2 comments about Glamour of the Gods.

1. From the arresting, surprising cover photo of Rock Hudson
   through the many artistic, iconic portraits taken by the unsung 'stillsmen' who worked at all the major movie studios, Robert Dance has fashioned a wonderful paean to the mostly forgotten photgraphers, to the ever-glamorous stars and to John Kobal, who had
   the good sense, passion and wherewithal to collect and save these
   images from being lost forever.



2. I love this book. It's has some the greatest images of Hollywood's superstars of the first half of the last century. I give it 4 out of 5 stars for 2 reasons. (1) For fans of the Kobal collection, you will recognize many of the images from earlier books put out when John Kobal was alive. Personally I have seen, in other books of his (Kobal), about 60% of the portraits that appeared in this book. (2) The book has some beautiful color portraits that I wasn't expecting, but, again, a few were repeated in other books. Also, being the greedy person I am, there just wasn't enough of them (only about 6 in the whole book). There is however a wonderful color portrait of Lana Turner from 1938, that I had never seen, that's worth the price of the entire book!

1 comments about Masterpieces of Ancient Jewelry: Exquisite Objects from the Cradle of Civilization.

1. There are surprisingly few books on jewellery in the ancient world that don't specialise in a specific culture. When I started reading this book I was surprised to find it had been produced in conjunction with an exhibition in New York but its not a listing catalogue as such and the scope is wide enough to encompass the early modern era as it includes Byzantine and early Islamic jewels.
   
   The book is divided into sections that deal with the jewellery found in Mesopotamia, The Levant, Persia, Byzantium and early Islam. Each section of the book has included an interview with a person who is a specialist in the area being discussed. The items illustrated are not just gold items but also beads, rings etc.
   
   The book has some lovely pieces illustrated, especially among the Byzantine and Islamic sections. Some of the best of these items are drawn from private collections and not commonly illustrated in other books, but because Egypt and Greece are excluded from the selection on display some of the truly breathtaking items from the ancient world won't be seen in this book. If you are after a book that covers areas in jewellery usually overlooked with ancient jewels this is worth picking up - but its hardly likely to be the last word or definitive tome on the subject and I'd give this three and a half stars if I could.

5 comments about Graphic Designer's Guide to Pricing, Estimating & Budgeting Revised Edition.

1. This book is an excellent comprehensive guide for any person who is either considering becoming a freelance graphic designer, starting a design studio or setting up a full-service design firm. It outlines, in a detailed and easy-to-follow way, all the key elements one must consider, such as fixed costs, budget management and establishing rates. Theo Williams, the author, employs a fresh and user-friendly approach in every business concept she presents. This book is the bible I'm using to set up my business. Someone took my copy, so I ordered another right away! I don't know what I'd do without it!



2. This book is not nearly as helpful as I had hoped. If you want to read to entire book, you'll get an overview on basic ethical and pricing theories, but there is no pracitcal "this is what designers are charging now" basis, and it is less that fun to read. Skip it.



3. I have been operating a freelance graphic-design business on a casual basis for over 10 year and have just recently decided to take it to a more professional level. I purchased this book because I thought it would help me streamline my billing system and teach me something I didn't already know. Unfortunately, I found that this book was much more chatty than informative and that the information was a bit too vague. It would have also helped if the forms at the back of the book were more fully discussed in the book itself.
   
   While I found it interesting and somewhat insightful to read about the author's opinions and experience (which is credible), I did not feel that I gained much new insight from the book. Another book that I found more pragmatic and useful was Cameron Foote's "The Business Side of Creativity". Even though that book covers all aspects of running a graphic design business, it also includes a section on billing with advice that is both practical and concrete (including how to deal with clients who are price-sensitive in an assertive manner). While this book may help someone who is completely new at billing clients for graphic-design services, I personally gained more from Foote's book than this one.



4. Freelance Graphic Designers, or those considering it, get this one. It is excellent. I have read it 3 times and still learning from it. It is Good advice. She's a nice lady. I want to meet her. This helps you in negotiating and deciding on a price, and not letting the client take advantage of you, and invoicing.
   
   The author is a woman, btw. I think it is cool that a woman can have such a hugely successful business.



5. In straight-forward, witty and very business-wise language, Theo Stephan Williams lays it all on the line for anyone in or thinking of getting in the design business. She explains exactly how to negotiate, what to say and how to actually make a profit. While all other books dance around the subject of money, she just lays it on the table, giving hourly rates and project break-downs and without having to feel bad justifying prices that will keep you in business, I finally realize that it is a right to make a profit out of what we do.
   For ten years I've been operating exactly like the kinds of people Theo knows inside out - thinking that breaking even is good enough, afraid to raise prices for fear of losing work. All that gets, she explains, is a huge, unprofitable client base, all making demands and not paying a good price for the services they receive. Theo provides clear, logical, sensible and highly convincing arguments to turn your business around and make a real success of it, as she has done of hers.
   Read it and join the ranks of enlightened designers and design firms who actually make great money out of doing great work.

No comments about Graffiti Planet: The Best Graffiti from Around the World.

5 comments about Photography.

1. "Photography (9th Edition)" is perfect for any kind of photographer, whether it's someone who is picking up a camera for the first time or someone who is much more experienced. From the seemingly endless supply of information to the immense number of beautiful photographs, there is nothing this book doesn't cover.
   
   It is thorough and very detailed. The book provides images and explanations of film processing, charts of indicated exposures in particular lighting situations, and also illustrates composition and framing. It even has a chapter devoted to the history of the photography. A very important aspect to know, however, is "Photography" leans toward black and white 35 mm film photography. Knowing how to use a camera manually is an important technical and creative aspect of photography, so this book emphasizes that.
   
   "Photography" is just as inspirational as it is informative. Besides the technical data, there are famous photographs like Bresson's "Place de l'Europe, Paris" and Man Ray's "Solarization." There are also short biographies of well-known artists, such as Clint Clemens, Annie Leibovitz, and John Sexton, incorporating their work. The information in the biographies applies to particular techniques within different chapters. I find these pictures motivating and inspirational because of the variety of approaches, styles, and successful techniques covered. This wonderful visual aspect of the book instructs the reader through other artists' work and also encourages them to grab a camera and start shooting.
   
   When I think of the money, supplies, time and frustration saved because of the knowledge gained from this book, I can't find a single reason why anyone who's truly passionate about photography wouldn't need to buy it. The combination of technical information and visual examples "Photography" provides is an important way to improve any person's photographic abilities.



2. 
   This photography text is recommended for learners in or out of school. It offers both a general and in-depth comprehension of the craft.



3. This book was really resourseful when i was looking through it. It has alot of pictures, and tells a few things about the picture, and what kind of camera that they used.



4. I've received and read the book, and enjoy the content. However, compared to many other books in the marketplace, I'm having a hard time comprehending where there is over $100 worth of value. It seems that everytime something is written by an academic and presented as a textbook, regardless of the content or quality, that the price is jacked up by 3 to 4 times what it is really worth. I'd suggest looking for a used version of this book unless you really want a pristine copy to show off to others.



5. This book is pretty comprehensive. I am using it for a basic photography class. It covers a lot of subjects, but none in great detail. The newer versions actually covers a bit of digital photography as well.

5 comments about Selling Art Without Galleries: Toward Making a Living from Your Art.

1. Author, instead of providing reader with variety of innovative and/or impressive methods selling art WITHOUT galleries, on almost every page gives us proof, that: 1) he have chosen wrong title for his book and 2) there is no better way to sell art than WITH galleries.



2. Although there may be some good information in this book for others, there wasn't much in it that I can make use of.
   The author touches on various subjects, giving no real insight or information on any of them. For example, he mentions things like web marketing, signature letters, the artist's statement, etc., but then includes quotes from art professionals (critics, gallery owners, etc.,) some saying they consider them important, good or positive & some saying the exact opposite. So what did I learn? It's all a crap shoot with potentially huge financial risk. I already knew that.
   Most of the various marketing opportunities discussed I was either already aware of or I'd already thought of.
   In addition, although this book was published only 2 years ago, a fair number of the internet links provided are either defunct or just wrong.
   There are also quite a few typos throughout, resulting in sentences that make little or no sense. Proofreading appears to have been done by Word spell check rather than a living human being.



3. This book more than met my expectations. I did not realize how valuable the information could be to me until I opened it up and started reading--not from the first chapter but one that caught my eye. I spent the first few days reading every chance I got. It is packed with useful information. It is a good read for artists.



4. The same personality traits that make someone a great artist are often the same ones that make him a one-man sales-prevention team. Solitary and obsessive, the artist yearns for a big gallery to "discover" him and make him a star, letting him stay home and do nothing but paint. The reality is that it's not going to happen without a lot of work behind you, and as artists, we have to learn business skills and learn as much as we can about marketing our work. Daniel Grant has provided us with a superb volume that is easy reading and takes us step by step through every angle of the art world, which has in the last decade or so become a complex jungle, as more and more well known artists are making a substantial living with their work, and those struggling to get seen are sinking to the bottom.
   
   Mr. Grant explains the basics of marketing, from finding just the right venue for the type of work you do, to how to write the most concise and descriptive Artist Statement. As an artist always on the lookout for places to display and sell, I found Chapter 4, "Exhibiting in Non-Art Places" an eye-opener, and also the ideas presented in Chapter 7, "Specialized Markets." Part 2, "Starting an Art Business," has a treasure trove of advice for the artist just starting out, and will also have kernels of wisdom for the seasoned professional. I also appreciate that the author added listings at the end of many chapters, as some of them are useful additions to an artist's mailing list.
   
   Well written, "Selling Art Without Galleries" has an excellent layout with nice readable print (artists usually have tired eyes after a day in front of the easel!). Mr. Grant gives us fresh ideas along with the facts of the art business, as well as a healthy dose of realism. "Selling Art Without Galleries" is a must have for every artist's bookshelf.



5. Selling Art Without Galleries: Toward Making a Living From Your Art offers artists a different way of making money without the traditional art gallery involved: by self-promotion. This is no mean fete for the artist without business savvy, but Selling Art Without Galleries offers the basic keys to making it happen, from learning how to arrange exhibitions and locate prospective collectors to selling art on the Internet and negotiating a price. An outstanding survey covers all points and links business savvy to an independent artist's pursuits.
   
   Diane C. Donovan
   California Bookwatch

4 comments about Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collections.

1. I feel this book is by far the best source of information about Gustav Klimt offered today. It has been intelligently compiled. I have not seen a more informative resource offered yet. My collection contains many books on Klimt from all over the world, including ones obtained during my trip to Vienna last spring. If you are a lover of Klimt's work or have just discovered him, this book is a must have for your library.



2. Gustav Klimt (1862 - 1918), while popular and admired in his time, suffered a period of being regarded as the King of Kitsch for many years after his death. It has only been in the past half century (and especially now) that his contribution to the art world is being recognized and appreciated. His paintings are highly prized, are cause célèbre in their movement from collection to collection, and his influence on modern art and the birth of the decorative arts (especially Art Deco) is unchallenged.
   
   This extraordinary book GUSTAV KLIMT: THE RONALD S. LAUDER AND SERGE SABARSKY COLLECTIONS is now the definitive work on the strange man who introduced the Secession, a movement that hoped to create a new style that would depart from historical influence and stir in the influence of Sigmund Freud. Klimt, whose shimmering paintings incorporated gold leaf and sensuous nude women in 'scandalous poses', brought Vienna to its feet to recognize the works of the French Impressionists. The book is not only a compendium of lush illustrations of his photographs, drawings, and paintings, but it is also a fine history of all of the elements that Klimt incorporated into his work and his inevitable influence in history.
   
   The writings in the book are not dry pages of overused history: here are essays by some brilliant writers and historians such as Alessandra Comini, Ronald Lauder, Renee Price, Janis Staggs and others, each of whom takes a special aspect of Klimt's work and life and polishes the information with some first revelations of unknown notebooks and images. In this collection of drawings are little known works of nude women satisfying themselves that show the mutual influences of Klimt and Egon Schiele! But the final glory of the book is the very large collection of Klimt's output. It will be a while before any other volume can match this one for visual and intellectual interest. Highly Recommended. Grady Harp, December 07



3. This is the catalogue for the current Klimt show at the Neue Galerie in NY. All the works belong to the two founding collections of the museum and most of them are drawings, which allows an irreplaceable insight into the artist's working method. The illustations are of a very high quality and the book is a treasure trove of information on Klimt's early Austrian collectors (mostly Jewish,which accounts for their tragic fate during WWII), and the subsequent "discovery" of Klimt by American collectors, thanks to some courageous dealers like Otto Kallir, owner of the gallery Saint-Etienne in New York. The book also dwells on the much commented recent acquisition of Klimt's famous painting "Adele Bloch-Bauer", which is the centerpiece of the exhibition, and on its importance in the artist's oeuvre. Without being a retrospective, this book, through its many top-quality illustrations and thorough studies of various aspects of Klimt's oeuvre, is a must-have for any art lover, even if some may wonder if the artist is really the top-tier painter that the Neue Galerie makes him out to be: isn't Klimt's art sometimes too decorative (especially when compared to Egon Schiele's)?



4. Although there are few paintings in the collection itself (mainly drawings), a large number of paintings are actually represented in the book to illustrate essays on Klimt's most important patrons and muses (some of which I had not seen in reproduction before) - these form about half the book, with interviews, contemporary documents, letters and photographs - I found this section the most interesting - there are also good essays on his background and his relationships to other artists, contemporary reception of his work, and his inspirations (especially fascinating were the visual comparisons of his drawings of nudes to the work of a contemporary erotic photographer, where the similarities are too many and complex to be put down to pure coincidence). Most poignant is the essay on three of the most prominent Jewish families of the period who were major collectors of Klimt's work - the Lederers, the Bloch-Bauers, and the Zuckerkandls, based on a mind-boggling 193 references. These families began the century at the pinnacle of contemporary society, and were at the centre of Vienna's cultural life; their stories make for harrowing reading - for example, Elizabeth Bachofen-Echt, the daughter of Adele Bloch-Bauer, survived the Third Reich by claiming that she was Klimt's illegitimate daughter and therefore of mixed race - and are worth the price of the book in themselves. Layout and reproductions are superb, as is the general quality of the book. A joy to the eye and definately one of the best art books on the market.

No comments about Martin Kippenberger: The Problem Perspective.

5 comments about Business And Legal Forms for Fine Artists (3rd Edition).

1. This latest edition by Tad Crawford should be required in every Artists reference library. The forms are valuable and the suggestions that accompany each form can easily save a lot of grief by reminding the Artist of what is important to be aware of.



2. By using this resource, an artist can protect themselves and their financial condition through legal means. Most artist just want to do the art and by using this resource, forms that apply to specific events to promote that art give the artist tools to protect themselves. Very good resource - have already put it to use.



3. Extremely useful and informative book. This is the second edition I've bought - 1st edition was 18 years ago & out-dated.



4. Tad Crawford has written a whole series of books out of his expertise in the law and creative arts, with a special focus on photography. I'd suggest looking at Tad's other books, too, since this one is more action-focused without extensive explanations of the whys and wherefores of it.
   
   "Business and Legal Forms" has the documents you'll need, such as copyright transer forms, publishing contracts and stock listing forms for your creative work. His descriptions are very helpful. Of greatest practical use, though, is the included DVD containing MS Word documents of all of the forms.
   
   If you're just getting started in fine arts, or even if you have been working a while, you need this book!



5. Very well organized and comprehensive. DVD provided makes printing a breeze.

4 comments about Georgia O'Keeffe Museum Collections.

1. In contrast to a previous review which said the reproductions in this book are very small, I don't agree. It's a large book, and most of the reproductions are decent-sized and good quality.
   Along with the wonderful reproductions of Georgia O'Keeffe's paintings are some very nice photographs of her. This book isn't heavy on text, but what there is, I found valuable in interpreting the paintings.
   I'd recommend this book highly for any O'Keeffe fans.



2. I flipped through this book at Barnes and Noble, and was frustrated to find that while the pages were large, the prints were tiny! Just a few inches across, usually. Anyone planning on buying this should know.



3. Georgia O'Keeffe would have loved this book! Not only does Barbara Buhler Lynes, curator of Santa Fe's Georgia O'Keeffe Museum, respect her subject's astonishing eye and craftsmanship in this book, she respects Ms. O'Keeffe's wishes regarding displaying her works of art. During her lifetime, the artist often mounted her own shows, e.g., at An American Place, her husband Alfred Stieglitz's gallery in New York. Ms. O'Keeffe was adamant (a) that her creations be hung on white walls, and (b) that her artwork be arranged by type rather than chronology.
   
   Lynes abides by both of the artist's rules here to great effect, and her meticulousness, in terms of the notes she provides about the artist's work and also the tags she associates with the plates (where she identifies the type and size of the surface used and also the type of medium: charcoal, graphite, oil, watercolor), add another layer of enjoyment for the reader.
   
   Lynes' notes attempt to steer the reader away from stereotypical interpretations that haunted Ms. O'Keeffe during her career. For instance, regarding "Blue II" (Plate 3, Page 19), the curator states: "The . . . womblike spiral of 'Blue II' seems to substantiate connections critics in the 1920's made between O'Keeffe's work and female sexuality. Yet when she made this watercolor, O'Keeffe was intensely involved in playing the violin, and . . . the form . . . of the spiral in her watercolor most likely derive[s] from the scroll-shaped termination of the neck of the instrument . . ."
   
   Categories in the book include abstractions, still lifes, architecture, animal and human forms, and trees. Every reader will find his or her favorite here; mine are the artist's representations of feathery kachina dolls and New Mexico's Pedernal. The last category in the book contains works by other artists at the museum whose careers, in some way, parallelled that of Ms. O'Keeffe. Stieglitz photographs (including a Georgia O'Keeffe nude) are here, as well as Ansel Adams' memorable "gelatin silver print" of Georgia O'Keeffe and Orville Cox at Canyon de Chelly National Park.



4. 
   For those of us not fortunate enough to be going to Santa Fe this year for the celebration of the tenth anniversary of the Georgia O'Keeffe Museum (which houses the largest collection of her work), here is an able substitute. Those who have visited the Museum in the past will relish this opportunity to revisit not only her art but her houses at Ghost Ranch and in Abiqiu, New Mexico.
   
   It need not be said that O'Keeffe is a preeminent artist of the twentieth century, one of the most respected and loved. An American modernist she is acclaimed for her compelling abstractions, so elegant and vital. Her visions are often enlarged. Inspired by the natural she once said, "When I found the beautiful white bones in the desert I picked them up and took them home too...I have used these things to say what is to me the wideness and wonder of the world as I live in it."
   
   This gorgeous volume is rich with illustrations - 335 in full color and two eight-page gatefolds. It also includes numerous photos, some previously unpublished, and works by others who embraced modernism and painted in New Mexico.
   
   Curator of the Georgia O'Keeffe Museum, author Barbara Buhler Lynes is the leading authority on this artist. She has done a meritorious yeoman's task in compiling this glorious volume which is a treasure for all.
   
   - Gail Cooke