Artists Books

Great basic book on color for any new artist or person who buys gifts for an artist.

WOW - what a great guide to color! Info about how paint is made, mixing, history, how artists work - it's just great. Whatever kind of art you do, including jewelry, fabric, needlework, you'll be heavily inspried by the visual and printed information here.

Excellent! Well organized with great side comments, this book is really a journal for color. From its significance, invention and evolution into what we know today, this book is full of color information that is fun to learn. Jennings gives you a true education in color appreciation complete with nuance, historical facts and lots of pictures. Easy to reference, it is a great addition to any library. I have been looking for a book like this for a long time. Much thanks to the author.

For those of us who actually want to learn something new, something you probably didn't learn in undergrad. Excellent refrence book for specific pigments and the results when mixed with others. For example, I forgot that when mixing Cadmium Red w/a blue results in a "brownish" viloet hue. Instead using Alizeran Crimson creates a much more desireble violet.

Not only does this book dispell myths, include historical birthings of pigments, give acurate detailed information about each color (including variations w/in each family)...it also has a chapter on "Creative Directions". This is a really great chapter giving inspiration for branching out w/your work.

I'm an art teacher, and artist myself. I don't have to the time I'd like to keep my own journals of pigments and mixed colors...it just isn't practical for me...too much to do, too little time. This book is amazing, perfect for the 3 second memory I have and much better than leafing through an ENORMOUS reference book just to remember which red to use when making violet (was it Alizeran Crimson or Cadmium Red)...

However, if you're just starting out in painting or you're looking for a sequence for a "curriculum" get the "New Artist's Manual...". It is basically this book and "Art Class" combined. Wish I had bought that one first.

Wow - what a great guide to color! Plus insights into how artists with various styles work and some historical artists, too. Extremely well organized for quick reference. Whatever kind of art you do, including jewelry, fabric and needlework, you'll find tons of inspiration in this book.

This book was a real pleasure to read very slowly. It is a room by room description of Beatrix Potter's Hill Top farm house and includes the gardens. Beatrix started journaling about what she loved in a home from the time she was nine years old and this house is the cummulation of a life long interest in interior and exterior design theory. She fit in with the whole Arts and Crafts movement of the time. The house was deliberatly her largest artistic creation, she didn't actually live there very much. Again, it is a beautiful book and has many fasinating details about Beatrix Potter, her family and her times.

Being the big fan of Beatrox Potter, the woman and not just the author I was overjoyed to get this as a gift recently and the book is a treat for the eyes. While it has pages and pages of stunning photographs as well as her own water colours, it is the text and complete history of her farms that is awesome.

That and reading and seeing photographs of her as well as her farms and reading why she bought each property and the breeds of sheep she raised was of special interest to me. I loved seeing the inside of her farms, although I had seen the inside of a few, via the National Land Trust to whom she left her properties.

I loved the photographs of Beatrix and how she was so eccentric, kind yet firm and a woman ahead of her time. And it was nice to read that she was a true homestead style woman who had the waste not want not mentality, as well as a deep appreciation for quality and hated to see old bridges torn down for modern ones, although she was quick to make sure the stones and plants, wood and other things being discarded by some, didn't end up in some dump area but were recycled into new walls and buildings and plantings on her property.

This is a book a cottage gardener, keeper of sheep. painters, stone masons and anyone who loves working with their hands will love. As well as sincere environmentalists and organic gardeners and farmers.

A gorgeous collection of photos and information
about one of my most favorite children story writers.

What a beautiful book. Clear, inviting photos, and interesting information. A book you will enjoy reading and sharing.

AT HOME WITH BEATRIX POTTER is a delight to the eye and the spirit for those who love this children's author and her "little books." It is written by Susan Denyer of Britain's National Trust. (Potter's property was left to the National Trust.) The focus of the book is Hilltop Farm, the first farm Beatrix Potter acquired. Although she lived across the road in Castle Cottage, Potter often used Hilltop for its library, guestroom, and workplaces. She also used it to display her "treasures." This book reveals her love of nature, the English Lake District, and of old things--carved dressers, chests, spinning wheels are a few of the "gems" portrayed. Two-page color spreads convey the beauty of the Lake Area, where Potter became a major landowner, sheepfarmer, and a happily married woman. It is wonderful to see the original places, buildings, and objects that she incorporated into her books (examples are shown side by side). The book's layout, photographs, and design are first-rate. Reading this book reminded me of THE PRIVATE WORLD OF TASHA TUDOR and its wonderful photographs by Richard Brown. Like Tudor, Potter drew what she knew and preferred country to city life. (Tudor also was a working farmer in New Hampshire.) Finally, this book presents information about Beatrix Potter and the things and people she loved in an informative and respectful way. This book is not a biography, and Denyer avoids the biographer's temptation to "sum up" or "explain" Beatrix Potter. Rather, we draw our own conclusions after being exposed to the things Potter loved. The select bibliography at the book's end provides a list of works on and by Potter (her journals and letters have been published) that is very helpful to those who want to know more about this author. This is a book to treasure.

The pictures are stunning and cover a range of designs. What surprised me was how much I enjoyed reading about a woman who collected the textile art of Balenciaga and the history of Neiman Marcus. The author included pictures of Balenciaga creations being worn by their owner. Somehow that added a special touch and made this more than a collection of photographs of elegant clothing. I look forward to enjoying this book for many years.

My company produced the mannequins used to exhibit the couture in this fine text, so for me it was a delight, that bias aside, the forward by Givenchy is worth the cover price alone. The text my Myra Walker is insightful and the book is beautifully ilustrated. Seeing Balenciaga's illustrations along side his creations is a joy for any true fashionista. The book is a homage to Balenciaga's work, but not Balenciaga, who was a private and complicated gentleman, and who would like to remembered that way, for his work, not for himself.

M. Balenciaga was a master couturier so lacking today as one considers haute couture, especially, as the French houses of haute couture are virtually gone. At the time of M. Balenciaga's impact from the 1930s through 1968 when he closed his Parisian house, there were many more houses of haute couture. He, like Chanel, Christian Dior, Pierre Balmain, Mainbocher, Jacques Fath, Schiaparelli, Vionnet, and Gres to name a few, flourished as women from around the globe turned to the tradition and process of the haute couture as the pinnacle of what it meant to being well-dressed. Out of this number, the creations of M. Balenciaga stand-out. There is that certain something about his work which commands and rivets the attention. Yes, unquestionably elegant, imbued with masterful design, quality, and exacting a nobility for the wearer which she may or may not have actually possessed, but still whenever I view his creations I think to myself "more". Unlike today where being anonymous seems to be the rule of what passes for style, M. Balenciaga assured a woman would never be forgotten. This volume pays homage to that certain something and begs the question "where are the contemporary talents?" At the moment, in Paris there are only in my view, Karl Lagerfeld at Chanel and Valentino. These individuals know how to dress their haute couture clients (especially, those not wishing to dress perennially 18 years old) whereas the remaining haute couture houses present nothing but a media circus, for too long lead by that dreadful costumier posing as a couturier at Christian Dior. For the sheer pleasure of pondering something beautiful, I recommend this volume as well as Balenciaga by Marie-Andrée Jouve and Jacqueline Demornex published in 1991.

gorgeous pics of gorgeous clothes. this guy is my fav. when it comes to couture and this book won't disappoint. well worth the money. yeah, Dior is great too but this guy really is the 'master'

This is a fabulous book! I love the images and history. I would recommend it to anyone who has an appreciation for fashion history and photography.

This delicate children's books reveals a small part of the talent of artist Tim Brown;one becomes curious to see more of his work.

Deceptively simple, Bark and Tim brings you an age-old story of friendship, that between a boy and his beloved dog. Tim Brown's colorful folk art and the spare (but evocative) text will engage and delight children, while it helps them to understand that, through art, we can keep our friends in our hearts forever.

This story flows like a river on a lazy summer afternoon, winding its way across the Mississippi countryside of the 1920's and 30's. Audrey Glassman Vernick and Ellen Glassman Gidaro's language is both deceptively simple and wonderfully rich. Tim Brown's folk art is as scruffy as Bark himself, and is all the more real for that.

Bark and Tim gives us rough-hewn truth and timeworn beauty. It gives us piny woods, soft grass, and shiny mud. It gives us the early-dark days between Halloween and Thanksgiving, the cloudy mist of Christmas dreams, the sweet air of Spring, and the warm summer sun. It gives us a boy, his dog, and all the seasons they spent together.

Bark and Tim gives us love. Not the some idealized, syrupy, slicked-up version of love. It gives us real love. And thank goodness for that.

I originally bought this book for myself. There is something about this book that pulls you in, and makes you want to own it. The combination of the author's story and Tim Brown's artwork is magical. After reading Bark and Tim to my daughter for the first time, she took over my copy and now likes to keep it beside her at night. She says she wants to sleep with Bark. It definitely has both adult and kid appeal.

Would also make a great gift to anyone who loves art, dogs, picture books, or just a good, unique story.

When you're done enjoying the book, don't forget to read the author's note at the end. The story of their collaboration with Tim Brown is worthy of its own book. It's a fascinating story.

this heartwarming story about a boy and his dog is even more special, knowing it's based on the artist's own childhood and illustrated with his paintings. Sisters Audrey and Ellen tell Tim Brown's story beautifully.

The relationship between Bark & Tim reminded me of pets I've loved and lost, bringing tears to my eyes. My son asks for it often, as he enjoys Bark's antics.

BARK & TIM is the perfect addition to a pet lovers library!

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.

This book provides so much of the information I was seeking.
Geographical,historical,pictorial,technical,ancient and contemporary.
The cloth itself comes with a rich history and part of the pleasure of collecting batik is identifying the motifs and colour usage from various areas.
This book can and does provide so much background content of interest that it is difficult to peruse methodically and the urge to flick backwards and forwards with each page promising curious temptations
to absorb.

A wonderfully rich book on batik, including valuable contributions by Indonesians. This will become a classic. Lively, sophisticated, and informative, as well as gorgeous in its imagery. This is the kind of writing we need on textile arts! A splendid addition to my library!

As a batik lover...this is a great book. Ever since I travelled to Jogjakarta in Java and saw my first batik mask hanging on the wall in a restaurant I was hooked. I'm traveling back to Yogya this month and plan to take a batik class. As a result of my travels to Indonesia, I decided to start my own business importing batik and other items. So 7 years later, I have manufactured and import tons of batik to the U.S. and love it all. Especially the traditional batiks. Warning...shameless promotion to follow: check out our site 1 World Sarongs for our beautiful collection from Java and Bali or you can even find us here on Amazon Market. Anyway, this is a great book with loads of beautiful pictures and articles. I'm still reading it but so far it's very good. I'm biased because I fell in love with batik.

This book is essential for anyone interested in batik and its history in the Indonesian island of Java. It also provides Java's religious background and how batik was affected by Buddhism, Hinduism, and Islam. The pictures are outstanding, showing to the reader the complexity of batik and the great talent of Indonesian batik artists. I would recommend this for anyone, especially those interested in art or Indonesian culture.

This book is eye candy. The fabrics shown in this book have amazing detail, sophisticated designs, and the colors are beautiful. The fabrics are lovingly photographed. I would recommend this book for anyone who is interested in design, patterns, or textiles. And the book itself is beautifully produced.

One of the biggest plagues in the martial arts world is the simple statement, "we do that." Most martial artists run on the assumption that what they do works and is effective either because of its roots or because of their instructor's impressive skill set. When a practitioner from another style points out a fundamental principle, the natural response from the student is to say, "we do that," based on the fact that they heard their instructor say it.

Unfortunately, most of what is taught as traditional martial arts has been watered down, with fundamentals removed or glazed over and patched with either speed or power. This book is an excellent attempt at making martial artists look at their own art from an objective standpoint to see if it really works, or if they have been victims of patching.

The physical examples given are based on Shotokan Karate, one of Tristan's primary arts (along with silat and iaijutsu). If the reader pays attention, however, he or she will find that the principles are the same regardless of the style and that they can then begin to fill in the holes in their practice that were previously covered by patching.

Overall, a very valuable addition to the library of any traditional martial artist!

I have to admit that I really enjoy not only reading and learning from books written by the author, but also they way he expresses himself in order to get his point across. Do I always agree with the things he says? Of course not, but even those things that I don't agree with are worth listening to and then deciding why the author reached the conclusion that he did concerning that particular subject.

In this book, the author devotes the entire book to looking at a lot of the basic techniques universal to most martial arts and a lot of the more common misconceptions that seem to exist concerning the effectiveness of a particular martial art or martial arts technique in a real life self-defense situation. Now I must give the author's kudos here for a statement made early on in this book that basically goes as follows, "Any martial art can be effective." Anything, and I do mean anything, can be effective if done correctly and applied properly under the right set of circumstances.

It this book worth the money to buy it and the time to read it? Well, if you want to improve your martial arts skill in whatever your chosen art is and if you want to be able to enhance your ability to defend yourself, then I would say yes, this book is worth your time and money. However, if you think that your art is the one and only and that you know everything there is to know about the martial arts then you are obviously wasting your time and money buying this book. As a matter of fact, you are even wasting your time reading this review.

Often times I feel that Marc has a jaded view of the martial arts and I guess a lot of this perception stems from the writings in his earlier books and the bad experiences he obviously has had concerning certain aspects of the martial arts, most notably, the act of kicking. Or perhaps I just seem to take his lack of concern for kicking more personally than I should because I am a strong advocate for it. Who knows, but it does open the door to a lot of potential philosophical discussions on the pros and cons of it.

This book and the writing style does seem out of the norm for one of Marc's books and I suppose that should be chalked up to the co-author of this book Mr. Tristan Sutrisno. I really enjoyed reading this book and am proud to put it on the shelf alongside Marc's other books.

As I end this particular review, I am reminded of the old Oriental saying that goes something like this, "How can you taste my tea if you don't first empty your cup." How can you experience that which others have to teach if you don't first open your mind?

Shawn Kovacich
Martial Artist/Author of the Achieving Kicking Excellence series.

I'd recommend this book for- people wondering if something is missing from their art, beginners, and teachers.

The information in highly useful to all 3. Of course, it goes without saying the first 2 groups will learn a great deal, so why recommend it for instructors? Easy. Even if you have a been taught a solid system, sometimes learning to discuss a topic in a different way will turn the light on for an individual that's struggling. I've borrowed some of the phraseology and terminology from the book and seen it give people a better understanding.

In addition, if you have students read this at the correct point in their training, it will save hours of explanation. This will give your students more time practicing what they're learning.

The vast majority of the information is not syle specific, but based on sound physiological principles that are useful regardless of your background. As such, nearly everyone will be able to glean something useful from this book.

Although Marc Mac Young has irritated many with his older writings, he set his opinions aside and worked with a traditional martial artist to write this book. Mr. Sutrisno is a wealth of information and and I understand was a major source of information for this book. Having met him and seen him move, I can attest that Mr. Sutrisno knows his stuff and can perform everything he talks about. So this book is not about untested theories, but sound principles that work. It's well worth the read.

This book essentially lives up to its title, and does nothing more or less. It does a very good job of defining martial arts in analytical terms, breaking everything down into a few categories (range, weight transfer, positioning, posture, and placement), offering general rules for proper movement within each category. Despite the fact that there are countless different systems that move in countless different ways, many of which disagree with each other in seemingly fundamental ways, proper movement is determined largely by human physiology. Different systems prove different, systematic ways of using human physiology to the practitioner's advantage. Becoming A Better Martial Artist wisely sticks to these physiological properties, successfully pointing out "alternate" ways of moving that do not constitute stylistic difference, but instead constitute improper movement. The authors provide guidance to the reader in examining his (or her) own system and training to look for things that may have been lost in transmission from teacher to student. These issues may be the result of the reader not fully understanding his teacher's instruction, or it may be the result of someone in the reader's lineage not fully understanding their training and propagating their mistakes to successive generations.

The other thing that this book does is provide an excellent explanation of the differences between self-defense and combat, and why combative techniques sometimes have no place in self-defense training (and, by extension, why many martial arts systems are not self-defense systems).

I have only one minor complaint about this book. In an effort to "appeal to the masses," the examples given are clearly based on Shotokan Karate. Mr. Sutrisno teaches Shotokan, though it's arguably not his primary system. Mr. MacYoung is kind of "nomadic" in his training and probably would not (and could not) claim any one art as his primary art. Given that Karate systems and styles that are based on / similar to it are generally the most widely practiced, this makes sense. Unfortunately, there are a few times where the explanations of the principles being demonstrated by the examples begin to enter into the realm of style-specific, and are not universally true. This is not often the case, though, and the majority of principles described within these pages are more or less universally true.

I also feel that the book has one "fatal flaw" in terms of the audience. This is not a complaint about the book; it's more an observation about human nature. This book is excellent for two groups of people - beginners who want a greater intellectual understanding of the martial arts (thus helping them learn their art more efficiently), and practitioners who have been taught improperly. The beginners, assuming they have a good teacher, will understand all of these principles within their first five years or so of training, so for them, this book will help them along on a path they're already walking down, as opposed to providing something they can't get from their teachers. In the case of the "improperly-experienced" practitioner, gaining anything from this book requires a great deal of critical, objective self-evaluation. People who have dedicated years to something are often reluctant to look at it critically (perhaps due to a subconscious fear that their years may have been "wasted" - it's easier not to know than to come to such a realization), and are reluctant to look outside their schools to better themselves. In short, the people who need this book most are the least likely to read it.

Finally, this book is not without its benefits for advanced practitioners, who are almost invariably teaching others (even if under the roof of their teachers). While I can say that I found the principles in this book to be obvious, it reinforced what I already knew, and helped give me some ideas to focus my teaching in a manner that will help illustrate the concepts more effectively, helping me recall ways my teacher teaches that I haven't thought about (and therefore used) in many years.

The description of this outstanding book states that it is a graduate level course in the strategic principles of self defense but don't look for fancy applications or whiz-bang techniques. It is really about the basic fundamentals that make any martial art work properly when you take your dojo skills on the street. This is good solid stuff, not particularly exciting, but absolutely essential, cerebral, and right on. The authors are highly skilled and their experience really resonates within these pages.

As most long-term martial artists know, earning a black belt is really just the beginning of a practitioner's martial journey. Since obtaining mine I discovered that the more I know, the more I realize that the fundamentals are paramount. That's the focus of this book. The SWOT analysis is an important tool described herein. It stands for Strength, Weakness, Opportunity, and Threat, an invaluable tool for error detection as you place your techniques under a microscope. Essential nuances of structure, posture, body mechanics, and positioning are critical for success and well described herein. The writing is clear, articulate, and easy to follow. The highlighted practice hints are a nice addition too.

My only complaint, which frankly is pretty minor, is that the pictures do not have very good contrast and there are harsh vertical lines on the wall in the background of many of them that make them a little challenging to view. Furthermore, there really are not enough photos to illuminate everything properly unless you've been practicing martial arts for a while and understand what the authors are talking about.

There is a very short section on the purpose of weapons and weapons training and a brief overview of what happens when you utilize this knowledge in the real world but the vast majority of the materials are focused on getting the basics right. Topics covered include range, weight transfer, positioning, posture, placement, blocking, punching, stances, kicking, elbows, takedowns, and throws.

Overall this is an excellent and highly recommended book.

Lawrence Kane
Author of Surviving Armed Assaults, The Way of Kata, and Martial Arts Instruction

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.

"Warts & all"

Here is a fascinating and loveable soul/

A CAN NOT PUT DOWN READ/

This read made me appreciate his painting much more/ background REALLY enlightens imagery here/

& Photos, too / Here was one intriguing looking fellow, to attest/

One of the most enjoyable bios I have yet read

And for the used price, you can't go wrong ...

Nouritza Matossian's Black Angel: A Life of Arhile Gorky is for the most part a riveting read on a difficult artist. It is easy to dismiss Gorky's mature style as just the latest Abstract Expressionist fashion when in fact it preceded many of that movement's most important works, serving in the process as a bridge from surrealism to abstract expressionism. Perhaps more than any other contemporary abstract painters, Gorky's background is crucial in terms of understanding his artistic vision. As such, Matossian does an incredible job of giving the reader the entire scope of this background, sometimes to the point of tedium. The book,however, though over 500 pages long, has an easy pace to it for the most part, and definitely lets the reader in on what surely must have been one of the most frustrating lives, from beginning to end, of any major artist in the 20th century. Gut-wrenching at times, Matossian's portrait of Gorky's life is a miracle: juxtaposing the lyrical work he produced with the unfortunate string of incidents that plagued this sensitive human being. If you are interested in understanding more about Arshile Gorky, then the sheer scope of this undertaking is a great place to start.

I read this book during a recent illness and I am glad of it because I was able to concentrate fully and stay within the world which the author so skilfully evokes. I have rarely found a biography of an artist, especially a modern one, so lovingly and painstakingly portrayed with brushstrokes just like a painter to produce image after image and make the man come alive in such an engaging way. I learned about the history of the ARMENIANS but through his eyes and yet the scholarship and objectivity shone through. So many insights and beautiful stories, such a strong sense of place, whether in long-lost Armenia or Boston of the 20s or New YOrk of the 30s and 4os , the characters who weave through this incredible tapestry, no a carpet. This writer belongs to the tradition of Armenian troubadours who were storytellers and sang their songs in verse in many languages. I felt the narrative had a poetic lilt and yet she kept back her obvious involvement in the subject. In her introduction which is worthy of attention Nouritza Matossian tells of her own family and their wanderings because of the Genocide, her desire to keep an even balance and not to succumb to the despair of her foretfathers. This book is a vindication of a culture which has been hammered and a Genocide which needs to be acknowledged. It tells of the courage of exiles and immigrants who brought such skills and moral values to this country which did not accept them very often. The accounts of Gorky's pursuit of excellence in art, his love for his mother and her inspiration are universal themes. I saw him as a quixotic, temperamental and charming character whom I would have loved to know. She brought him alive and I cared for him so much that I could hardly bear to finish the book, knowing that he would die. I received a great gift in understanding how it is possible for someone who has lived at traumatic life to transcend his suffering and 'give something to the world' as he said to Leger, something good. His paintings are incredibly beautiful and I see l know that he paid an even greater price than the loss of his childhood for those canvases, he paid for them with his health and security. Gorky's suicide has always puzzled me and I understand it for the first time after reading Matossian's book twice. The discussion of art and ideas, her ability to interpret him and even to depict the work is accurate and vivid. I saw from her website www.arshile-gorky.com that she performs a one-woman show in which she tells his story with slides and music as his mother, sister, sweetheart and wife. Those four characters are in the book and she pays tribute to them. It must be wonderful to hear this author tell her extraordinary story in her own words because this is a book which rings with her love and commitment for her subject and that is a rare and generous gift. All I could wish is that this book were even longer because I hated putting it down at the end. It changed my attitude to many things in my own life. This book deserves to win prizes.

For anyone convinced that crucial or shocking events during childhood have a major impact on psyche, this book is a must read to understand Gorky's art and his impact on American art. It is also an enlighting read to better understand the rituals, culture, and methods used by Gorky's (Adoian's) Armenian kin to survive (or not survive!) opression at the hands of the Ottoman Turks. Matossian points to the ancient Armenian architecture, illuminated manuscripts, stone crosses, among other objects which Gorky saw and experienced as a child and which left a powerful imprint on his future art. Once some of these objects are seen, it is easier to understand the origin of Gorky's shapes, colors, and titles of his masterpieces.

Besides the extensive research that took Matossian to Gorky's Armenia, her knowledge of the Armenian language gives powerful insight into the letters written by Gorky in his native tongue to his family. Fantastic book which is part history, biography, art history, psychology, criticism and reads like a compeling historical novel!

Allow me to add an "amen" to the previous reviews. Matossian's background in Armenian culture is a great advantage in exploring Gorky's childhood, and her obvious patience in organizing material from the many first-hand interviews of Gorky's survivors pays off in a vivid, scrupulously detailed account of his rise and cataclysmic final years. As an arist I brought a huge respect and admiration for Gorky's work to the book, and wasn't disappointed to find that the Gorky the author describes matches the intensity and dazzle and complexity of the works. So vivid was her writing that the ending left me moved almost to tears. This is our American Van Gogh, a giant arguably greater than Pollock, and his story is one of the great tragic--and ultimately triumphant--dramas in all of biography.