Artists Books

Typographic inspiration at its best. Effortlessly combines interviews and stories with images of Venezky's work...every graphic designer should own this book.

If you are looking for experimental and intiguing imagery this is the book for you! I don't understand how Martin got looked over so bad? His work is from the school of Cranbrook. If you like collage work and fun typography buy it!!!

Martin is brilliant, this book is beautifully designed and his work is amazing. Definately a very inspirational book for all graphic designers out there, especially for those experiemental typographers.

this book is the most beautifulest, gorgeousest, most awesome kickass book EVAR. it is heartily recommended. keep a lookout for martin's cat, "baby girl", who makes frequent appearances. WORD.

-fish

Martin Venezky's It Is Beautiful Then Gone (1568984561, $40.00) provides an unusual artistic approach: Venezky hones 'Slow Design', using raw materials and old design tools of collage and cut-and-paste to create an artwork which will intentionally age and decay over time. By this process, Martin Venezky maintains, the art evolves and changes and the artist develops a closer connection with the tool over the machine. It Is Beautiful...then Gone provides his commercial design work plus new graphics created just for this book: some 700 images in all.

This is the catalogue for the landmark Pollock exhibition held at the Moma and the Tate in 1998-1999. Considering the steep rise in the insurance value of Pollock's paintings, such a comprehensive retrospective is not likely to be repeated in the near future and we are therefore fortunate to have such a brilliant book to help us remember it. The late Kirk Varnedoe was one of the best interpreters of contemporary American art and his text, never anecdotical and always informative without being pedantic, does justice to the masterpieces without falling into any of the cliches that often pollute our view of this great artist.

Beautiful illustrations make this book an indispensable presence in any arts library.

Having just taken in the MoMA show, I was very satisfied with the Pollock catalog. Very nice job reproducing the works (a difficult task in the printing of art catalogs!) Many fold-outs assist in conveying the size of Pollock's larger works. Large, full-bleed detail shots add a nice touch, complimenting the entire painting. While I'm not thrilled with the cover design, the interior is well-written, well-presented, and well-worth reading.

I picked this book up at the MOMA Pollock retrospective a couple years ago and have used it extensively. Having seen many of the paintings in this book firsthand, I can say that these are some of the best reproductions offerred in book form on Pollock's work. Another plus is that several paintings are printed on fold-out pages, so that the work doesn't cross the book's seam. So many of his paintings are extremely wide that this makes a lot of sense (otherwise, there would be hardly any resolution in the height dimension).

If you're interested in Pollock and need to refer to the reproductions, I absolutely recommend this book above all others out there.

This breathtaking catalogue is simply the best single volume available on Jackson Pollock, and this is primarily--but not only--because of the number and quality of the reproductions it offers. Almost every one of the dozen or so Pollock books in my library contains a painting not available in the others, but this book collects and beautifully photographs the greatest number and variety of his canvases--outside of a catalogue raisonee.

As the other reviewers state, there are many generously-sized fold-out pages here, and the crispness and resolution of these big reprints and of the more modest pages are simply amazing. To take two essential examples, this book's reprints of "One: Number 31, 1950" and "Blue Poles: Number 11, 1952" are astoundingly clear, better than any of the many other versions I've seen in art books, even in Ellen Landau's large-format survey, a book which also includes gatefolds.

(Another reviewer, by the by, states that "Lucifer" is not available in any other book, which is not true. Among other places, it appears in Landau, in Elizabeth's Frank's concise volume, and as the sole color reproduction in the book for the 1965 MOMA retrospective. Anyway, it gets terrific treatment here.)

Another invaluable inclusion in this book is a great number of full-sized detail photos of the canvases. For example, on a page adjacent to "Lucifer" and "Autumn Rhythm" and "Full Fathom Five," we see another photo of just one small section of that same painting but in 1-to-1 scale; these details reveal much of the dynamic, kinetic, urgent quality of these works, their encrustations of sand, glass, pennies, paint caps--traits which even this book could otherwise never offer a livingroom Pollock-viewer.

Further, having seen the exhibit in January of 1999, I can attest to the generally excellent fidelity of the color-balance. (Curiously, no one seems to be able to capture "Autumn Rhythm"'s grey-teal passages in a book, but if you were at this show or have viewed the painting at the Met you've seen them.)

The accompanying articles are excellent. Kirk Varnedoe overviews of Pollock's life, artistic aims, his accomplishments, all illustrated with family and archival photographs and drawing on Pollock quotations. Pepe Karmel uses the extensive photographic and film record of Pollock painting to analyze Pollock's physical movements. Most wonderful are Karmel's computer reconstructions of early states of the painting "Autumn Rythm," based on Hans Namuth's photos of Pollock at work.

In sum, this book gives the finest, fullest offering of both Pollock's life and art.

Excellent companion piece to the MOMA show (which traveled to London's Tate) goes beyond all other Pollock explorations. A "must" for students of modern American art as well as those just wanting to get a better understanding of what Pollock was REALLY DOING.

Large format features fold-out reproductions of breathtakingly high quality. Among these, incredibly, are paintings not found in any other published sources. (The incomparable Lucifer (1947) is one such work).

The text is scholarly but readable, and although there is a considerable amount of it, each open page of writing offers at least a couple relevant and highly interesting photos or other illustrations. The many large color plates would certainly make a gorgeous and impressive coffee table book for anyone who doesn't choose to read it.

Kirk Varnedoe writes definitively about Pollock's mercurial life & career. Varnedoe's nearly 75 pages of biographical analysis are a welcome alternative to the kind of misguided mythologizing about Pollock that has for a long time colored the artist as an overrated art "star."

Pepe Karmel's contribution to this book is an amazing analysis of Pollock's painting process through an exhaustive examination of the famous films and photographs of Pollock at work. This was a fascinating, ground-breaking part of the exhibition, and is equally wonderful in the book.

Well worth the price.

Jazz Life is a great book in every senses: Fantastic photographs,very good informative text and wonderful audio CD, besides its weight and its size. Very, very good. Great find.

Gorgeous book. One that I will want to have out and look through over and over. Amazing, you see something different every time you look through it.

This book has great pictures of famous entertainers. It is very heavy, though. I got the best price through Amazon. It came more quickly than I imagined, We are very pleased with the book and the service and wouuld do it again.

I just received this enormous book; yes enormous in every way. Both in vision, content, printing and weight. I have plenty of jazz photo books and some earlier collections by Claxton, but this certainly reaches beyond the rest. It reminds me of the work by the great Cartier-Bresson. It is far beyond publicity shots and the compositions are real and echoes what language can never say. I am reminded of the great writer Albert Murray. He delves deep into the entire ouvre of this American art form. The large two page bleed photos are breathtaking. The book is largely b&w which suits me just fine. One seldom comes across such empathy and passion for a subject and at the same time shoots like a painter. This is a bargain at twice the price.

If you were a jazz fan in the Fifties this book will be the ultimate visual memory jogger. It is a huge book, too, weighing in at over fifteen pounds (a bit more with its handy carrying box) and with spreads opening to an impressive twenty-three inches wide by sixteen deep. The 696 beautifully printed pages feature an expanded collection of photos originally taken for the 1961 German book 'Jazz Life' produced by Joachim Berendt and William Claxton.

In four months during 1960 these two motored across the America and it would seem photographed every important jazz musician that mattered and what stunning photos they are. Page after page of folks you have been listening to for years and not just recording studio shots but plenty of informal and location photos. Musicians everywhere get a look in, New Orleans, Kansas, St Louis, Chicago, San Francisco, Los Angeles and New York, from ragtime to bop to East and West coast styles. Each area has an essay and all the photos are captioned. Looking through the book for the first time with its huge page size and Claxton's sympathetic jazz camera is a rather awesome experience.

There is a forty-two minute CD with the book (the original German edition had two seven inch LPs) of music recorded by Berendt but I thought it was rather bland in its choice of tracks. Predominately New Orleans traditional and spirituals with a very small sampling of other styles some of which annoyingly fade out before the end. I bet at the time though the music added to the book's success in a still rather war-torn Germany.

'Jazz Life' celebrates a great American music style with photos you can almost hear. I doubt there will be anything as good as this published again.

*A Shorty Rogers tune dedicated to Bill Claxton

***FOR AN INSIDE LOOK click 'customer images' under the cover.

What a beautiful book. Full page, full color photos, with many of the pieces being shown larger than life. Original drawings of the same pieces are shown on a facing page. I wish that some of the photos of people and places had been reproduced larger, but the original old photos may have been very small to start with, and may not have blown up well bigger than they were originally printed. All in all an absolutely drool-worthy book.

I ordered this book from Half Price Books from Texas, as Amazon did not have it. The book arrived very fast, and very well wrapped and boxed. The book was listed as used-good with dented corners and scuffed dust jacket. Wrong. It looked brand new. I would order from them again. And the book was half the price of the other sellers.

This is by far the best book ever produced on Lalique's jewelry. The photographs in the book document nice close up details as well as front and back shots of his jewelry. Also nice to see is photographs of his beautiful jewelry renderings and nature studies. This book is a must for any Lalique fan. I highly recommend it.

For lovers of the Art Nouveau movement, this book is a must! Lalique was an amazing artist/jeweler, and this book covers the jewelry portion of his career well.

So you missed the exhibit in Dallas? True, this exhibit is possibly the only time these items from private collections will be on display. But do not despair. There is still a wonderful catalog out there to be had.

When my friends and I went to see this exhibit, we were so enamoured by the beauty of the jewelry, we wanted to carry it all home with us. The catalog was the best we could do.

The items in this exhibit that were designed and made by Rene' Lalique moved classicism to modernism. Although the luminosity of the jewelry is certainly lost in the book's photographs, like the sheen of the perfectly matched opals and the glow of the glass enamels, the level of detail is not.

The exhibit was set up to light the plique-a'-jour from the rear of the pieces as well as from the front. Plique-a'-jour is similar to cloisonné. Both techniques use glass enamels separated by cells created from metal, but cloisonné is applied onto a metal surface, whereas plique-a'-jour is openwork, more like a stained glass window. The difference in effect is that plique-a'-jour has a glow that lights up the jewelry, whereas cloisonné receives its shine from the metal behind it.

The plique-a'-jour technique was not new, having been used during the Renaissance but had been virtually forgotten. The influence of the relatively new trade with Japan opened up the eyes of those artists who were participants in the new arts & Crafts movement centered in London. In fact, Lalique studied in London and picked up on the Japanese influences. In addition, there was also a religious movement centered in Germany at this time that centered more upon appreciation of nature than a single deity.

These influences combined in Lalique's jewelry that stunned the world when he unveiled over a hundred pieces of bijou at the Exposition Universalle in Paris in 1900. Critics of his work charged that he was merely trying to provoke the public. The public crowded around the exhibit during its run nonetheless, although not all of the items in the exhibit sold during the Exposition. The opal necklace that all of us loved when we saw this exhibit in Dallas was one that did not sell, surprisingly enough.

So, if you simply could not get to Dallas, then the catalog rates a good look so that you can study Lalique's breathtaking style. He was never matched and, in fact, abandoned making jewelry for glass when cheap, shoddily made knock-offs began to appear. Lalique felt he had gone as far as he could go with jewelry and became a direct Tiffany competitor.

This book is a great resource for anyone interested in not just art nouveau jewellery but master jewellers of this period.I had not seen lalique's work before and was completely besotted with the pictures in this book,it includes intial design sketches alongside the finished pieces and discusses his work in great length.Great book when I need inspiration.

I just purchased this book because it was full of pictures I had not seen before, probably since they were shot by the Daily Mail british press. I like collecting picture books of the Beatles together and solo because they make good coffee table books and great books to just peruse through while you're chatting with someone about them. I collect the biographies as well; both go great together. If you like picture books, check out May Pang's new book "Instamatic Karma"; it's full of pictures taken during John's "lost weekend". The picture of John signing the document that would officially end the Beatles is worth the price of the book alone. Anyway, "Unseen Archives" is a great book to add to your Beatles/John Lennon collection. I do think Cynthia should have chosen another shot of John to use as the front cover of her book, "John", instead of the same one used for "Archives". But that's just my opinion....

I'm a great fan of John Lennon's work and this, almost behind the scenes, book shows me how his life really was like. It wasn't always perfect like people think it could be. The photographs tell a story in themselves with the short captions helping you along the way. The easy to read context makes it that more interesting.

I just recieved this book a few days ago. Its filled with hundreds of black & white photos and descriptions. I highly recommend this book to anyone... you cant go wrong with the price...Stock it up for gifts!

Hey I just got this book for my birthday and it's really good, I am a huge Beatles fan and a pretty good sized lennon fan and this has TONS of good pictures in it, it's a great book and a lot of the pics are with the Beatles lol a lot without the Beatles too, It's a great book!

So many Beatles-related books trot out the same photos, again and again. You all know the ones I'm talking about. But this book is decidedly and refreshingly different. I have many Lennon biographies in my library and this book contains many previously unpublished photos of John, especially ones from his childhood and in the period 1975-1980. The paper quality in the book is exceptional and is thick, glossy material which results in a stunning display of black and white vibrancy. The text is incidental but adds flavor and gives you the year each photo was taken.

The photos of the Beatles are a little weaker, and contain many previously known shots. But the individual pictures of John are outstanding. Consider the beautiful profile view on the cover of the book, taken in 1967. This is just a sampling of what this treasure trove has to offer. There are many other such nuggets within the covers. Any serious fan of John Lennon will adore this book and get many hours of pleasure perusing these photos of a great cultural and musical icon. John himself would scoff at such a description, but it's oh so true.

If an appreciation of the personal perspective of the poet can deepen the experience of his words, then Lemkhin's photographic tribute to Brodsky's beloved home belongs on our bookshelves alongside the poetry books and essays of the Nobel laureate. Except for an intimate foreword by Milosz, a moving afterword by Sontag, and brief postnotes in which Lemkhin provides background details on several of the images, the message of this book is delivered entirely through black-and-white images. The voice of those visions comes through most clearly when one imagines viewig through the eyes of the poet himself, not only in the streets and the statues, the skies and the stories of Leningrad, but in the mirror of the close-up snapshots of Brodsky himself placed throughout the collection of pictures. Even the mediocre artistic quality of some of the individual snapshots can be forgiven as the soft footsteps of the poet can be heard stepping through his own lines in the movement of these deeply personal worlds of his own home.

I greatly enjoyed the two books by Mikhail Lemkhin: "Missing Frames" and "Fragments". I am especially moved by portraits. There is something about the portraits that make them very different from most others. The pictures are not posed, but don't seem to be too candid either. I get the impression that the subject is aware of the photographer, but is not posing for him, at least not physically. It is as if the subject is exposing his/her inner soul to the camera. The photographs work, in deeply satisfying way, very well. I know I will look at them again and again.

JOSEPH BRODSKY, LENINGRAD: FRAGMENTS succeeds on every level. For those not familiar with Brodsky's brilliant poetry I would recommend that you spend time with WATERMARKS, his tribute to the city of Venice, before coming to this book. Once the gentle subtleties of his poetry are in mind, then spending time perusing this pictorial essay of Brodsky's face and the scenes of Leningrad (the old name for St. Petersburg is used because that was the city's Soviet name used when Brodsky lived there) will form a complete picture of this amazing expatriate. Mikhail Lemkhin addresses not only the pictorial influences on the poet, but also adds some words of wisdom. The tribute at the end of the photographs, in some of Sunsan Sonntag's most eloquent writing, is a fitting closure to this very lovely book. Highly recommended.

Mikhail Lemkhin's book is a book in the fullest sense: not an album of exquisite photo studies, but a composition which transcribes a train of thought. The pages roll like clouds across the sky: Look, this is what we cherished in our lives, this is what happens to people, to stone, to memory, thanks to a little acid rain, that most noiseless rain, they call it - `time`. This is an experience of the `literature of silence`. Like a telepathic séance. The Covetous Knight's soliloquy over a chest of devaluated bank notes. Poor Knight! Over a hundred shots taken at the speed of 1/100 - in all, why that's just around a second! Someone else's story, made up mostly of the same things or signs as mine or yours, only linked in a different way to yield a personal fate. In particular, or rather, most importantly, it included a City which inspired a dream about the meaning of existence, and a Contemporary who succeeded in rendering the tonality of that meaning. But the second has passed, having absorbed almost all that could be held dear. The light wanes. The sound is off. And a question arises: Out of that which man has lost forever, is there anything that he possesses for eternity? The gaze, seasoned with peppery essence of silver, shows irony, pain, and tenderness.

Samuil Lurie, Neva Magazine (St.Petersburg, Russia)

Photography informs the poetics of Joseph Brodsky, photographer's son and himself no novice to the camera. Mikhail Lemkhin's double homage to the recently deceased poet and the city of his -- and Lemkhin's -- birth should be thought of as photography's own reply to Brodsky. Lemkhin calls his _Joseph Brodsky, Leningrad_ a photo-poem; to this one might only add that it is a particularly Brodskian photo-poem -- Brodskian not in its type of montage but in its predilection for montage, not in its sensibility but in the realities it conveys. To imitate Brodsky is to traduce Brodsky. Lemkhin understands that Brodsky's prime legacy is intellectual independence; his photography engages Brodsky's poetry rather than illustrates it, works with, rather than within, its visual counterparts of Brodsky's speech. The end-result belongs on the bookshelf as much as it does on the coffee-table.

This book is informative and very fun to read. I chose it to help prepare me for an upcoming trip to Rome, and, WOW, was it great for that! It gave me an anchor -- Michelangelo's life, art, and times -- to get a great sense of how to approach visiting Rome. It increased my enthusiasm about the trip and really helped me understand and appreciate what I saw.

The author also provides some delightful insights about life in Rome today, such as mentioning the San Giovanni dei Fiorentini church in the heart of historic Rome that welcomes well-behaved cats and dogs to attend services! I not only took the book with me on the trip, but have reread numerous passages since returning.

As I journeyed through the pages of Michelangelo's life, I couldn't put this wonderful book down. The photography is beautiful, and the sidebars give little glimpses of life during the Renaissance and also in present-day Italy. I'm ready to sign on for a tour to Rome with Angela!

"A Journey into Michelangelo's Rome" combines intriguing, enlightening details about Michelangelo's life with historical facts about Rome. It also brings Italian culture and history alive and transported me back to our amazing first visit to Rome and Florence. We were fortunate to travel with the author, Angela K. Nickerson, on that first trip to Italy and I can truly say it was the best travel decision we ever made. Angela's book is accurate, exciting and a great read whether you want to learn more about Michelangelo or Rome, the city where he spent most his life. It's also the perfect book to have before and during a trip to Italy, enhancing every experience. You can read hundreds of travel books on Italy but nothing compares to traveling with this author, seeing Italy through her eyes and benefiting from her years of travel and research.

I recently traveled to Rome and Florence with Angela Nickerson, the author of "A Journey into Michelangelo's Rome". The experience was both tremendously enjoyable as well as deeply educational. Ms. Nickerson has filled her book with passion for art, history and the great beauty of Rome through the lens of Michaelangelo's life and artistic triumphs. While visiting Rome is one of the greatest trips you can take, it can be truly enhanced by taking this book along as companion reading. The photos, sidebars, diagrams and insets all serve to make this book a treasure-trove of fun facts and delights to devour while in one of the world's most beautiful cities. Happy travels and happy reading!

In January 2008 a few friends and I had the good fortune to meet Angela (the author) and some members of her delightful family in Italy at Ostia Antica where we learned of the publication of this fine book. I've been to Rome twice in the past year and Angela's book is acccurate, informative--and best of all--interesting. The author's text, photos, and maps combine to make "A Journey into Michelangelo's Rome" a pleasure to read, to carry as a resource while visiting Rome--and in my case a book of memories and treasures and regrets...regrets only in the sense that this book did not exist prior to my visits to Rome. More than just an exposition of Michelangelo and his work, she captures the historical personalities of the period and brings the "rinascita" to life. Like taking a tidy course in Humanities, reading Angela's book will help anyone to become more learned in a pilgrimage to achieve the worthy status of being called "l'uomo universale."

Beautiful book! Author does a lovely, sensitive job profiling Morgan, and her career as the first licensed female architect in the US. I also really enjoyed the socio-cultural, and artistic context of the early 20th Century. The extensive photographs are a wonderful addition - imperative in a book dealing with a visual art. One of the very richest architectual books I've seen in a long time, and a great addition to anyone's collection.

A wonderful survey of a truly great Architect. Great photos. Original drawings. A detailed career history & biography. Most of the better known masters haven't gotten this kind of treatment; Ms. Morgan deserves it. GREAT book.

This is an outstanding book on Morgan's life and work. Well written text, detailed history, biographical information, and quality photos of the many buildings are just of few of the book's strong points. Morgan designed hundreds of buildings during her over 50-year career, and the author deserves credit for covering so many of them. Of course, she is most famous for the projects she did for Hearst, such as the "Castle" and Wyntoon, the Austrian/Bavarian style estate near Mt. Shasta in northern California, but she created many other important buildings also, which get discussed in detail in this fine volume. Also included are scans of the original plans. Out of all the books on Morgan, this one is by far the best, and well worth your time and money.

A little side note here, I've done five different tours of the Hearst Castle over the years, so have had an opportunity personally to view one of her most important works. During one of the tours, the guide said that a few years ago they had a 6.4 magnitude earthquake there, but except for a few tiles that came off here and there, the castle sustained no damage. That's because despite the delicate looking surface ornamentation, underneath the building is steel reinforced concrete, with even thicker walls than necessary. As a result, the entire Hearst Castle sustained almost no damage during the quake, and no structural damage, and the only really dramatic thing that happened was the guide said that the quake shook things violently enough so that a lot of water sloshed out of the big Neptune pool. :-)

One of the guides said some interesting things about Hearst's wealth. By the standards of the time, he was certainly very wealthy, earning $50,000 a day back in the early 30s. But compared to the most wealthy people of the day, such as Rockefeller, who made one million dollars a day, this was relatively modest. Hearst was the 42nd wealthiest man in the U.S. at the time, his father, George Hearst, being 32nd, if I remember right. He spent 9 million dollars on the Castle, approximately one half a year's earnings, so percentage-wise, it was not that much money for him. But compared to the super-wealthy of the day, such as the Morgans, Rockefellers, Vanderbilts, etc, apparently it wasn't much. :-)

Back in the financial panic of 1905, J.P. Morgan, one of the wealthiest men of his time, lent the U.S. government 20 million dollars of his own money, back when that was a lot more, so it could temporarily keep operating. When Morgan died, Rockefeller commented, "He accomplished a lot for a man who wasn't that wealthy."

Anyway, just a few perhaps irrelevant comments on some of the history of the wealthiest individuals of the time. :-)

I have always been interested in Julia Morgan's work but I have never been able to find enough solid and valuable information about her and her work. I own all of the Julia Morgan books, that is every book written about Julia Morgan. This, by far, is the best composition of the true character of Julia Morgan. Not only do you get an entire biography with incredible detail but you also get insight from hundreds of pictures, scans of actual plans Julia Morgan drafted and entires from other important persons. This book is a must have if you are looking for "the" book covering everything in Julia Morgan's life. This book stands alone among all the other Julia Morgan reads. I suggest that if you are looking for a book about Ms. Morgan, this is the best book, brings the greatest attention to detail that you will ever find about Julia Morgan.

Comprehensive with great photographs, this is a good place to start learning about Morgan's career.

I think this book is the best of the three Quantock Hill stories I've read so far. The scenes in hospitals in France during the war are so real, you feel you are there. As with the other stories, you see some of the same events, but from a different point of view. ... it's a sad story in many ways, and very moving. Definitely read the other books in the series too!

This is one of my favorite books of all time. It's the third in the serries and in my opinion, the best. It's about Julia Purcell, who always feels as though she has to live up to her older sister. Then, she meets Geoffrey Mackenzie who always feels as though he has to live up to his older brother. They fall in love during World War One and when Geoffrey goes off to fight and Julia to nurse, they make all possible atempts to meet. The language used by the author is wonderful, the historical background is wonderful and it has a wonderful story. I would recomend reading this serries in order.

I have read the first three of the Sisters of the Quantock Hills books now, and this one is definitely the best so far. If you liked the other books, you'll LOVE this one (as I do). However, this one is more sad than the others (but you'll but prepared for most of what happens by reading the first two). The other books don't say too much about Julia, but this book shows what an amazing character she is. This book is a wider range of time than the others (Sarah's Story and Frances' Story are 1910-1920, Julia's Story is 1910-1930. Julia's age ranges from about 15-35) but its still REALLY good. you also learn more about what happened with Frances and Gabriel. I haven't read Gwen's Story yet, but I hope to very soon!

I remember when these books were first on display at Borders, thinking I wanted to read this one, intrigued by the romance and how pretty the cover was... "Julia's Story" is another interesting installment in the lives of the Purcells. It covers some of the same events from "Sarah's Story" & "Frances' Story" but also lasts a little longer. It ties up what you were left wondering at the end of "Frances' Story". My favorite aspect of all the novels is how each gives a sisters persepective on the walk they took over the Quantocks. My favorite part in the later story would probably be the few days Julia and Geoffrey manage to steal away, to spend time together in Paris. Their romance is a lot more complex than you were led to believe. It just makes the inevitable all the more sad...if you've read the other books, you know what I'm talking about. "Julia's Story" is definitly not a let down. Parts can be quite sad...but so can life. But it ends on a hopeful note. Definitely read these books - all together they are a great story.

...I got excited, sad, then actually cried. I've never cried while reading a book before. I tried to persuade Julia to say something although I knew it wouldn't matter. This is an extremely sad and compelling book. The sisters have such a strong bond with each other. I STRONGLY RECOMMEND reading this book!!!

This journal has information about his activites and duties as a Pop Artist. It will give the basic information. Keith Haring leaves you wanting more,but knowing that he is keeping many thoughts from you. Keith lets the reader know all that he wants you to know about his short life.

Keith had a fascinating life... although he and I went to the same school, I feel everyone will identify with his message. Read it!

I did not understand nor really enjoy Keith Harings work until I read his journal. His thought processes that develope in the book talk about what he was trying to acomplish with his work. Knowing the angle that he was working from gave me a much deeper appreciation for his work. I think this is a very valuable book in understand Keith's views and philosophies behind his work.

Keith Haring is unbelievably talented. He is one of my favorite artist's--and in his journals I got to understand where some of his compositions came from---If you like his work and you want to know where some of his ideas came from. Check out this book!!!!!!!!!!!!!!!

Keith Haring was someone I would have liked to have known. I recall seeing his paintings, which at the time were almost considered graffiti, around Manhattan in the early 1980's, and, being charmed by his trademark faceless little expressions of mass humanity. He became the artist most identifiable with the 1980's. But, he was much more than that. He was always very aware of his role as an artist, and, without any conceived pretention, what that role meant in society. Some artists are very insular, and develope their art in total privacy, for later viewing. Keith Haring was an artist who wanted people "involved" in the happening of his creativity. These journals, which he began sporadically from his teens, until his death from AIDS in 1990, show someone far more serious, with a sincere social conscience, than his often whimsical style suggests. He had a huge and unquestioning admiration for children, having a connection to them which could be described as what he called a mutual joy in the "gift of life", not yet jaded or corrupted. There are excerpts here which sometimes read like a tedious travelogue, of his shows worldwide. But, they are worthy reading overall because of his observations about people, politics, and the publics reaction to what he was trying to say through his art. He hated the "business" end of the art world, but acknowledged it as a necessity, if you wanted your art to be seen. He especially viewed businessmen and politicians as inheritantly evil and corrupt, making the astute observation in 1987 that white men in particular use "religion and business as a tool to fulfill his greed and power hungry aggression..."Expansion", "colonization", "dominitation", are all filled with the abuse of power and the misuse of people." (Some things never change...) His very sensitive side can be seen in his reaction to the death of dear friend and mentor Andy Warhol. It is very moving, and pays tribute and appreciation to one of his first supporters. He believed in the good of SOME people, in a corrupt world, and in the hope of change for the better in mankind. His art was a reaching out, which he prophetically foresaw as outlasting what he always felt would be a short life. These journals are the entertaining account of the life of a very talented, very intelligent, dear man, and I feel they'd be an interesting read even if their author were anonymous.There are lessons here, and not just for art students. As he intended, his art is what remains. It has a universal appeal, it "speaks" to people everywhere, about life, war, technology, sex, in a language everyone understands. As he observed regarding his need to keep creating, even in the face of impending death... "Work is all I have, and art is more important than life."