5 comments about Dirty Little Drawings: The Queer Men's Erotic Art Workshop.

1. Dirty Little Drawings is a wonderful book full of erotic drawings featuring the male body in every concievable way. The erotic poses are wonderful! If you are considering buying some books of illustrations, some of the artists have books of their own, so you can kind of preview their work to see if you want more.
   
   I would hardly call this a little book, as it weighs in at 322 pages! Also, as you turn the pages over a period of time, you seem to discover more and more little nasty things you missed the first time through...YUM!



2. When purchasing the book, I was not aware of the background of the process of how the artwork was created for a show. Turning the pages of the book is like walking through a gallery. A small portable gallery of Male Erotic Art.



3. Aficionados of male figurative art come in many shapes and sizes; Dirty Littly Drawings will appeal to all of them. For those tired of the same old insipid, slick, hackneyed photo spreads in the stroke mags, Dirty Little Drawings is a welcome departure: this little book will kick-start your libido like a juiced-up set of jumper cables. Even the looser, sketchier, more abstract pieces radiate an intense sexuality, the boldness of their lines and headiness of their colours imbuing the images with more sensuality than most photography can muster. Whether your fascination is for fine art in general, super-charged erotic imagery, or something to "hang over the sofa," this book has something for you.
   
   One of the greatest assets of this collection is its enormous variety of subject matter, styles, and media. In its 320 pages, Dirty Little Drawings houses a stable of 291 images, created by 72 artists, ranging from delicate, slender, coming-of-age youths to improbably muscled and impossibly endowed muscle gods to down-and-dirty leather daddies and their slaves. Dirty Little Drawings also pulls no punches in the action its images depict, with vivid representations of just about every scene imaginable (the only acts missing are those of the yellow- and brown-stripe variety). Providing a point of context, some of the drawings even depict the models in situ, giving the viewer a privileged glimpse into both the Queer Men's Erotic Art Workshop's clandestine, underground lair and the process itself.
   
   In terms of artistic styles, DLD contains a wide range: Max Ernst-ish pen-and-ink caricatures, Old Master-style charcoal and pencil studies, delicate French Academie/Prud'hon-like compositions, Fauvist crayon abstractions, Expressionist/Egon Schiele-inspired watercolours, and photorealistic coloured pencil pieces. Some funky images decorated with metallic ink scrawls even call to mind Keith Haring's work. Although very few of the pieces could be considered masterworks (limited primarily by their requisite small size), the general level of craftsmanship is high, and many of the artists are clearly at the top of their game here.
   
   The majority of the pieces are done on coloured armatures, from delicately hued pastel papers to Bristol board laden with op art-intense acrylics, but the black-and-white images are no less striking. Tai Lin, the artist whose work graces the cover, achieves an incredibly striking, luminescent effect with an extremely limited chromatic palette of pastels on black paper, while Enrico Gomez creates works of sublime sensuality and ethereal vagueness using lines of graphite and charcoal smudges nibbled away by kneaded eraser on cream-coloured Strathmore paper. Other artists, such as Chuck Nitzberg, achieve an extraordinary effect by combing the two methods, working for the most part monochromatically, with a few accents of colour - bright orange cock heads, blazing-red nipples, etc. - to highlight the points of interest. Although oil paint as a medium is absent (canvas loaded with oil paint being too heavy for the exhibition's hanging requirements), some of the pastel images do attain a painterly quality in their play and blending of colour and looseness of strokes.
   
   My only complaints would be that Tai Lin's hauntingly arresting portrait, which graces the cover, is not reproduced anywhere within the book - on the cover, it's obscured by the title and list of artists' names. It also would have been nice if the artists' names were reprinted in list form inside the book as well, along with contact information for purchasing and commissioning purposes - one can only get a complete listing of the artists by combing through the index pages in the back. Also, the lack of page numbers or artist names beneath the full-size images makes it difficult to find one's favourite pieces. While it is arguably preferable to have the reproductions cover the entire page as they do here, thereby increasing their immediacy, it does make it difficult to identify the pieces (an index at the back of the book reprints each as a thumbnail in the order it appears in the book, along with the artist's name, but since the pages are not numbered, the viewer can only approximate where in the book each piece appears based on its order in the index). Finally, while Dirty Little Drawings was clearly created with exceptionally high production values, with a heavy, rock-solid cover and thick, glossy paper stock, the slight sheen on the pages makes it a little difficult to get a clear view of the artwork - one has to tilt the book just so to minimize the glare.
   
   Despite these minor flaws, though, Dirty Little Drawings is an incredibly eye- (and zipper-) opening treasure trove of newcomers to and icons in the gay erotic art scene that perfectly captures the phenomenon that is the Queer Men's Erotic Art Workshop. In purely sensual terms, the book has a satisfying heft to it, the relatively small size makes it feel personal, private, even covetable, the cover and pages have a sumptuous texture (almost naughty, like satin sheets), and the quality of construction and artwork contained therein make it feel like it's worth a good deal more than Amazon is currently charging for it. It makes a great gift...just make sure you get an extra copy to keep for yourself!
   
   (Note: To keep this review short, I have appended it in the Comments section with detailed information about the physical aspects of the book, as well as a brief history of the Queer Men's Erotic Art Workshop and background information on the exhibit from which the book's images were drawn - hope it's of use!)



4. Don't let the compact dimensions of this erotic art book fool you. Inside, each individual page is filled with a stunning slice of erotic imagery. The whole concept of this book is wonderful and exciting in itself...when you look at this art, you can just imagine the atmosphere in the studio where real men posed in these explicit positions, surrounded by a group of artists who splashed across a page their own interpretations of the fantasies frozen before them.



5. The book DIRTY LITTLE DRAWINGS is an artwork in itself. Measuring about 6 1/2" by 6 1/2" it not only contains some superb art but it also serves as a catalogue for a project from a unique event that began in December 2000. Harvey Redding hired an adventuresome model and posed for a group of fourteen artists, each of whom sketched and drew from the model's input 'to expand the boundaries of academic nude figure drawing,' - 'full out, rock hard, unapologetic, sexual posing: nothing held back, nothing sacred.' The result was a collection of gay erotic art that became an exhibition of art works identically sized and priced. The exhibition and sale was so successful that there have been subsequent shows creating a collectors' dream and a new New York art scene.
   
   This book may be small in size, but the artworks are vigorous, erotically charged and visually stunning. They range from simple head portraits to S and M influenced scenes, sex acts, and coupling and solitary pleasures. The variety of art types ranges form the hastily sketched pencil or crayon outline to fastidiously detailed drawings. The quality of the works may vary in degree of craftsmanship, but this selection of richly colorful works has one thing in common: the works are full of sensual energy.
   
   The book and the concept are the work of Harvey Redding, Robert W. Richards, and Rob Hugh Rosen, the three directors of the Queer Men's Erotic Art Workshop in New York. The book is produced with finesse by Bruno Gmunder Verlag Gmbh. This is a fine art collection that started out to be a reaction to academic art. It is a superb little book! Grady Harp, December 07

1 comments about Letters to a Young Artist.

1. This small book should be mandatory reading for anyone in art school or passionate about being an artist. These letters cut through much of the bohemian idea of the artist that saturates their portrayal in the mass culture. The letters are inspiring for any creative person and is very portable so its perfectly suited for opening when a moment of doubt creeps into the mind while in the studio. I especially liked the letter by Kerry James Marshall and Cai Guo Qiang who recently had an excellent show at the Guggenheim in NY.
   

3 comments about The Art of Rockefeller Center.

1. Rockefeller Center is one of the great Art Deco set pieces. It was conceived and built at the depths of the Great Depression, at the height of Art Deco and it's importance to the nation at the time is impossible to quantify. The art of the complex is arguably the most important assemblage of Art Deco artwork in the world. This book is a fantastic tribute to Rockefeller Center and all the artists and craftsman that built it. The text is highly informative, without feeling like an academic dissertation and the images are very well presented, though frankly there could have been more. I highly recommend this book to anyone with any interest in Rockefeller Center or Art Deco.



2. The publishers, in a neat marketing move, issued this book in two editions. The 320 page version and a much smaller pocket-sized paperback that was invaluable when I visited the Center in 2006. Without it I don't think it would have been possible to find all the exterior treasures on the twenty-two acre site or read Roussel's text about them.
   
   This Art book is a vastly expanded comprehensive look at all the exterior and interior public art contained in the fourteen buildings and spaces. It originated with Christine Roussel when her company was commissioned by the Rockefeller Center to restore all the artwork and the excellent contemporary color photos (after any restoration) are by Christine or her designer daughter Dianne. What I particularly like about the book are the historic photos of artists creating the works that you can see today. There are so many of these that I assume the Rockefeller's saw the PR potential of Fine Art in progress and arranged for as much of this as possible to be photographed.
   
   There are more than a hundred pieces of art from forty artists presented in color and the very comprehensive text puts their work in context and in case you are wondering there is a full explanation about the destruction of Diego Rivera's fresco: Man at the Crossroads, which was to be in a prominent place on the main lobby wall of 30 Rockefeller Plaza. Lee Lawrie contributed most to the Center with fourteen pieces and his Wisdom (Rockefeller Plaza) and Atlas (International Building) are now world famous. There are seven interesting historical photos about the making and positioning of Atlas in the book. Missing, I thought (and maybe as an Appendix) were a few photos showing the various stages of construction of the Center, it take nine years after all and a page or two, with photos, of the various roof gardens.
   
   Rousell's book celebrates the public art of these remarkable New York buildings which are now registered as a National Historic Landmark. The book's production is first class (though unfortunately not sumptuous) with the photos in 175dpi on reasonable art paper. There is a slight editorial annoyance with a back page listing of the artists and technical details of their work, these really should have been presented on the relevant pages so the reader could avoid having to keep flipping back and forth to find out a bit of information.
   
   The perfect complement to this book is Daniel Okrent's Great Fortune: The Epic of Rockefeller Center telling in great detail how the Rockefeller Center was built.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



3. Built in the middle of the depression, Rockefeller Center became a part of and a symbol of America. The buildings of Rockefeller Center were not designed as the steel and glass monoliths of today. Art from some of the best artists of the day was incorporated into virtually all aspects of the building. The most famous is the statue of Prometheus delivering fire to the mortals of the earth amidst the waters of the Plaza. But there is much much more. There are the bas-relief stone carvings on the facade, there are murals, statues, even specially designed patterns for the carpets.
   
   This book is the first comprehensive study of the art in the center. It is a large format, beautifully printed edition of the art as it is now, and in many cases historical photographs of the artists as it was being produced in the 1930's.
   
   Ms. Roussel is the Archivist of Rockefeller center. To produce the book she had unprecedented access to the records and files of the center.

3 comments about Formless: A User's Guide.

1. Georges Bataille was a provocative thinker. Associated freely with the Surrealists, playing around with the fascists, Gnostics, psychoanalysis and eroticism, he managed to create a highly explosive cultural blend which proves influential in our times, like a real time-bomb should. Was he really that quasi-Postmodern thinker some interpreters try to make him look? Anyway, he wrote some of the most intellectually challenging texts and supplied exquisitely enjoyable concepts which present-day artists still can not truly exhaust. The book "Formless" provides an equally provocative reading of Bataille projected against some Modern and Postmodern artifacts, which the French thinker never really saw. It is anachronistic, it is puzzling, sometimes quite enjoyable. Problem is, it does not add to our understanding of neither Bataille, nor, for example, Andy Warhol. It shows that Rosalind Krauss and Yve-Alain Bois can write complicated and intricate pieces on virtually anything, citing from Bataille and/or the so-called "French theory" to interesting effect. But this is not an art history book, it is rather a kind of artifact of its own right. Personally I do not regret that I bought it, but I can imagine people who would be disappointed.
   I think in Thomas Pynchon's "V" there is a passage where two thugs planning to steal Botticelli's "The Birth of Venus" from the Uffizi go to the museum and stare at the painting. They see a nude woman, a maid who is trying to cover her up with a cloak, and an excited male god at the left who is trying hard to blow the cloak away and keep Venus nude. Well, this does not add to our understanding of Botticelli, but provides amusing reading and serves Pynchon's point nicely. Something similar happens with "Formless": it is entertaining but tells us mostly about personal excitements and idiocyncrazies of the two intellegent people who wrote this collection.



2. One should re-name this book: Useless - a Form Guide.



3. This book claims to introduce a whole new perspective of 20th- century art which has so far been repressed. We are led to believe that it is necessary to add a third and foreign element into the conceptualization of art. The basis on which this whole endeavour is anchorred is the philosophical "Informe" of Georges Bataille. However, the arguments presented by the authors are weak as the whole book is stuffed with analyses purporting to reveal the operational tool of "informe". Any attempt at explaining the original intentions of Bataille's "informe" is so brief and convenient so as to get the reader lost in its adjectival superfluity. There is never any attempt to explain the introduction of "informe" into art and its necessity. The authors make claims to be liberating our thinking from the semantic and that this project is only the beginning. I am only too happy to wish for a clearer and thoroughly convincing argument the next ti! me.

5 comments about The Photography Book.

1. My friend is really into photography and does it in his spare time. I bought this as a book for him and I really don't think it was anything like what I expected or him either. It's alright but has more old school pics then contemporary ones.



2. Great anthology of the premier photographs from all over the world. 500 excellent quality photos with notes on the photographer and subject. A good springboard to investigate interesting photographers in more depth. I have purchased one for myself and 3 as gifts.



3. Great small size for traveling or just to carry with you. Small print type, but nice for content and style pics.



4. Following on the heels of the similar "Art Book," "The Photo Book" is an inexpensive, interesting and invaluable reference. Each page is devoted to a single photographer, and provides a snapshot (pun intended) in writing about that photographer, as well as a reproduction of a representative work of that photographer. The appendix provides a wealth of information about photography in general, as well as a taxonomy of sorts regarding fine art photography. If you are interested in photography as an art form, this book should be in your library.



5. First of all, it is a great book! I read it from libary and seached from Amazon afterward.
   
   however, the under $10 paper back edition is not the kind I have read in the library. It's a mini edition of the same content. and it makes the letters too small to read comfortably. The pictures in the mini book are fairly ok, but not as good as the hard back edition's.
   
   i strongly recommand the hard back edition book but not the paper back. it worths $30+.

1 comments about Arabian Nights Illustrated: Art of Dulac, Folkard, Parrish and Others.

1. What a fun book this is. Collected here are some of the most famous illustrations, made by some of the most famous illustrators, of one of the most famous collection of fantastic stories. Scheherezade, Aladdin, Ali Baba and their cohorts come to life in a wonderful variety of styles spanning roughly a century and a half. Dulac, Folkard and Parrish get top billing--deservedly so. I loved the dramatic, ethereal qualities of Parrish when I read the Arabian Nights as a boy, and appreciate his brilliance as an adult. Dulac and Folkard also merge drama, imagination and power to create art worthy of the great stories they portray. These three continue to set the standard in illustration, not just for children's literature but for adults, too.
   
   Another thing I loved about the book was seeing the artistic progression of great illustrators, as well as the development of Europe's collective imagination and ability to express the supernatural. Early illustrators depicted djinn much more literally, providing art that would almost fit into a slightly exotic Jane Austen novel. As art styles developed, morphed, clashed and grew, we get ever-more fascinating interpretations of the same stories. The Art Deco stylists, the impressionists and others provide art that is as vivid as it is wonderfully surreal. Again, Parrish's style is completely natural, but worlds removed from his predecessors' in terms of expressing magic.
   
   On the technical front, I'm pleased that Dover has put together a book with high quality illustrations (the whole reason for buying the book, after all) with vivid, saturated colors and clear detail at an affordable price. One can only imagine how expensive these lavishly illustrated volumes were a century ago!

4 comments about Stuffed Animals and Pickled Heads: The Culture and Evolution of Natural History Museums.

1. Highly recomended. I loved reading this. It gave insights into so many things I never thought of before such as the embalming process. A great work with expert diction and a great layout.



2. This is an excellent and provocative book. Asma ranges widely, but also deeply, over the relatively uncharted territory of museum practices and theories --some mainstream and others quirky and idiosyncratic. One of the great virtues of the book is that it consciously avoids the typical postmodern cultural studies lingo that most of the other recent museum books invoke. This is clear and thoughtful analysis of the tradition of natural history collecting --analysis that brings us face to face with oddball curators like Peale and Hunter. But it also connects the older forms of edutainment (early taxidermy, etc.) with the more contemporary and controversial forms (Hollywood-type displays of dinosaurs, etc.). Two other important aspects of the book are scarcely mentioned in the promo blurbs, but they make for fascinating reading. One, is a fresh, if ocassionally dense, tour of European scientific classification theory --a philosophically important and often ignored area. And two, a powerful argument for evolution theory as against creationism and the increasingly popular "intelligent design" theory. Great writing and very intelligent!



3. Stephen Asthma's Stuffed Animals And Pickled Heads surveys the presence and evolution of natural history museums around the world, interviewing curators, scientists and exhibit designers and providing many observations of the history of these museums and how their contents and approaches have evolved. The result is an excellent and intriguing story of the evolution of natural history collections.



4. If you do not want to know the nuts and bolts (or rather, the knives and molds) of the craft of taxidermy, but you want to know about why people might be interested in such an activity, what happens to their exhibits in museums, how museums express cultural and scientific philosophy, and how we come to categorize the biology that fills our world, then Stephen T. Asma's _Stuffed Animals and Pickled Heads: The Culture and Evolution of Natural History Museums_ (Oxford University Press) will do nicely. It is an amusing ramble through museums, but since Asma is a professor of philosophy, it veers through much larger ideas.

   Asma obviously likes museums, and he has gained entrance to the back rooms denied to other mortals. He is delighted to report his findings, such as the dermestid beetle room at the Field Museum of Natural History in Chicago. These beetles, held in a stinky sealed room that has a door like a submarine hatch, swarm over the skinned bodies of specimens, literally gnawing them to the bone in a couple of days. He has interviewed curators and exhibition designers, and has them explain what they are trying to accomplish in their exhibits. But they may not know; how a display is arranged depends on scientific and social philosophy which varies from time to time and from nation to nation, and may be covert. Louis Agassiz displayed human racial artifacts at Harvard to emphasize that races were different, having been separately and specially created, rather than showing the continuity of human descent. The natural history museum in England have exhibits that emphasize Darwin, but the French hardly mention him. The Americans will have the most modern philosophy of taxonomy.

   Comfortable with including Plato, James, Wittgenstein and others from his own field, Asma gives a wide-ranging discussion of epistemological issues that is academic but is never stuffy and never loses its sense of fun.

1 comments about Splendors of Versailles.

1. 
   This is the lavishly produced catalog for the impressive one-time, one-venue 1998 show of the same name at the Mississippi Arts Pavilion, in Jackson. This 225-page, 9x12 inch format heavy card-cover tome begins with outside and inside views of the major rooms of Versailles, mostly full-page size, then focuses on shots of the 120+ artifacts and installations included in that ambitious show.
   
   The Mississippi Commission on International Cultural Exchange did a 1996 one-venue show on Russian Imperial Style that broke U.S. exhibition attendance records -- those folks do great work, and this show's catalog reflects it. Printed on heavy gloss paper in superb color, it includes well-selected paintings, tapestries, porcelains, the king's bedchamber installation, and the controversial 10-ton equestrian statue by Bernini.
   
   This is a superb coffee table book, especially for the remarkably low (as of this writing) aftermarket price. I'm not familiar with the other extant Versailles books, but this one looks like a must-add to any enthusiast's collection. It would be in much higher demand -- and fetch higher prices -- if it weren't a show catalog, and hence not as well known as it might be. A royal sleeper!

3 comments about American Quilts & Coverlets in the Metropolitan Museum of Art.

1. This book offers very interesting historical reading about the museum's quilts, blankets and woven coverlets and personal histories connnected to the items. The majority of the collection come from northeastern American states. Special quilts and textiles are shown as well as everyday bed coverings used in the 18th-20th centuries.
   
   The featured textiles include full photos of the item and large detail photos with incredible detail, letting you see the stitches, signatures, fabrics and woven sections of the coverlets. The book ends with a catalogue of their entire collection of American bed textiles, with two pictures per page and file information. Information like this is gold if you want the textile details, accession number, their notes and who gave it when type of facts. The index is laid out well, with bolded pattern and style names, useful!



2. This is an expanded version of Amerlia Peck's writing on this subject origianlly published in 1990. It is well organized by type; the colors and the detail in the photogrpahs are mesmerizing. Peck has a talent for conveying information that is simultaneously instructive and entertaining. I'm impressed with the social, material, historic and design development range covered. Very comprehensive. I've given it as a gift more than once.



3. This is all pretty good except for the close-up detail photos. Somebody cheaped out and didn't take actual close-up shots. Instead it seems they just enlarged the overall shot which comes out too blurry to be able to examine any detail. That is very disappointing in a book from the Met - also the editing seems a bit lax. I'm no grammar police, but there were several obvious mistakes.

3 comments about Costume Jewelry for Haute Couture.

1. I haven't finished reading this book but the images of jewelry are beautiful and inspiring.



2. I've been keeping an eye on 'high fashion' for 25+ years as my own one-of-a-kind bead & jewelry business evolved. I could never figure out why some of the very unusual and creative jewelry I saw in couture and pret-a-porte' runway shows was rarely covered in detail in the fashion books or magazines. Finally this book was created to begin answering my prayers! Bravo - I love it, get lost in it!
   While I love all kinds of jewelry, I'd gotten my fill of the books featuring more traditional gold/diamond-type jewelry! If you like the more unusual side of the universe, then you will treasure this book.... and I say all of this before I've even studied the text!
   I hope publishers will pay attention and give us more, more, more! This is the tip of the iceberg and I'm delighted.



3. Expertly co-authored by fashion historian and consultant Florence Muller and haute couture costume jewelry collector Patrick Sigal, "Costume Jewelry For Haute Couture" is a profusely illustrated compendium showcasing dazzling, one-of-a-kind jewelry designed by skilled artisans to complement and adorn individual couture pieces for fashion shows and photo shoots. Representing outstanding examples from Coco Chanle in the 1920s to Yves Saint Laurent in the 1970s, to the creation of Lanvin today, "Costume Jewelry For Haute Couture" highlights some of the greatest jewelry creations by some of the greatest artists the fashion industry has every known, including examples by Balenciaga, Diro, Schiaparelli, Givench, Vionnet, and so many others. Beautiful and informative, "Costume Jewelry For Haute Couture" is enthusiastically recommended for personal, professional, academic, and community library Art History, Fashion History, and Jewelry reference collections.