2 comments about Sound Art: Beyond Music, Between Categories (Book & CD).

1. This is one of the worst books on sound art I have ever read. Its like reading an article in college newspaper. The research is incredibly week, it is as if Licht referred only to The Wire for his information. He makes many mistakes concerning John Cage (who made Sound Art in the early 60s and NOT just for "the stage") He takes cheap shots at Stockhausen of whom he seems to know NOTHING about (Cardew was wrong by the way). There is more to sound art than what can be found on Forcedexposure. This book is just awful, and I am afraid it will be used and referred to by teachers and curators in the future, which is a crying shame. And if you think I'm wrong, do some research on Sound Art and you will see that there are many many many books better than this one. After I bought it, I brought it right back and got a full refund I then used that money to order a Stockhausen CD. Please shop around before you buy this book.



2. Years ago, a critic remarked that so-called Performance Art might have been called either Theater or Dance if those media were less uptight. That's how I feel about sound art - if Music were more open as a discipline, we wouldn't need to have a special category of stuff called sound art. We would simply recognize that for most of the 20th century, music and visual art blurred into each other, and the artistic use of so-called non-musical sounds became increasingly important. Today, in the age of the sample, where Foley artists and composers are often one and the same, and most undergrad art students have made at least one sound piece in their lives, it's useful to have Alan Licht's clearly written, well-illustrated, handsomely designed volume on how composers and artists have worked with sound in the 20th century. Licht hits all the significant movements (Futurism, Dada, Fluxus, etc.) that contributed to sound art, and does a good job of exploring the range of possibilities (from sound sculpture to sound installation to Christian Marclay's floor covered with vinyl records). While I might wish that some of the younger contemporary artists working with sound got more space, you can't have everything. A few years ago, the Pompidou Center in Paris did an exhibit called Son et Lumiére, and if you can find the catalog (and read French) it provides the history of the connection of music and visual art missing in Licht's book. But until that's available in an affordable English version, Licht's book is probably the best available on the topic. And the handy CD included means you can use your ears as well as your eyes to consider the topic, a welcome addition.

3 comments about Luc Tuymans (Contemporary Artists).

1. good quality
   moderate in its charges
   its price in Guangzhou academy of fine arts is rmb 375,in amazon just rmb 265,make me happy



2. This book on Luc Tuymans is an excellent introduction to the strange world of this internationally reknowned Belgian Painter. What is it that stirs up the bizarre fascination of cognoscenti for this artist? At the very least, it is attributable to the deeply psychological expression that this artist conjures from his sometimes murky palatte, as well as his subject matter. He addresses these ideas in relation to living as an artist in this modern world and a Freudian psychoanalysis of history that seems all to prevalent in this information age; including, everything from the New York art world as evidenced in his painting "Heritage", which alludes to Jasper Johns flag painting and the Holocaust in paintings like "Our New Quarters". This artist also takes these issues to subjects like the body, which through his investigation and isolation of its various parts he formulates the queerness that follows a banal rendition of the functions of that space. In addtion, as a psychoanalytical historian this artist attempts to fuse the mundanity of the conscious world with the fanatsy of the world of dream, which always seems to be off center, and could be related to the work of Alex Katz and Robert Gober. At any rate, this book provides an excellent insight into the world created by Luc Tuymans, and comes highly recommneded by art lovers and aficianados alike.



3. The illustrations in the book are very fine. The interview with the artist gives more insight into his work than any of the writings in the book including his own. There is a good deal of critical double talk and bullshit, but biographical information, and useful details seem to slip through as well.

5 comments about The Many Faces of Mata Ortiz.

1. We just visited Mata Ortiz, and it is great to be able to connect all the faces and stories with the beautiful objects these humble artists create.



2. "The Many Faces of Mata Ortiz" is a treasure trove of information about the treasures that are the Mata Ortiz people and pottery. It is well laid-out, well written, and well...wonderful!! The only thing that would make my copy better are autographs by Juan Quezada himself and every other potter in the book.
   
   Unfortunately for whatever reason, Juan's son Alvaro is not featured in the book. He is indeed an exceptional artist.
   
   I was able to meet Alvaro and Juan Quezada in Nov 2006 in their family gallery in Mata Ortiz and found them and their entire family to be humble friendly and genuinely thrilled that people love their wonderful creations.
   
   If you have not had the opportunity to visit Mata Ortiz, "The Many Faces of Mata Ortiz" will inspire you to go. If you have, it will make you pine for it and it's people.



3. This is a great book for all that are curious about Mata Ortiz pottery and the people who make it. If you want to start collecting, it's a great book to have for a reference source. All artists mentioned in this book are of high caliber, as good, some even better than the Native American potters of the Southwest. At this time, these wares are also less expensive and affordable to most people. Hopefully they will be a good investment for the future.
   
   Susan Moesch



4. A wonderful collection of photographs combined with dialoge about this remote village in Mexico. It describes the journey to get there, then details the lives of the talented people who live there. The photogtaphy is outstanding. A must for any person collecting or thinking of collecting pottery from this village.



5. Almost 40 years ago Juan Quesada from the village of Mata Ortiz in Chihuahua singlehandedly revived Casa Grande style pottery. This book is a beautifully illustrated account of his success, along with the other artists of the village who learned from him. Becoming familiar with these artists should lay to rest the notion held by many Americans that Mexican imports are second class. These paper-thin pots are as beautiful as any you will ever see. This book has color photographs of many of the potters from Mata Ortiz as well as pictures of their pots. There is information on how the pots are made-- they are all built by hand from native materials, painted with brushes made from the artists' children's hair and fired over cow dung.

   The book has a lot of interesting details-- for instance, when the Pope visited Mexico a few years ago, he was given three of these magnificent pots. Another fascinating tidbit is that one of every seven citizens of this village makes these pots. They have gone from doing manual labor to creating works of art.

   Owning this book is the next best thing to owning a Mata Ortiz pot.

2 comments about The Artist's Body (Themes & Movements).

1. If you are interested in artists who use the human body in a contemporary way then it is very worth while. The text gives one an insight into the conceptual process of the artist or the movement. Most of the interviews and text is at the back of the book, which allows the images to flow from one section to the next. However, this is not a pretty coffee table book with 19th century Ingres images; though the images, some of them are very graphic, are good quality. The Artist's Body (Themes & Movements)



2. THE ARTIST'S BODY is one of the finer compilations of an art form that drew attention from the press, museum curators, the public, the critics and fellow artists, probably more intensely focused than any other 'art movement' of the 20th Century. In this well documented and copiously illustrated volume the multiple authors contribute historical data, psychological responses and etiologies,and the works are all edited with skill and sensitivity by Tracey Warr and Amelia Jones. First published in 2000 in an expensive hardbound edition, the current release is now in affordable paperback form and belongs in the libraries of all who are interested in the trends and spectrum of contemporary art.
   
   The title of the book explains the content well. This is a collection of the works of artists who have turned their art inward and use their own bodies as the matrix for expression. Here are the 'crucifixion' of Chris Burden on a Volkswagen, the cutting and piercing of skin by artists who use their own body fluids as paint, performance art in which the artist publicly reveals body functions with attributes assigned to various organs that were never imagined before, the famous 'Piss Christ' of Andres Serrano, the transgender photographs of Lyle Ashton Harris and the explicit sexuality of Robert Mapplethorpe - in each of these the artist speaks to the audience about life expressions as acted out by or realized by the artist using the format of his/her body. And in many ways these at times disturbing images created are simply another form of self-portraiture.
   
   Amelia Jones' writing is cogent and non-judgmental and her survey begins with none other than Marcel Duchamp and examines most all of the artists who have participated in this movement up to the year 2000. Tracey Warr has gathered not only copious photographs and excerpts from videotapes to illustrate Jones' survey, but she has also added statements by the artists, responses from the critics, examinations by historians, and even details of public response to this medium.
   
   While many may view this book as shock material, closer examination and actual reading of the superb writing (with significant contributions by such luminaries as Lucy Lippard, Thomas McEvilley, George Bataille and Gilles Deleuze) will acquaint the novice of the true significance of this art form. Whether the human body is used as a surface, as a 'paint brush', as ritualistic mutilation reaching for meaning in a world that seems dulled to invention, in performance, or in using the body as an imprinter of image on various substrates, the need for this type of expression is as valid as any other form of the artists' invention. This is a challenging book, in some ways a disturbing book, but it is the finest volume to address this art movement as has been written. THE ARTIST'S BODY is a very important book and one that belongs in the library of all art lovers. Grady Harp, September 07

5 comments about Kovels' Dictionary of Marks -- Pottery And Porcelain: 1650 to 1850 (Kovel's Dictionary of Marks).

1. great for anyone with an odd collection of antique porcelain trying to deciper the makers mark. Easy to use.



2. Exactly what I was expecting. A bit difficult to understand at first, but once you understand the layout it really makes it easy to use for reference.



3. Overall it is helpful. I am really just getting into this, so it is great to have something I can refer to to get an idea of where the item I have comes from.



4. As with the Kovels other books, this reference is very exhaustive and complete. There are, perhaps, some mistakes, but given the volume of information here that is to be expected. I find I reach for this book first when I'm trying to identify a piece of this age group, and usually find what I'm looking for here. Easy to travel with, from antique shop to auction. A good buy.



5. Rather coplete book but-alas-full of mistakes in entries concerning German and Austrian porcelain.Take for example the Meissen porcelain:the authors put together in one large pile Meissen proper,Thieme factory,Fr.Hirsch,Helena Wolfsohn and other factories,though these are absolutely different things.The authors should make a bit of research before starting the project:What amazes me is that this is the 46th edition of the book and nobody ever corrected those mistakes.

No comments about Bruce Of Los Angeles: Inside/Outside (Powerhouse Books).

1 comments about Artist Trading Cards (Twenty to Make).

1. I like the concept of explaining a particular technique, then showing how the same technique was used to make several different ATCs. Instructions are clear and artwork examples are beautiful and inspiring. Some materials may be difficult for some readers to purchase, however.

1 comments about Ceramic Millennium.

1. Simply the most erudite collection of essays on the history of Ceramic Arts in the U.S. and current issues theoretically and philosophically. As an artist, knowledge is power, and this is the most powerful (and ONLY) collection of essays available.

2 comments about What We Want Is Free: Generosity And Exchange In Recent Art (S U N Y Series in Postmodern Culture).

1. This book probably isn't an obvious choice for a relaxation read. My roommate was surprised to see I was reading it and wasn't enrolled in some class that required me to. I ran across this book randomly in a library and I'm really glad I did. I guarantee you these short essays will get you thinking, get you excited and get you inspired--
   
   especially if you are:
   -a self-identified "artist" that wants to think about your role and responsibility as an artist, and the context within which you create
   -or anyone who cares about our society and wants to know what they can do to affect change in peoples lives -- to embody "every form of creative protest" you can think of, (as MLK says)
   
   
   The book sags in some parts, but when it hits home it is spectacular.
   
   The essays weave together to draw connections between art, society, commodity, violence, community, the small potential of meaning in a consumable object or idea, the strength found in human connection, and the awesome power of the small gesture.
   
   It touches on the importance of societal critique (within yourself), but does so through positive examples of individual action. That makes this book inspirational; it unleashes the power of every person's creative potential.
   
   
   HIGHLY RECOMMENDED.



2. I haven't read it all yet, but what I have so far is interesting. I bought it because my professor was published in this book.

5 comments about Exhibition Design.

1. As project manager I work with museum exhibitions more then 10 years. I found the book very good - text, photos, case selection. I would like to recomend this book for museum people, designers, project managers. let's make our museums interesting for visitors, this is real chelenge in pop culture time.



2. Modern exhibitions have to compete in a fast-changing leisure market and must make use of technology and techniques that in the past have been associated with film and retail worlds. It's all about the experience - and here to address these changing needs is EXHIBITION DESIGN, packed with examples of successful exhibitions from around the world from both trade fairs to fine-art holdings and smaller artist-designed displays. Both history and technique blend in a title which teaches by example and by conceptual review, making it a top pick for college-level art libraries serious about teaching the finer art of successful exhibition processes for artists or museum curators.
   
   Diane C. Donovan
   California Bookwatch



3. There are few sources such as this one - EXHIBITION DESIGN - that share insider thoughts and plans and results of the process of presenting exhibitions in museums. As such it is a welcome addition to the art lover's library, something to ponder when trying to discover why some exhibitions (despite the subject of the curated objects) make and impact while others feel cold and distant to all but the addicted lover of that particular subject.
   
   Architect and exhibition designer David Dernie shares the mechanics and philosophies of current museums, pointing out the current concepts of 'immersion, interaction, and multisensory experiential approach' have moved from the purely entertainment field into the realm of the once rather sterile filed of exhibition design. His thoughts are amply illustrated by architectural renderings and photographs that, while informative, are not of the quality one would expect from a book on museum wisdom! But the elements of psychological significance on how to present art to the public eye to enhance the experience of viewing are sound ones, and in his words 'how objects are arranged will determine the nature of the message they communicate.' Grady Harp, January 07



4. This book gives detail into what exhibition design spaces need including lighting, color, graphics, and goes into different types of exhibition design including narrative, interactive, and simulation. Each design example also includes good information on what the artist's message was and how they achieved it through the design choices. Very good choice



5. I just received the book "Exhibition Design" today from Amazon.
   
   I was very excited to find the title because there are so few books on the
   subject of museum exhibition design.
   
   I was however very disappointed with the overall quality of the book. I have
   other W. W. Norton books ( Building the Empire State) and I own close to 300
   architecture and design books.
   
   I have never been so shocked at the poor quality of the photography in any
   of my books. Some of the photos in Exhibition Design book were not
   sharp....some where so dark you could not tell what was really going on in
   the exhibit...but most seem like they were photographed with a camera phone.
   
   I was even shocked at the poor picture resolution of the Ralph Applebaum
   exhibits (blurry non sharp pictures and poorly lit)... I have a couple of
   books that cover the same projects and the photos in those books are
   wonderful...I assumed that companies like Applebaum send out a specific
   press kit with professional photographs.
   
   I guess I have learned that I should always see a design book in person
   before buying it on line.