Artists Books

My Profile- No qualifications whatsoever as art critic

This refers to the spanish Taschen edition

Back in the 80's I was into art mainly by helping my late father-in-law (may God have him in his glory)who was a well known merchant here in Caracas.

I began knowing of JMB thorugh the works that were auditioned in the Sothebys and Chrity's galleries... his prices were rising like bubbles of champagne... his art is not easy, and sometimes its hard to tell the mundane from the sublime.. though I always remeber a painting called "Everything must go" that somehow revealed what he was trying to accomplish..

Again its not an easy travel but this book is a good and objective guide

Great writing, Pocket Size edition, but very informative. Breaks Jean Michele down and makes him real. Does more than "gawk at and patronize" the so-called "negro savant" of the early 80's art world.

As a fan of "the artist" and the prolific amount of "work" he was able to create in his brief time on Planet Earth, this was a much needed testament to his legacy.

Unlike "Basquait"(IMO) the all-too self-serving Schnabel film,
Jean Michelle is not "presented as the drug-riddled token-ghetto golden child." His complex relationship with his family, ethnicity, and the 80's art world who both exploited and extolled him are examined.

Jean Michele artistic influences are detailed, his original perspective and cleverness is allowed to shine, and the author has obviously spent time and research and it is much appreciated.

Originally, I was under the impression that Basquait was somewhat of a fraud (many years ago) and it's only been in the last 5-7 years that I am beginning to truly appreciate his legacy and genius.

Emmerling plants Basquait firmly in the tradition of African, Latino, and American artists, where he firmly belongs.

"Liberals" beware, This is not the book to purchase, if you're looking for the "overly hyped" sordid details of his life. He may not have been a Saint, but who is???? Time will tell if he's deserving of the "Black Picasso" moniker.

The myth of Jean Michel Basquiat has taken on the status of an "art cautionary tale". Born to a middle class family in Brooklyn's Park Slope, Basquiat first made a name for himself as a graffiti artist and punk musician in ate 70s Soho before reinventing himself as a painter. His work rode the painting boom of the early 80s where, along with Julian Schnabel and Europeans George Baselitz and Francesco Clemente he was associated with the Neo-Expressionist movement in art. Basquiat's studied primitive canvases, which mixed text, symbol, primitive figuration and abstract techniques became the rage in the burgeoning "art market" of the 80s, looked upon as much for "investment" purposes as for the intrinsic value of the work. Basquiat's meteoric rise to fame and romantic origins as a street artist sold his paintings as much as the actual work on canvas. And then when he fell, he fell hard. He was dropped by the very people who had made his career only a few years earlier and died of a drug overdose in 1987, at the age of 27.

I bought this book after attending the fantastic Basquiat retrospective exhibit at the Brooklyn Museum. I had not been a fan of the artist before seeing this show. Somehow, wandering through the almost 200 pieces brought a cumulative power to the work that I had never noticed when viewed singly. Basquiat's arcane use of phrases, text and esoteric symbols fascinated me and I wanted to know more. This book was just the ticket.

The book is a fast read. The highlights of Basquiat's career are present; his time on the streets, his early struggles as an artist, his lionization by Rene Ricard and Diego Cortez, his contentious relationships with his agents and promoters, the strange relationship with Warhol, and his final dissolution. But what comes through is the seriousness in Basquiat. Rather than just a drug-addled idiot savant, a characterization that is immortalized in Julian Schabel's deeply flawed bio-pic, we get the impression of Basquiat as a deeply intellectual painter who hides profound social insights under an almost child-like surface.

Emmerling takes Basquiat very seriously. He traces the main themes of the painter's work; heroism, death, and racial injustice; and decodes the hidden meanings in many of the paintings. His draws attention to Basquiat's excellence as a draughtsman, something that was often ignored during his lifetime, and to his debt to older painters. He demonstrates the influence of Cy Twombley on Basquiat but also draws deeper connections between the painter and older abstract expressionists like Clyfford Still. The artist who emerges from this book is something much more comlex and interesting than the Basquiat the myth. He is rather an accomplished painter with something profound to say about life and society who died, not in decline, but at the height of his powers.

The book is lavishly illustrated with many of Basquiat's most important paintings. All are in color and most are big enough to help one appreciate the details in the work. The only paintings that don't come across well in this book are the massive text paintings such as the late Pegasus, which is dominated by a plethora of tiny, precisely laid out text items. In the gallery this work is one of the most hermetic and paradoxically profound pieces, but much of the power is lost on the small page.

Still, with this small caveat, which could be raised against any artist catalogue, this book is highly recommended for anyone who wants to gain a greater appreciation for this important and yet much misunderstood painter.

Farewell Basquiat! May the Lord grant you the ultimate paradise up in heaven above, Amen.
Your Friend, Salah.
Throughout the entire history of art, a major fact can be concluded which is : ART FOREVER REMAINS SUBJECTIVE NOT OBGECTIVE, AND DEPENDS ON WHO YOU ARE AND WHAT APPEALS TO YOU. Here lies the difficulty of addressing a fare evaluation and an accurate critique and review. And when it comes to Post-Modernist artist, such as Jean-Michel, the difficulty is greater because that there is a clear gap between realist and modernist aa well as an abstact expressionist art. Modern art does not apply a traditional technique or standard art theories, such as proportion, and measurement. Nevertheless, modern artist insted employs a free formula of randam imagination to capture his thoughts and express his artistic vocabularies and themes. Although I am not writing review about Basquiat's style, yet I feel the need to explore the significance of his contributions to the world of art and to our lives. His noble memory will remain ever alive in our hearts and minds. His too soon departure from our lives will remain a landmrk of an inspiration to all of us as well as to new generations, yet to be born. The book is a mastarpiece by any standard, I have read many books about Jean-michel Basquiat, larger in size than this, yet this one, the Taschen's publication is the best, for its unique produc and visual attraction. Above all, artistically documents the work and the live of one of the most controversial young artist in our time.
Jean-Michel Basquiat! wherever you are in heaven, out hearts with you.
Salah,
roxburytaxi@aol.com
Boston, MASS.
12/12/2004
IN MEMORY OF JEAN-MICHEL BASQUIAT(1960-1988)
Absent Friends, Salah remember Basquiat

In spite of many who claim that Jean-Michel Basquiat (1960-1988) was but a flash in the pan, a faddish personality whose work won't survive, today there are many different presentations of his art published. This TASCHEN overview by Leonhard Emmerling, however, might be the best introduction for those who have never come across this great figure. Basquiat's art speaks to this reviewer who encountered the painter only years after the time in which he lived and worked, and Emmerling's book explains just what's so special about him.

I come to like this TASCHEN series. None of its titles meant to provide exhaustive coverage of a painter's oeuvre. Instead, they give a brief biography with examples of outstanding work from each period. And this one on Basquiat is no different. In the prose portion of the work, Emmerling tracks Basquiat from his humble beginnings as a grafitti artist through his discovery and brief fame, and ultimately to his death from a heroin overdose on August 12, 1988. Especially attention is paid to his relationship with Andy Warhol, and the rather misguided partnerships he had with Warhol and Francesco Clemente. A coda discusses views of Basquiat after his death, with savage words against Schnabel's film. Throughout, Emmerling portrays Basquiat as a conflicted figure, half in the art scene and half sick of the commercialism, and unsure of whether to embrace his African heritage or assimilate to upper-class white values.

The selected paintings are presented here in glorious colour. I was very pleased to see that Emmerling features Basquiat's "Pegasus", a massive and intensely-detailed pencil work which I believe is his masterpiece. His "Angel" gets a full-page spread (as well as the cover), and his fascinating "Baptism" an entire page. Many of Basquiat's sly jabs against commercialism, for example by painting a dollar sign on the work, are featured.

Great pictures of old New York!
Very good comanion to New York Changing since not all the images Ms. Abbott captured are in there.

This book is a great choice for those who love great photography, Berenice Abbott fans, those who are interested in the history of New York in the 1930s, and those who would like to enjoy a little nostalgia about their formative years in that magnificent city.

Berenice Abbott returned from 8 years in Europe at age 30 in January 1929, planning on a short stay. Instead, she was transfixed by the changes in the New York City scene, and became obsessed by the opportunity to capture it photographically. For the next 10 years this was her focus.

During the depths of the Depression, she was able to obtain a grant from the WPA to work with the Museum of the City of New York to create an exhaustive photographic essay of the city. This book contains the finest flowers of that remarkable assignment in 305 black and white photographs, a biographical essay about Abbott, maps of where the photographs were taken, and extensive notes on the locations and the photographic perspectives used.

The biographical essay was made more interesting by describing Abbott's strenuous financial and promotional efforts to support Atget's collection, while staving off poverty herself. The many fights over how to do the New York City project also make good reading as background for the images. Independent by nature, that quality of Abbott's probably improved the result in this case.

The presentation of the images is organized around the different geographical sections of Manhattan and the other boroughs, especially Brooklyn. As a result, you get a sense of neighborhoods as well as of individual images and locations.

As someone who learned photography from Man Ray, Abbott is a good student of abstract methods, and she subtly captures the surreal and the predominant design feeling contained in these subjects. Her works that are most like Man Ray's were the ones that most attracted me. I am very impressed by the encyclopedic knowledge that she must have developed of New York City to locate so many rewarding sights for us to consider.

My only quibble about the book was that in some sections the reproduction was too dark, so that details were unnecessarily lost that would have been of interest. But the page sizes were good for the images being presented, the design is solid, and the overall print quality was good.

My favorite images in the book were:

Immigration Building, Ellis Island

Theoline, Pier 11, East River

Tugboats, Pier 11, East River

City Arabesque

Brooklyn Bridge with Pier 21, Pennsylvania Railroad

Henry Street

Manhattan Bridge

Gunsmith

Hot Dog Stand

Wrought Iron Ornament

Doorway, 204 West 13th Street

Fifth Avenue Theatre, Orchestra, Boxes, First and Second Balconies

Father Duffy [wrapped like a Christo], Times Square

Gramercy Park West, Nos. 3-4

J.P. Morgan House

Murray Hill Hotel, Spiral

Billie's Bar

Wheelock House

Watuppa, from Brooklyn Waterfront

Even though your photography may not be as good as you like, there is a lot of human value in making such a pictoral history of where you live. You can use this volume to get ideas for compositions and shooting angles. In this way, you can deepen your appreciation for Abbott's work.

Capture the important truths around you for all to see!

This book is a fascinating pictorial history of New York during the '30s as shown through the beautiful duotone plates that Bernice Abbott took between 1935-1939. These pictures were taken as part of the Work's Progress Administration sponsorship of the arts. The clarity of the pictures combined with the excellent reproduction in the book makes this a must have for anyone who wants to see exactly what New York was like right after the Depression and before the war. It is like stepping back in time and seeing life as it was. The high contrast of the plates brings out tremendous details and these pictures beg for closer examination to really pick up the feel of the era - the signs in the windows for 10 cent haircuts or the hardware store with all of the goods splayed out on the street with handmade signs showing the prices. All of this adds to the visual wonder of this book. This book is far more than a coffee table edition. It is a reference unlike any other about New York.

Granted this is an expensive book (or the hardback edition is), but to anyone interested in what New York City looked like in the latter half of the 30's, or fans of Abbott's work, or of WPA photography, it's well worth it. You'll notice details here that you missed in the Dover reprint "New York in the Thirties" and there are many more photos here as well, quite a few seeing publication for the first time. There's loads of ancillary information too, including maps that indicate exactly where in New York each photo was taken. This book is a treasurehouse.

This book is wonderful. The author has produced a perfect book. It is very faithful to Abbott's vision. Abbott has an unerring eye. Notice all the signage. It is everywhere. On sides of buildings. In windows. Above buildings on the roof. By comparison, we live in a visually impoverished age.

I didn't expect that these kids would be speaking to me, an adult who grew up listening to all the classic comedians. But these kids are funny and edgy! They write and deliver their routines like pros-whoever coached them really knows their stuff! These kids take some chances with their material, but it's a clean CD that the whole family can listen to together...and it must really help those kids' confidence! I'd recommend this CD to anyone who needs a steady diet of laughter!!

~ well, first of all i want you to buy this cd becuz i am on it. im sarah, xcept on the cd im 8 and now im 13. the second reason to buy this cd is that it is really really really really funny! i swear, its the most hilarious thing i could listen to it over and over and it would never get old!! BUY THIS CD!! u wont regret it cuz its the best ever!!!!! ~

This CD contains a unique combination of humor and cleverness from young people age 8-12 who study the art of stand-up comedy in Atlanta. The material is ultra clean, bright and surprisingly entertaining for adults and children. Some of the tracks are actual thigh slappers while others are more subtle. It is easy to understand how the training these young people get could give them a chance to enhance their self esteem, overcome shyness and direct their energies into a rewarding area. The record would make a fine gift for a family with children or a present for a child in the same age group as the performers.

My kids and I really enjoy listening to these clever, endearing, self-deprecating and TOTALLY AGE APPROPRIATE "kid comics"!

What a difference from the smart alecky, full-of-attitude, "too advanced for their age" kids you see on TV shows and movies.

Your kids will recognize themselves in the voices of these humorists, and so will you. Great for the car.

We were very impressed with both the content and the quality of the CD. The kid performers did a great job delivering their material, which was funny, fresh, and very original. The CD is G-rated--great for our kids to listen to with their friends--and inspirational to them, knowing that the performers are their same age. Since these routines were culled from live shows, I had expected a lot poorer sound quality but was pleasantly surprised. The volume was carefully controlled, the kids for the most part enunciated very well, and you could understand all the punchlines. This is a good CD to pull out at parties.

The book is well written and insightful on many levels. It is a must read for caregivers and families dealing with issues openly and honestly.

Ms. Taetzsch is a very gifted writer and artist.

Andrew S.

I began reading this book because of the references to manic depression and art but quickly found this to be a book of much broader scope. The reader is brought along with Taetzsch of a journey of self-discovery as she struggles not only with her identity as a bipolar artist but also as she takes on the role of caregiver for her father, who suffers from Alzheimers, and her aging mother-in-law.

Taetzsch navigates the complexity of aging and illness and family dynamics to the backdrop of her work as a successful painter. Through all of this stuggle we see her emerge with a greater understanding of herself and others. As a reader brought along on her journey I found myself awakened to similar insights within my own life. This is a must-read for anyone interested in balancing creative energy with trauma.

Lynne Taetzsch does those of us dealing with infirm elderly relatives a great favor. Her candid account of caring for her father and (ex)mother-in-law reveals all the hesitations, resentments and, most of all, the imperative of LOVE which characterizes this situation. Taetzsch is hard on herself, revealing with utmost candor moments of annoyance and even anger, as she moves along in this journey, which is complicated by her own bipolar condition. What is most clear is her over-the-top devotion to these two figures in her life, her constancy and her relentless drive to make their existence as comfortable as possible as they "decline" into their early/mid 90's and meet their eventual demise.
So many of us face similar situations (although who would go so far as to take primary responsibility for an ex-mother-in-law! This speaks volumes about Taetzsch's innate generosity). I found the vignettes of daily situations most helpful;they showed the kind of small disasters (incontinence, for example, or the total disruption of daily schedules)that can test even the most loving and dedicated of caregivers.
Taetzsch, an accomplished professional artist, evidently found her own personal solace in making art. This dimension of her experience is worthy of greater exposure, perhaps a sequel to this touching, easily readable, and great contribution to works (and how-to's) on caring for the elderly.

The Bipolar Dementia Art Chronicles
How a Manic-Depressive Artist Survives Being the
Primary Caregiver for Her Father & Ex-Mother-in-Law:
A Memoir
Lynne Taetzsch
Booklocker.com, Inc.
[..]
Life is hard to correct the illusion that it should be easy. . . Buddha might say, and this book reinforces how difficult life can be at times. Anton LaVey might say, "Do not complain about anything to which you need not subject yourself." And therein is lies a clue.

The author, in a moment of irrational exuberance, you might say, and over estimating her patience and endurance, relocated her 93-year-old father and 92-year-old ex-mother-in-law to live near her in an assisted living facility. When she could not meet all their demands and needs, she became manically depressed or, in contemporary terms, bipolar dementive.

There are many memoir books written about taking care of elderly parents, spouses or beloved friends, and I am certain they are helpful and informative to others who find themselves with such a responsibility. Ms. Taetzsch is openly honest about her feelings and frustrations throughout this period of her life. To me the book read like a journal which possibly a counselor suggested she keep in order to maintain her sanity-a release you might say.

I certainly can understand why one would become depressed when one has reached the limit of his/her endurance and has to turn the problem over to someone else. It would be a fact of personal failure; however, there is always something good that comes out of something bad, if one can recognize and embrace it . . . if nothing more than to learn one's limits. Ms. Taetzsch recognized a part of the good, and I quote: "I'm glad I brought Dad to Ithaca to live, though. We became close in a way we had never been before, and taking care of him brought me closer to my brothers and sisters."

Did I learn anything from this book? Yes, to remember what my limits are, as I too have thought I could fix everything for the ones I love, which was not true.

Reviewed by Kaye Trout - May 5, 2006 - Copyright

Every year I receive dozens of books to review that are memoirs about taking care of elderly parents, spouses and those with various disabilities. Knowing that I, too, have an elderly parent, I embrace these books as a way to better appreciate what the future holds for me.

The Bipolar Dementia Art Chronicles turned my expectations on their head and made me laugh, chortle, smile and sigh.

The first tip-off that this book was different came when Ms. Taetzsch indicated that she had been a professor of creative writing at Morehead State. It's hard to imagine a "poor little me" memoir from someone who has taught creative writing and loves to paint. The front cover, on second inspection, reinforced that thought with its bright, vivid boldness based on a painting of hers. Visiting the Web site for her art, I saw that Ms. Taetzsch is a woman of immense energy, optimism and enthusiasm.

That gave me a new thought. You know the old question and ironic answer, I'm sure: "How do you get something difficult done? Find a busy person to do it." It occurred to me to wonder if perhaps Ms. Taetzsch is a high bandwidth person who has much to teach all of us who eagerly take on a bit too much. The book soon confirmed that diagnosis.

Ms. Taetzsch is also someone who goes through the emotional highs and lows of being bipolar (what some used to call manic-depressive) . . . and those highs can also be times when one takes on a bit too much . . . like when she decided to move to upper New York state to be near her daughter and grandchildren along with her retired husband . . . and then arranged to move her father and ex-mother-in-law (both in their early 90s) into the same assisted living facility a few miles from her new home.

How would everyone cope? Surprisingly well, as it turned out.

Her father was losing his short-term memory so it was a bit of a struggle to keep him in regular assisted living. But he loved the company, the food and seeing his family more often. Her ex-mother-in-law didn't like the food at all (having always been a good cook) and didn't receive enough company to suit her tastes.

Ms. Taetzsch learned all kinds of new skills -- such as providing gifts of chocolates to the staff to improve daily care, finding ways of follow up on ridiculous ideas by physicians that were virtually impossible to do and adjusting everyone's medicine when new, scary symptoms predictably broke out after new prescriptions were taken.

But she also realized that she wanted to mean more in the lives of these two people. Of six children, Ms. Taetzsch had hardly been her father's favorite. Being the local relative in charge put them into a more intimate and caring relationship than would have otherwise occurred. But it still hurt when her father continually confused her with her sisters or asked for sisters who rarely visited.

As with all patients who are losing a bit of memory, there were predictable struggles over bothering other patients, disrobing at the wrong times and places, not taking enough showers, not changing underwear and becoming disoriented. Ms. Taetzsch dealt with it all with good humor . . . except she couldn't persuade her father to change his underwear. A brother could accomplish that task if he arrived earlier enough in the morning . . . but the visits were all too seldom. Fortunately, Ms. Taetzsch had lost her sense of smell . . . while keeping her sense of humor.

In between, there were long hours of playing cards, repeating answers to questions asked a few minutes before and following up with medical and assisted living personnel.

Occasionally, there would be a fall or medical set back. Ms. Taetzsch would take all of these events personally . . . as though she had harmed one or the other intentionally. Her conscientiousness does her credit. But the guilt was misplaced.

Then, events began to pile up on the negative side of the ledger. Both of her elderly care receivers were having problems at the same time. Her husband had a nasty fall and a lengthy recovery. Her bipolar condition seemed to get worse. Art was something that seemed temporarily beyond her . . . or would it move away permanently? With a bit of despair, Ms. Taetzsch has to call for more help. Fortunately, she received that help. But she was drained and didn't enjoy the periods leading into the final illnesses for her father and ex-mother-in-law. She felt deep guilt about that was well.

Ms. Taetzsch, I think you should be proud of yourself! You did well. I hope my daughter will be as kind and thoughtful to me as you were for your Dad and ex-mother-in-law.

And I enjoyed reading what you had to say. I think others will, too.

To see the hidden blessing in all this, consider the book's final words: "I'm glad I brought Dad to Ithaca to live, though. We became close in a way we had never been before, and taking care of him brought me closer to my brothers and sisters. I don't see them as often any more, and I miss them."

If you have an elderly parent who is going to need more care in the future, check this book out. Ms. Taetzsch can show you how this can be rewarding for everyone.

Enjoyed both the original drawings & the new colorized interpretations. Always interesting to share a glimpse inside the mind of a genius.

Bob Dylan has been painting for decades and his abstract post-modern folk art style does him well. He shows us a seemingly unsophisticated yet highly evocative presence in his images with the door wide open to interpretation, like much of his poetic lyric. These often haunting pieces speak to me as the will not to you and vice versa - as well they should. Understand however, like his music, Dylan's art is an acquired taste and definitely not for everyone. I paid half the price the museums are charging for this book and I am sure have gotten twice the value from it.

What an incredible artist he is...in so many ways. A poet, musician, philosopher, artist, humanitarian. I'm looking for a book of photography yet so I may also experience his vision in that medium. BTW....great seller. Shipped fast and packed well. 5 STAR*****

I was lucky enough to be in Germany during this exhibit and see it live. I also purchased the book there and have reviewed it several times. It includes the 170 works displayed at the Kunstsammlungen Chemnitz from October 2007 to March 2008 and three thoughtful essays that examine the works from several perspectives.

Ninety-two of the works were based on drawings published in 1994 as Drawn Blank. The museum director, Ingrid Mossinger, saw some of his drawings in the fall of 2006 at New York's Morgan Library (Bob Dylan's American Journey, 1956-1966) and was so captivated that she sought out a copy of the out-of-print book. In the book, Dylan said that one day he wanted to turn these into larger color paintings. So, she made contact and asked if he'd like to exhibit them.

Somehow Dylan managed to have the drawings transferred to deckle-edged paper and paint them using watercolor and goaches. The result was 322 paintings produced in just eight months - eight months during which he also was touring! From these, 170 were selected for the exhibit.
The works include interiors (dressing rooms, hotel rooms, etc.), cityscapes, landscapes, still lifes, and portraits - all captured in drawings he made between 1989 and 1992 as he toured the world performing. For many of the drawings, there are multiple versions using different colors that give you varied impressions of the scene. Much like Dylan's reinterpretations of his songs, these alternative versions reflect different ways of viewing the work.

The essays also provoke different ways of thinking about the works. Frank Zollner, focusing on the cityscapes as seen through a window or door, suggests that these works indicate a "certain restlessness, as the simulated gaze is that of a seeker." He draws on Chronicles to illustrate how Dylan thinks of art and how his words often create word pictures. In his view the pictures reflect an internal restlessness and a calm outside world.

Diane Widmaier Picasso (granddaughter of Pablo Picasso) traces the influence of Norman Raeben, one of Dylan's art teachers, as well as the Cubists and German Expressionists known as The Bridge. She notes that, "Just as the meaning of certain Dylan songs is sometimes obscure, since his texts seek not to have a fixed sense but rather to describe sentiments, to develop impressions beyond words (acquiring, like an abstract painting, meanings which vary with the mood of the recipient, yet still preserving a strong identity), so too his drawings can be similarly understood as they also reflect work which purposely refuses to be 'honed'."

Jens Rosteck, focusing on Dylan as a "multi-talent," examines the stylistic turns Dylan has taken with his music and his artistic endeavors into literature, film, and painting. He describes him as a rare "universal artist" capable of synthesizing diverse art genres, comparing his approach to da Vinci, Goethe, and others.

I was struck by a sense of detachment, even isolation or loneliness, as I viewed the exhibit. Dylan, the most sensitive and keen observer of life I know, once again in another medium, challenges me to think about how we live in this world.

If the exhibit ever comes near you, I encourage you to see it. In the meantime, this book is a wonderful catalogue of the works of this great artist.

Like most Dylan fans, I was drawn (no pun intended)into this book right away. Bob has always fascinated as an artist. His best songs are stories that unfold over the course of the song, and his recent bio, Chronicles, was a continuation of his story-telling prowess.

This book, taken from the Drawn Blank exhibition, gives yet another insight into this artist that has captivated us for the past 40 some odd years. We knew he was an artist. His artwork has graced several album covers and insides and various publications over the years. To see all of this material collected in one publication will delight Dylan fans everywhere.

One of Bob's songs is called "When I Paint My Masterpiece." In this book, fans will discover several of them.

We used this book in a college class I took called "Book Art". This book is written in a straightforward manner with clear and simple illustrations where needed.

Among its explanation of book binding techniques, it covers specific stitching, and has directions for making archival paste (wheat paste).

The benefit of two expert authors is that whenever they differ in techniques, they describe both and you can choose a method to fit your style.

This is the one book that all people interested in bookbinding should read. Other books are more colorful and flashy, but Kevin Smiths' Bookbinding for Book Artists is the best book on the fundamentals of bookbinding on the market today. The book is clear, concise, challenging, and creative. A beginner can understand and implement every project described, and Mr. Smith shows you how to make and, as important, how to THINK about making books simply, artfully, and beautifully.

True to the synopsis of this book, it gives full instructions in how to perform bookbinding without any special tools. This book, in spite of avoiding custom tools, gives the best treatment I have seen on techniques for leather binding. It also goes into quite a bit of depth on sewing, knocking down the spine (for rounded spines, folks), repairing old books, hinging techniques, etc. In fact, this is one of my favorite books on bookbinding and I refer to it frequently. Definitely a must have on any serious bookbinder's library shelf.

This book is excellent for a person who is interested in learning more about bookbinding, but has no practical experience. You will learn the techniques of two well-known masters of the trade, and you can do it with common household items. It requires no special tools or equipment. Also, the diagrams provided are extremely useful in illustrating each step of a particular activity. I personally was amazed at how much I could do without special equipment. This book is for people who would really like to learn more about the art of bookbinding and perhaps continue with it as a career. You will learn the terminology. You will learn how to sew or paste book bindings. You will learn how to use cloth and leather to cover your books.

I am an art teacher and have been looking for a comprehensive text on creating books that reflect creativity. Non-Adhesive Binding has given me a great resource for my classroom as well as my personal work.

Without a doubt Born of the Night is Joseph Vargos most impressive work to date. A longtime fan of his art I feel in love with the visions in his mind, richly detailed in every stone and swirl of fog, one could get lost in his world and never want to leave.

Corvis Nocturnum, author of Embracing the Darkness; Understanding Dark Subcultures

This book has the most stunning artwork - some are hauntingly beautiful, others are down right ghoulish - as you would expect I guess. I would love to be able to make some of the gowns that are featured - they are fabulous!

This calendar was the first I had seen of Joseph Vargo's work and I am hooked. He is amazing.

Being aware of the work of Vargo as musician - Nox Arcana - I felt curious about his production as visual artist. After going through the book - text and pictures - I was left with mixed feelings. Not being an art critic I nevertheless sensed there was a unbalance in his art production. His depictions of the human figure are weaker than his backgrounds and monsters. I know he didn't go to an art school and that's perhaps what's missing in his drawing of the human figure: depth, proportion, reality. Now his monsters are something else. His gargoyles are magnificent,and he masters the drawing and painting of stone as very rarely seen. So the latter seem much more alive than the human figures.
All in all it is a good choice to get introduced to Joseph Vargo artwork.
And it made me willing to wait and see the following publications of the kind.

I have been a fan of Joseph Vargo's work for many years, and have collected quite a bit of his work, including the Gothic Tarot and several editions of Dark Realms. When I heard that Monolith Graphics was releasing and art book, I jumped for joy.

Vargo's work is hard to describe, stunning, romantic, dark, sensual, are just a few words that come close to the images. This book has a collection of well known Vargo images along with never before seen images.

If you love gothic artwork, then this book belongs on your bookshelf!!

This book is the current center of the Boykin Spaniel's literary universe. Mr. Creel and Mr. Kelley have done a fabulous job of writing a book that covers every facet of the Boykin Spaniel breed. The story of how the breed came to exist, the trials of survival and how the current place in Carolina society are all part of the time line and stories unfolded by these gentlemen. The history and myth of the dog is in here along with lots of wonderful stories of these little brown dogs' antics that make them such wonderful hunting partners and family pets. The political battles fought in the South Carolina State Capitol and among Boykin fanciers everywhere are all brought to life and recorded for the intrested reader. This is the singularly most helpful book for the family or individual debating if the Boykin Spaniel breed is the right breed for them. A must read for every Boykin owner, breeder,or hunter who loves these dogs.

This is a wonderful book that details the beginning history of the breed. It cumulates to the mid-1990's where it details the current happening in the breed for those few years after a registry was formed and where the breed first began to popularize across the nation. Unfortunately, the book is out of print and the printer is out of business. It is unknown but doubtful that there will be a 2nd edition of this book to update the leaps in development of the breed to the current history. Appendix is dated as of 1997; much has changed since then. Persons who submitted pictures for the book report that they are mis-labeled throughout the book. Much more is known about the breed's health needs and genetic diseases, as well as the breed's AKC parent club, the Boykin Spaniel Club & Breeders Assoc. of America, being named and the Boykin's advancement into AKC events announced in 2005. In all, this is a great book for a collector's library but not much use to a pet owner looking for current information on the breed.

i love this book ans it gives you alot on the boykin spaniel and prepares you for what is next in your dogs life, if it's getting the puppy, getting the shots, or putting it down and getting a new puppy, you'll be ready!!! Have a great time with this book!

Great book to own especially if you own a Boykin or are interested in the breed!

Explains the history and genetics of the breed in detail.

This book is a "must read" for anyone seriously considering adopting a Boykin. It is comprehensive, describing in great detail the history and characteristics of the breed. The authors' love for these dogs is apparent, and one can not help but develop an affinity for these dogs as one becomes more familiar with them. Appendices provide helpful resources for finding breeders and additional information, and numerous pictures are provided. ( My only complaint is the occasional grammatical/spelling error that could've been omitted with better proofreading.) When a reader finishes this book, he/she will clearly understand the strengths and weaknesses of the breed and be able to make a well-informed decision whether to pursue purchasig this dog.

This Book was soooooooooooooooo good. The religious doo daa really spoke to me. The fight scenes were buetiffully decribed with lots of detail. The bond betwen the author and Joe really stode out.

SOOOOOOOOOOOOOOOOOOO Good the religious doo daa stuff really spoke to me. I was stunned at how good this book was. I couldn't put it down. The fighting scences were well done and ddescribed perfectly. I could definetly tell the bond between the author and Joe was tense but loving.

Douglas Todd, the highly respected Vancouver Sun journalist, has examined the spirituality of Canadian writers and artists in his important book, Brave Souls.
Remarks by Reginald Bibby, Canada's leading religion pollster, in his 2002 book, Restless Gods: The Renaissance of Religion in Canada

By Carolyn Purden, Toronto Star
Moral issues, ethical concerns and spiritual matters are themes in the work of many contemporary North American writers, singers, painters and sculptors. Religious imagery and symbolism abound.
Yet how much do these themes and literary devices reflect the artists' beliefs?
This is the question posed by Douglas Todd, author of The Soul-Searcher's Guide to the Galaxy.
In Brave Souls, he questions 28 artists about their work and the philosophy and beliefs central to their lives. The eclectic group includes film director Paul Verhoeven, sculptor Bill Reid, cartoonist Lynn Johnston, Inuk singer Susan Aglukark and writer Carol Shields.
Nearly all attended worship in their youth, and a few still attend occasionally. But all are troubled by religious orthodoxy and their spiritual search is taking place outside institutional religion.
Their responses provide a range of spiritual insights that Todd groups in four sections: the atheists; the doubters; the new ancients, whose faith is rooted in organized religion, and the emerging mystics.
Some common themes emerge. Johnston speaks for several artists when she says she cannot accept Christ's divinity. "I'm starting to see other people as divine, too -- such as saints and exceptional people," she says.
Many artists echo Shields' belief in the centrality of love.
"It's your basic molecule," she comments. "Why else would we make an effort to be sort of good in the world and with one another, if it weren't for this kind of mystical connection that holds us together?"
Robertson Davies, interviewed shortly before his death, talked of his lifetime interest in the Christian heresy of Gnosticism, which led him to a belief in God's feminine aspect. Singers Susan Aglukark and Bruce Cockburn reveal they have continuing conversations with God.
Timothy Findley has felt the presence of God in the vast Arctic barrens.
Writer Laurence Gough says he experienced the presence of God while keeping a deathbed vigil. Of his stepfather's death, Gough recalls "a real sense of rustling in the air -- a sense he had risen up out of himself, of something leaving him when he died. And not just life itself. but something far more powerful than that."
Todd has skilfully culled the essence of each artist's beliefs. It all makes fascinating, and, at times, thought-provoking reading.

Have you ever wondered what it might be like to talk with John Irving at a dinner party? Wouldn't it be fun to run into the likes of Timothy Findley at the Second Cup and be able to ask him what inspires his writing and what he thinks about the meaning of it all? Most of us are unlikely to have sucn encounters. However, in the spirit of our age of virtual reality, Douglas Todd has provided us with the next best thing. In Brave Souls, he offers interviews with 28 of North America's most intriguing and artistic souls. Patricia Murphy, Catholic Register

There are no limitations , save those that we create for ourselves... Bruce Lee

This is a great book if you are looking for a compilation of rare photos and facts.. Unlike most books out there that beat around the bush , This book showcases the man as he wanted to project himself to the world .The perspectives are variable throughout the book , giving the reader a vast panoramic view of the life and times of the much hyped martial arts superstar..

Frankly, if you're looking for a detailed description of his persona , you will find exactly that and more.. Full of great photos that give a realistic insight on the master , this book is a good buy if you are interested in the glam..

If you are a martial artist however , I would strongly suggest that you do not buy this book . There are various other books that will serve your purpose, books like 'The Tao of JKD'.

This book is a great addition to my collection of Bruce Lee books of pictures, filmography, philosopy and techniques. It has one of the best picture collections of all the books I've seen. The content isn't bad either. Talking about the life of the Little Dragon and some of the deep thoughts he had in his short life in this world. My fan-ography of the Jeet Kune Do Sifu is just starting, even if I have been a follower for years. This book is not a dissapointment. It will be a great addition to any collection.

What an intimate look at the man behind the image! The book is highly visual--the text is very limited--but the photos are like none that I've ever seen in other books on Lee. I'm talking about the baby pictures of Bruce and Brandon, photos of Lee from behind the scenes in his movies (a kind of spooky one of him and Sharon Tate from what must have been just before she was killed), and pictures of he and his wife just sitting on the couch at home. It makes you realize that there's a man and father behind the superhero that appears in his films. I loved it.

Many of the documentaries and biographies out there about Bruce Lee were unauthorized and created by shysters trying to cash in on his sudden death. This book, based on the recent video documentary "Bruce Lee: In His Own Words" is not only superior because it really is based on the master's own words, but the book and video are also endorsed by Bruce's widow and daughter. Here we get plenty of great photographs from Bruce's films, training, and family life. Meanwhile, Bruce's thoughts on acting, family, and his martial arts style (or, according to him, its dismissal of style) are true revelations for any fan of Bruce's classic movies. His thoughts on being a serious actor, rather than a martial arts "superstar," are quite a surprise; while his personal philosophy and attitudes toward martial arts mastery are both fascinatingly Eastern but surprisingly down-to-Earth and accessible for Western enthusiasts. So instead of fighting your way through all the frauds and fakes out there, get it from the master himself. [~doomsdayer520~]

Bruce Lee was his own man.he had so much style&smoothness about him.this book highlights his world in front of the public&behind it.very detailed&very upfront.you get a very insightful look into his world&vision.a man who forever changed the world with his talent&craft.a man who was trying to make sense of his surroudings&the things that were in placed around him.He will never be forgotten.