1 comments about Joseph Cornell's Dreams.

1. In general I feel about dream journals rather the way that Edmund Wilson did about Agatha Christie, for what is more boring than reading the dreams of another? Even one's own dreams are notable only for their evanescence and mind-boggling vapidity--and they're long, like life. Therefore I turned to this volume with trepidation, but as it happens it's become one of my favorite little books.
   
   It's not as though the boxkunstler Joseph Cornell decided to pen a dream journal. Instead it fell to editor Catherine Corman to come up with the sharp idea of mining Cornell's voluminous diaries, and finding the parts where he describes his dreams--and perhaps the most telling ones, for this is a "selected" book on two counts. Corman has a winning, sincere way of expressing her thoughts on Cornell; she is not as ambitious as Deborah Solomon, who wrote the much-praised biography UTOPIA PARKWAY, or "How I Proved That Cornell Might Have Been Heterosexually Inclined," and yet Corman has a few gaucheries of her own, like that guide to the themes of Cornell's dreams that serves as an afterword, filled with such crushingly banal wisdom as "Water inspires images of sinking and floating." Well really, what else is there? But even this catalogue has its own virtues, for Corman is unexpectedly poetic and terse, and something of Cornell's own eccentricity seems to have rubbed off on her like wet gilt. The book itself is lovely as only the people at Exact Change know how, though I might have skipped the idea to print every word of the text in the indigo Linda Darnell wore playing the Virgin Mary in THE SONG OF BERNADETTE. What's nice on a star sometimes proves hard to read on slick white paper.
   
   Cornell's assistants used to speak of witnessing him waking from a nap and rising from his day bed, eyes still closed, hands reaching out like the zombies of the living dead, towards his works in progress, new inspiration from his dreams focussing his unconscious energies. The diary entries seem sometimes rushed as though he were hurrying to write it all down before he forgot--nouns and adjectives speed-jotted into abbreviations ("presum." for "presumable," "y'day" for "yesterday," "bks" for "books"). One doesn't often get a glimpse of Cornell at top speed, for his projects always seem so considered, meditative. It's rather thrilling to see him up and down on a roller coaster ride.

2 comments about Shelley Tea Ware Patterns.

1. Though a little expensive, this book is a "must have" resource for any Shelley collector. As an avid collector myself, I use this book on a daily basis and have found it to be 99.99% accurate on patterns and descriptions. It does appear that the dollar value placed on items may be a little high, but that may be due to the fact the author lives in England and her values in pounds need to be "translated" into current dollar equivalency. Highly recommended resource for a Shelley collector!



2. This is a great reference book for Shelley china collectors. It shows pattern shapes, pattern numbers and color photos of the hundreds of Shelley tea sets. Great for a beginning collector or for someone who wants
   to catalog their collection. Also,it gives the history of the Shelley company from 1860 to its end in 1966. I like this reference book the best of all the Shelley books I have collected.

5 comments about Curiosa: Celebrity Relics, Historical Fossils, and Other Metamorphic Rubbish.

1. 
   Anyone who has ever collected anything will be mesmerized by this book.It shows what it means to be bitten by the urge to "collect".There are many terms used to describe it; collections,assemblages,amassment,stockpile,assortment,bunch,hoard,gathering and many other descriptions. The thing is,that with a personal collection ,there are absolutely no nules,other than those the collector decides to impose upon himself. Even then,the only reason for restrictions is that the collection is forever struggling to get out of hand;not that some object isn't worthwhile. The one thing every collector soon learns,and which is immediately evident with this collector and his museum and book,is that the real fun is in acquiring the object and the people and experiences along the way.No sooner is an object added to the collection,catalogued and given its home,in a box,drawer,shelf,cabinet,or whatever;that accomplishment is absorbed;now onward and upward to the next.
   Some collectors start off with the objects in mind and set out to acquire them.The author does some of that,as do any collectors,but his approach is to be totally open for any item;and in most cases had not even thought of the object before it ,or the opportunity, presented itself.
   I have always admired the art of collecting,even as a kid;and as an adult have a special admiration for a collection that is unique or "off-the - wall",such as this one. How anyone can go through life and never collect anything always amazes me.I guess come people do it with money,taking trips,buying companies,having mistresses,or whatever;and isn't that all the same thing?
   The author with his collection shows that it can be,but it is not necessarily,a matter of money,to build a collection. Even in his case,when people get to know what his interests are; the "stuff"just keeps coming and coming.
   Keeping the whole thing focused and controlled becomes a major problem.
   Personally,I have been a collector most of my life.
   The first one I dreamed up as a kid was a twig collection.In my hometown was a Government Experimental Farm featuring,trees,plants and other agricultural sciences. One day,I noticed that trees were labeled with their species in English and Latin. So,off I'd go with my little notebook,pencil and jackknife and clip me a twig. I would display it by splitting the twig,exposing the inside,alongside with the bark .
   There is no limit to what one can collect other than ones imagination,and of course where to keep it all.
   In no way,have I taken this obsession as serious as the author;but I do have something from my time in New York,where I worked a block away ,while they were building The World Trade Towers.During the initial excavation;I picked up a piece of the bedrock.It is a piece of Gneiss ,with tiny,sparkling ruby-red Garnets in it .Worth nothing but its sentimental value. Then later, when they were covering the outside of the the plaza with marble,I picked up a piece .There was a pile of scrap pieces.Though,who would have thought at the time,these pieces would have made great bookends.
   I am sure every knows someone who collects something,be it stamps,coffee spoons,Election paraphernalia,coins,matchbook covers,swizzle sticks,beer cans,puzzles,books,postcards,etc.I have a friend who collects a little soil,sand or stones,from famous spots,beaches etc. and displays them in little bottles. Worthless, but for the memories.
   I have another friend who ,has a fairly large property ,and through the years collected various species of birch trees, and now has probably the largest collection in the Province.Part of his enjoymentis in having Naturalist groups visit him as he tells the source of them and the stories behind them.
   All in all ,a fascinating read for anyone bitten by the "collecting bug".



2. As you browse the book you think, "How did the artist get this stuff? How do we know it's authentic?" Then you trust that it is, because he would have artistic integrity. "Who cares!" you say to yourself. You're in the next phase of enjoying the book - the voyeuristic delight of being so up close and personal to all these bizarre snipets of fame and history. What a collector! Thoroughly enjoyable!



3. I think that readers will most enjoy this book if they, like Benes, have a compulsion for keepsakes. But this book is not a typical museum (even though Benes calls his curio cabinets "museums"-probably ironically?). He preserves mostly mundane everyday objects that are identifiable as extraordinary only by descriptive captions; this is what makes his work fascinating. But Benes doesn't approach "preservation" as a museum would; like saints' relics, he willingly destroys some objects to maximize the number of relics, which he then sells. Most museums would never do that--at least not with a typical painting or sculpture. When Benes got Julia Child's mug, he apparently broke off the handle. He put a Picasso lithograph in a blender, and then sold it in cocaine bottles by the gram. Eventually, when down to the last vial, he blended the remainder with plain paper and sold "cut" Picasso. His work made me think about why we preserve what we do, what it is we are trying to remember and record about our lives and our society, perhaps especially why a brush with celebrity makes an object special. The joy of the book, however, is Benes' storytelling. No less voyeuristic than marveling at his friend's prosthetic testicle or Eunice Shriver's toothbrush, there is guilty pleasure in reading the stories of how Benes or his friends acquired the relics... often by stealing.



4. I gave Curiosa to friends, relatives and business associates for Christmas this year and it was a hit every time. The book itself is beautifully produced, with gorgeous photography and excellent design. Benes' text is funny, engaging and insightful. Leafing through the book is addictive; once started, it is difficult to put down. I hope Benes produces more books of his work. Midnight in the Garden of Good and Evil author John Berendt's humorous introduction tells the story of how he saved a prescription medicine bottle ("one nasal douche, use twice daily or as needed") belonging to Roy Rogers for 30 years, not knowing what to do with it but not quite being able to throw it away. When he meant Benes at a dinner party, he knew he had finally found its ultimate home, in one of Benes' museums. Some of Benes' relics could cause squeamishness in a different context, but Benes' work and in particular the beautiful presentation in Curiosa, makes them palatable and meaningful to virtually anyone.



5. Barton's work is amazing. I've seen many of the pieces featured in his book and they are breathtaking and hilarious.

1 comments about African Vodun: Art, Psychology, and Power.

1. This is a refreshing work that views Vodun from an artistic and psychological perspective, versus a religious or Hoo-Doo search. There is alot of material here you won't readily find anywhere else about the culture of Vodun. There is also great information in one chapter on the realities and impact of the slave trade within Africa that provides a clearer perspective than most such articles.
   
   A very excellent, and intellectual read I enjoyed and is well worth the price. Plainly, Ms. Blier put great effort and thought into this work, and it shows. This is one of the top 10 books a serious student of Vodou should aspire to have and read.

No comments about The Way of the Masks.

2 comments about The Paper Card Book.

1. This is a beautifully presented book with bright, step-by-step photographs that show implicitly how to accomplish the final project. This book will inspire you to create beyond the projects in this book... and you learn more than just making greeting cards.

   There is a brief and to-the-point tutorial on how to make your own paper, and you're shown effective ways to make envelopes and photo mailers as well. Instructions on how to use materials properly and introductions to techniques on making potato stamps and more.

   Not only will this be an inspiration to the crafty person, but it can also give you a springboard for ideas in self-promotion items for packaging, marketing and advertising. Excellent book.




2. Lisa Kerr's, The Paper Card Book, is a colorful, pictoral resource for anyone interested in making cards, envelopes, mailers, and homemade paper. She presents those needed pictoral how-tos, material lists for each project, tips/suggestions, with the finale of finding an interesting selection of paper samples at the end of the book. The ideas presented are appropriate for stamping and other card making techniques, and would be an appropriate gift for a beginning stamper, an individual who is new to card making, or for a library reference.

1 comments about Czech Glass 1945-1980: Design in an Age of Adversity.

1. The large middle section, pages 136-370, is a catalog of mostly color photographs of Czech glass of the period covered done by the leading, most artistically skilled, glassmakers. This bountiful catalog demonstrates why Czech glass has in the relatively short time since the 1970s when it became widely known throughout Europe and other Western countries one of the most sought-after types of art glass. But the catalog is only the beginning of the varied, extensive content of this coffee-table size work of value to those with a specialized, well-developed interest in the field of glass. Eight introductory essays by experts cover Czech glass from its artistic and historical origins through its worldwide recognition largely from a 1959 exhibition in Moscow and designs for glass works kept at the Corning Museum of Glass in Corning, New York. Back matter (appendices) include bibliographical annotations of the glass artists; which besides their photographs, includes awards, exhibitions, and references in printed works. The back section after this has facsimiles of all of the artists' signatures. There are also informative sections supplementing the essays preceding the catalog. From aesthetic appreciation of the glass to information on the artists and the industry to crucial technical material such as signatures and more, "Czech Glass" contains everything anyone could be looking for on this subject.

No comments about An Introduction to Netsuke (V & A Museum Introductions to the Decorative Arts).

No comments about Greek Funerary Sculpture: Catalogue of the Collections at the Getty Villa.

1 comments about Carving Figureheads & Other Nautical Designs.

1. I am quite torn on this book. It has some good ideas, and the project sections in the beginning of the book are very complete. However, the second half of the book is a different story. As you are rushed through the carvings, critical details and views are left out, some of the directions become unclear and confusing due to a poor flow in writing and bad use of verbiage, and the authors even contradict themselves on their woodcarving techniques. If you are a beginning woodcarver, be wary, you might end up a bit lost. Even though the book is a bit lacking, it may still be worth it as a reference book if you are interested in nautical carving.