4. Contemporary "art" endlessing pleasing itself with how "clever" it is - how "important" it is - how "valuable" it is. Baudrillard sees through it all and offers some great critiques. Again, to some he may seem the seer of the obvious but others put up great resistance to his ideas because it destroys their privileged, little cozy world. The film Zoolander does much the same thing with its hilarious send-up of the "fashion" world - the "Derelique" campaign, turning the "look" of homeless people into the latest haute-couture. The fashion world is a conspiracy and so is the contemporary art world. The commodification of the banal - the banal world turned into "brilliant" concepts by art stuporstars. I think Baudrillard would agree with Hansel in Zoolander when he says: "Derelique" my balls.

5 comments about The Human Machine.

1. where is my book?,,, i never reviced.
   or Tell to me, where can i call or send a email, to ask about it.



2. I've been a fan of George Bridgman's books ever since I bought Constructive Anatomy, and followed it with the 100 hands book. I found the Human Machine and ordered it because I wanted to see more references in regards to how the body movies. I'm not severely disappointed but I suppose I was expecting a bit more. I was hoping for more full body references which would separate the book from Constructive Anatomy. Unfortunately it didn't deliver.
   
   I did find the information in this book highly useful, but I have to agree that the print quality of the illustrations can be frustrating for some people. I am not bothered by it because I want something that is loose and interpretive, but explanatory. The problem with many art books is that they get so detailed in anatomy an artist trying to learn life drawing isn't learning to interpret the information but simply copies it.
   
   You need illustrations like this to help your juices flow and act more creatively. If everything is drawn out for you in explicit detail how do you learn to fill in the gaps and experiment? That is why I found Bridgman's books more valuable to me than the super detailed anatomy books. His methods of construction have helped me out greatly in learning to flesh out my figures from stick forms.
   
   The other value of this book is it's price. Why waste 30 dollars or more when these books are usually 10 dollars or less? My other book is becoming worn from extreme use, but at least I know I can easily replace the book at a low cost!



3. In reality, this book didn't teach me anything I didn't know already. The illustrations may be handy for someone who hasn't had much experience with body-mechanics, bending, joints, etc. This book was neither outstanding nor worthless, thus my bland 3 star review...



4. Maybe 3-1/2 stars. (Idea & Layout= 5 stars. Drawing quality= 2 stars.)
   
   Bridgman's The Human Machine is *exceedingly* ambitious in its scope, and could have been exceedingly successful to match, were it not for its *one* pretty obviously glaring problem: these drawings are exceedingly sketchy!
   
   Originally published in 1939, Bridgman passed away in 1943. He was approximately 75 when he made this- possibly a factor in the lack of clarity throughout. If only he had made this at the height of his career(!)- This book is a perfect example of 'what could have been'.
   
   Many people revere this work in spite of all this. It may not compare at 1st glance with the slick, computer-aided & enhanced books of today, but if you're willing to get past the obvious sketchiness here you'll find a veritable gold mine of visual information. Take the overall layout & structure for example. In my opinion, this book's presentation easily rivals that of his more polished & refined work- Constructive Anatomy, which has a more awkward interplay between its words & pictures. The Human Machine moves rapidly & logically, building the figure with simple lines first, then showing how bones & muscles interact with eachother & with the figure's simplified outline, to give an impression of the whole figure & its parts, all at once in a few detailed pages. It's this *overall* conception of the human figure that appeals to the many who give this work a chance. Bridgman applies all this to the figure's actions & mechanisms as well- it's not just about bones & muscles here, like so many anatomy books tend to be. And Bridgman's lines, though sketchy here, still tend to be an accurate record of the figure, worthy of study. He *usually* chooses his lines with the precision & beauty we've come to expect. But the overall lack of visual clarity here hurts; leaving this genius idea still somewhat unrealized.
   
   Overall: The basic *point* of Bridgman's Human Machine is to help people to draw figures more convincingly, and from memory. To a great degree, at least in my opinion, this book still succeeds in a very effective way...
   
   P.S. This book is definitely *not* for beginners! Only *Intermediate-level* artists need apply.



5. I bought 16 different Anatomy Drawing books and this is the only one that I actually felt compelled to give away. When the other people say the drawings are faded and sketchy that is an understatement. This is not a good book to learn by and it was not very effective in the design approach. Your much better off with some Dynamic Figure Drawing, Dynamic Hands, Dynamic Wrinkles, Artistic Anatomy, Anatomy for Artists, An Atlas of Anatomy For Artists, etc etc etc. Some of the other books I listed are almost the same price and are 10 times better. Its night and day between this book and the other Anatomy Drawing books.

5 comments about The Pastel Book.

1. You'll love this book if you want to know just about everything there is to know about all the types & brands of pastels available to you and if you would like to know what artists are using out there and what can be achieved with all these products. It's all here for you to explore for yourself through Mr. Creevy's thorough "walk-through" of materials, supports & tools. The excitement comes from his step by step demonstrations using many products, such as soft pastels, hard pastels, and oil pastels of many types, and the effects achieved with mixed media. If this book doesn't get you motivated, nothing will! I carried this book around with me for weeks and I am still referring to it. I enjoyed Mr. Creevy's "out of the box" techniques and subject matter. His knowledge & talent are obvious and we are fortunate that he chose to share with us.



2. Very good technical details but the book need to be updated with current materials. There is no coverage of Unison or Ludwig pastel sets and paper coverage is outdated.
   
   If I had to buy just one book on pastels it would NOT be this book.



3. I recently took a pastel workshop and this book was recommended. It is thorough and offers advice that you can easily impliment. It is a good reference when I have a trouble spot. The author's solutions are worth remembering.



4. Very very helpful book to browse if you are getting started. It helps one better understand which types of pastels do what, oil, soft, hard etc.



5. I found this book to be a terrific reference for any artist beginning to explore pastels. There are lots of charming paintings by the author, and demo photos of how the paintings came into being. There is also a WONDERFUL section on supplies: what and where to get them, how they're priced, and if they're worth it. Yet, I do wish that the author had spent a little more time on showing and explaining works that were JUST done in pastels and less on mixed media with pastels. But that's just my opinion. It's a great book and worth buying, regardless of how much of a purist you may be.

2 comments about Creating the Perfect Design Brief: How to Manage Design for Strategic Advantage.

1. I found this book after looking for a book that would help me in leading an in-house design firm at a non-profit. I think I instinctively knew some of the key principles in this book - however this book really spelled those out and gave me the tools to begin to implement them.
   
   Fundamentally the author's point is that designers must learn to deliver real value for the organization and in a language non-designers understand and appreciate. A well constructed design brief is the vehicle through which much of this can happen. As a result, "do you like it" is less likely to be the question we ask, rather it should be "does this solve a business problem".
   
   A simple but invaluable read, this book is designed for those of us who wrestle with the tension of leading designers who want space to be creative at the same time as we wrestle with "clients" who seemingly don't know what they want until they see the finished product - which of course they don't like.
   
   Well worth the read and highly recommended



2. This book was very helpful and precise. I work for digital media designers, so this book not only helped me improve my skills, but helped me look more professional. :)

5 comments about John Singer Sargent.

1. On the outside the book is large and gorgeous with a glossy dust jacket. Open the cover and the the inside color matches Lady Agnew's sash! Turn another page and -inferior quality paper. The colors of the reproductions are dull. TONS of black and white photographs. In some sections, pages and pages of just black and white photographs. By the large size of the book, I thought I would get to see large pictures. Not so, except for Chapter introductions where a close up of a detail might be featured, elsewhere there are sometimes 3-4 tiny pictures squeezed onto the same page. Too small (and some in black and white) to appreciate any of them. I was VERY disappointed and am going to return it. I have three other books on Sargent and the quality is just so much better than this one.



2. 
   H. H. Munro once said that to die before having one's portrait painted by Sargent was to have died prematurely. He was on target. Of course most of us cannot expect to afford the luxury of having our portrait painted by anyone of note, but if that lucky opportunity came along, alas!, now it is the artist himself who is no longer with us.
   
   This is a wonderful book. It gives the art admirer a good look at much of J S Sargent's oeuvre and the illustrations are faithful, of the highest quality.
   
   The book also allows one to trace Mr. Sargent's life and career, with enough detail to make the development of his art make sense. An American by linage, a Parisian by training and an Anglophile by choice, Mr. Sargent was at home in the best of houses and traveled to places that are still high on everyone's wish list. So whether he is giving us a look at the beau monde of two continents or the canals of Venice we are blessed with his record, which is truer than photography.
   
   Once you have fallen in love with these works of art--and who cannot?--you will want to seek out those that are in public hands for a closer inspection. Do. There are two Sargents in the White House, for instance, Teddy Roosevelt in the East Room and The Mosquito Net in the Green Room. One of the many reasons to see our President's House.
   
   But you will find Sargents in out of the way places, too. There is a fine portrait in the Richmond (VA) Museum of Art, Mrs. Vickers holding a magnolia blossom as she arranges a centerpiece before a dinner party. She, who is somewhat plain, holds that breathtaking flower and we almost hear Sargent saying, "The woman is this lovely, as well, if you take time to know her." It is well worth a trip there to see it.
   
   And if you can, spend a goodly amount of time gazing at Madame X. It really is sensational in all meanings of the word.
   
   If you have only one book on your coffee table, this is the book to have.



3. I am extremely pleased with this purchase although I haven't
   reached 'the end' yet. The colour plates are clear which is
   so important. I already possess Sargent Abroad which I
   would also readily recommend.



4. I purchased this book because my eleven year old needed it for a school project. It is more than just a pretty book, it has enough information in it for her to complete her report. I enjoy looking and reading about the work of John Sargent because his work is so beautiful. This is a book that when one feels the world is so crazy and ugly, you can pick up this book to escape. It was money well spent.



5. In my estimation there is no better artist in all of history. Now that's a pretty bold statement, but anyone who has viewed Sargent's originals would have to agree this man painted with authority and bravado. Yes, he was a showoff. I think that sometimes he would make a brushstroke just to say "see what I can do?" A lot of people don't realize that he painted fantastic watercolors as well as great oil portraits. If you want to see what a brush can do in the hands of a true master, study the work of John Singer Sargent.

2 comments about Plants: 2,400 Copyright-Free Illustrations of Flowers, Trees, Fruits and Vegetables (Dover Pictorial Archive Series).

1. I love the Dover Pictorial Archives Series and this book is a fine example of the copyright-free images that Dover offers in these books. Jammed full of beautiful black and white drawings in fine detail this could be the one book in your library to cover all your botanical needs. But it won't be. Once you see this book you'll want to add more Pictorial Archives Series books to your library.



2. This is a terrific book. I purchased it with the companion book on Animals. It is a "must have" for anyone interested in art, biology, or just a good coffee table book. It will keep youngsters quiet for hours with the facinating illustrations. Very high quality. You just can't beat the price either. I highly recommend it. You, too, can be botanically correct!

5 comments about Abstraction in Art and Nature.

1. This book is a must have...it has chapters set up in logical order with exercises in each section to help you master the lesson of each chapter. This author is or was a professor at the prestigious PRATT INSTITUTE of Utica, New York (through Munson Williams Proctor Arts Institute) and Brooklyn/Manhattan, New York...so you know that the instruction is high quality. Most of the illustrations/photos are black and white, and if that bothers you, you may not like this book, but the photos and diagrams are sharp and clear and are a decent size, so they should be of help nonetheless. A great addition to the library of the self-taught artist!



2. The elation of discovery when I read in the very first paragraph of this book...*the word abstraction...simply means the act of drawing out the essential qualities in a thing, a series of things or a situation*. This is what the book is about throughout--rhythmic flows and patterns.
   
   Examples from this book include mention of several instances in which the orgonome or teardrop form exists in nature--in the pull of a magnetic field, in the shape of an apple seed and in the form of a ducks body, and how the jet form of water creates the same shape of a common mushroom sliced in half...as well as numerous other forms illustrated that may surprise the reader.
   
   I could give many more examples, but the great thing about this book is that it is no mere science lesson--all the information is given in relation to art and art making. Numerous large and smaller photos and illustrations all in black & white, taken from nature and art, along with suggested drawing exercises, assist the visual type of person to more fully grasp the points made. The final brief chapter is on Color in Nature.
   
   This book is exactly what I hoped it would be, when I ordered it based on the title alone...



3. Concepts not easily grasped by the beginner/intermediate(like myself), but I know that I will go back to this book again and again as my skills grow.



4. Not my idea of a gift book which is why I bought it. The photos do seem to have good values and a deeper look at the content could be rewarding. Just beware if you prefer art books in color. Also, the 1993 paperback with same title/author came to me with a different cover photo.



5. Hale has thought deeply on the meaning of forms and has found endless relationships between them. All organic matter follows laws which are written into their structure. For the artist, understanding these laws means that each new object is no longer unique, but part of a larger whole. This means that each new object (water mountains, trees, bodies) can be related to others, making the "new" object more familear

4 comments about The Pencil Box: A Treasury of Time-Tested Drawing Techniques and Advice.

1. This book contains several articles by leading artists and teachers who have devoted their energies to drawing,including color pencils...It contains very practical methods and hints to improve drawing skills for all---beginner to advanced students.



2. This book is very good item for those that are just learning how to draw. The topics that are covered are very well written and are is to follow. I recommend this book to anyone that is just starting.



3. I just got this book and read most of it on my vacation. Probably it would make more sense to read it in smaller chunks or for specific projects. The book is organized by topics, starting with materials. From there it goes to techniques, then landscapes and portraits. I can't remember all the topics now. I would guess that the last 20-25% of the book presents articles on colored pencils. I haven't gotten to that section yet, but glancing at it, I see that it covers almost every topic that was in the colored pencil class I took.
   
   The great thing about this book is that it has culled articles from American Artist magazine for the contents. I can't afford to subscribe to that year after year, so having the articles I really want collected in a separate book saves money and time. If you are not into colored pencils, which I am not, the book is still worth it.



4. I found this book to be very helpful. I am getting back into drawing after many years and the author provided many good points and great illustrations. The section on colored pencils was especially helpful. I bought the pencils listed in the exercises and did a few of the drawings. The suggestions for blending and shading were wonderful.

5 comments about The View From The Studio Door: How Artists Find Their Way In An Uncertain World.

1. After years of struggling with the question, "Am I really an artist?" I finally got my answer. For some reason, I had convinced myself that unless I lived an angst-ridden, eat-or-make-art existence, I wasn't really a true artist.
   
   Once I read this book, though, I learned that art isn't about lifestyle...it's about what you DO with your life, how you choose to live it.
   
   For addressing such weighty issues as "the making of Art," The View is an easy read, and chock full of motivation and inspiration and all the other good "-tions" that are too numerous to list here. I've read it once (unless you count the passages I read several times in a row, just because I liked them so much), and know that it will be a perennial favorite. Possibly more than once a year, if I find I need a little positive reinforcement (a literary kick in the rear, so to speak).
   
   If you're an artist, think you might be an artist, want to be an artist, were once an artist, could possibly some day in the future be an artist, or even just know an artist, it's worth reading. Heck, if you just like art, it's worth reading. It'll give you some insight into what exactly goes into making art. It's way more than just the materials and a learned skill set!



2. I liked this book, though I didn't think it was as meaningful (at least to me) as Art and Fear. I related quite well to some of the chapters, and thought others were just written for the sake of filling up the pages.



3. I'm just another artist with a day job, and while I may know, at some level, many of the ideas in this book, it is completely worth the time it took to read and the money it cost to buy. I read it twice right away, actually, and it will join Art & Fear in my flight carry-on because they're good books for times when you can't make your own art.
   
   I particularly relish the way Ted speaks to artists in all media; there's far too much "truth for every artist" that turns out to be for painters only.
   
   I come away strengthened, encouraged, set back on my path. I am doing the right thing and I don't have to know where this path leads. It did used to be different for artists but it's not that way now and make your art anyway.
   
   Heck, a therapist or a creativity coach will charge a lot more and take a lot longer to get you to the same place!
   
   If I were writing the book, I would devote much less space to art students, but perhaps my distaste for that chapter has its roots in major-envy, in that I want to believe life would be different if only I'd recognized a path earlier. And yet probably my life would have been much the same if I had, only with no insurance.
   
   Own the book. It's doesn't cost much, and it's worth it. Someone over in the Art & Fear reviews noted that all the used copies are completely covered in highlighting and margin notes. My copy of View is well on its way to the same end.



4. This book is a pretty good read in that it outlines some of the issues surrounding being an artist in today's society. It is more cursory than comprehensive. Basically it points out the issues but doesn't really delve into them very deeply. If you are already an artist it won't give you that much more insight than you probably already have, however it will serve to point you in thinking in the right direction.
   
   For the price I guess it's worth reading. I cannot recommend it as a 'must buy' but I also cannot say stay away from it.



5. This is a must read for any artist or aspiring artist. It will help you to understand yourself, your art, and your audience. The View From The Studio Door is part philosophy, part psychology, part history, and entirely authentic, entertaining and enlightening. The author is very articulate in a down-to-earth and entertaining way. Original insights are spread throughout the book and it's margins. On one page you will be in awe of the philosophical insights that are revealed and on the next page you will enjoy the author's delightful sense of humor. On the next page you may learn something about yourself and your art. Here is an excerpt from one of my favorite passages. " In 1927 a young Ansel Adams made one of his most famous photographs: Monolith-The Face of Half Dome. Or more accurately, he made a photograph that several of his friends thought was very nice....It appeared as a gritty halftone in a newsletter of the local chapter of the Sierra Club....Finally, a half-century after it's first appearance, Monolith appeared in a Time magazine cover story about Adams accompanied by the headline "Ansel Adams: GOD'S FIRST ART DIRECTOR.""
   
   The author, Ted Orland, is co-author of the book Art and Fear that is also a wonderful read for artists in all disciplines.
   Art and Fear is one of the top 4,209 best selling books on Amazon.com. Although we do not usually consider ranking #4,209 an badge of sucess, this is a remarkable accomplishment for a book that has artists as it's primary audience. The View From The Studio Door is a very worthy next read for any artist.