Art History Books

The book contains some details about mcQueen's life that only the writer knew , that give a hint about how mcQueen viewed life, danger, and speed.
but the photos are mainly advertising ones and not real life.
i would expect more on the life of mcqueen as a person and not only as an actor

A wonderful work of art that captures what made Steve so charismatic and appealing. It leaves you wishing you could see more from other periods in his life. This is a book I will treasure all my life. Thank you Amazon, I would have paid ten times as much for this book. God Rest His Soul.

According to his foreward to this book, the photographer William Claxton met Steve McQueen in 1962 when McQueen was starring with Natalie Woods in LOVE WITH THE PROPER STRANGER. The two men formed a friendship and apparently Mr. Claxton became Mr. McQueen's favorite and most requested photographer. This book of wonderful photographs, covering a couple of years in Mr. McQueen's life from 1962 to 1964, is a result of that brief friendship. Most of the pictures appear to be shot in available light and have a wonderful, informal spontaneity about them impossible to capture in formal portraiture. Both the photographer and subject are comnpletely without pretention.

Mr. Claxton caught Mr. McQueen smiling, clowning and pensive. There are photographs of McQueen in fast cars as well as on motorcycles. Many of the shots were done while Mr. McQueen was working on movies. There are also many pictures of him with family and friends. Most of the shots are in black and white with a few in color. Every time I look at them I find yet another photograph that I think is the best in the book. There is a haunting shot of McQueen with his young daughter where the child, sitting on the floor and resting on her arms, looks into Claxton's camera. We only see her father's legs and feet. (p. 79) Another great shot appears on page 73. McQueen is embracing the family cat. Finally, there's a shot of McQueen lying on a blanket in a large field. His profile is beautifully backlit. Both photographs selected for the front and back covers are fine, informal portraits as well.

This book made me remember how much I enjoyed Steve McQueen's movies and made me sad that he is no longer among us.

A great book, considering it is of a short period in Steve McQueen's life. This is him in his prime captured by a great photographer.

Very comprehensive. Show's a different side of the rough and tumble character known as Steve McQueen. Very entertaining.

This was a gift for my boss but I just couldn't stop looking through it. What a beautiful book. Very inspiring! I got rave comments... and a raise! Definitely a amazing present.

This was my first book encounter with Andy Goldsworthy and wow- his art ideas are great. I love how he uses nature in his art- and even more so, how the changes in nature are art themselves.

In "Stone," as in his other books, Andy Goldsworthy takes the natural play of a child--fooling around with sticks, leaves, water, stones, mud, and more--and elevates it to something above and beyond its natural status. He uses his adult design skills to create great manmade beauty from existing natural beauty. He never falls over the line into obvious, coy, or precious art--he simply lets nature be what it is with a tiny little bit of rearranging on his part.

The results are never short of astonishing. Witness the sharp-edged rocks against which Goldsworthy has "glued" (with plain water) the leaves of brilliantly red Japanese maples, thereby making the edges look almost bloodied (p. 76). Witness the delicate, calligraphic tracery Goldsworthy stitched up by pinning together rush after rush after rush with thorns and then hanging these on a gallery wall so that it appears that either Calder or Matisse have wandered in and scribbled elegantly on the walls (p. 83). Witness the balanced oval boulders Goldsworthy lays in a curvaceous line from beach to the sea, and see how they roll and disappear from view as the tide comes crashing in (p. 101). These are but three of the many visual astonishments Goldsworthy shares in this book. The book is a never-ending source of delight and admiration for the feverish workings of one of 20th-century art's most creative minds.

Stone, like many of Andy Goldsworthy books, sends the observer to a land that exists only for a brief time. Using the medium of photography, Mr. Goldsworthy captures these moments, in the world he creates, that appear to me as more of a heaven than an earth. If you as a child or if you have watched your child play endlessly with nature, creating masterpieces that may end up being washed away, blown away, or covered in snow, you will appreciate this book for capturing them for all eternity.

A truly beautiful book, with rich photographs and nice summaries. Inspiring to the last page - and particularly useful for igniting one's creative juices. A small note to the Amazon reviewer: Andy Goldsworthy was born in England in 1956. He lives in Penpont, Scotland, but is English - not Scottish.

In addition to Tim Brisko's incredible photography, Matt Alt and Robert Duban provide a brief history of Japanese toys that explains how these toys fit into the grand scheme of things. Recommended!

I bought this book for my husband because he's obsessed with transforming robots. He squealed when he read it. The photography is wonderful and it is like a history book for the ultimate transforming robot fan.

Hi, this is hubby James writing this review...

I just got SUPER #1 ROBOT and it totally rocks. As much as I thought I knew about J-bots, this really showed how much I didn't know. Even if you are well-versed in "super robots" and anime mecha, expect to be surprised by some really far-out machines you've never seen, from shows you've never heard of (but wish you had)!

The photos are wonderful, shot from a proper low perspective, giving these tiny giants their respect. They look like huge works of art here, which in some ways, they truly are. Great work! I am looking forward to Alt's next book very eagerly.

It's about time an American book in english came out on this subject, authored by people who know what they're talking about and thankfully NOT including tin and wind-up robots from the 60s and earlier. This little paperback is what chogokin collectors would humorously refer to as "robot porn." It's a glossy, high-quality picture book that causes salivation and drooling with the turn of every page. Unfortunately it is by no means a complete encyclopedic manual for all toys diecast during the 70s and 80s, but that can't be expected, considering such an undertaking would produce a book (or morelike a series of books) far heftier than this little paperback. Since that expectation is unreasonable, it is entirely forgivable since this little tome covers quite a chunk of the chogokin, vinyl and plastic market, and a nice variety, as well.

First off the book construction is sweet - small and easily handled, it's like a mini coffeetable book with a glossy softcover. I wasn't expecting such a nicely made little book. There is minimal chitchat and all the talent is poured into the photography of the most mint-looking chogokin robots I have ever seen. I think the thing that I was most tickled about was there was a picture of a mint Tetsujin 28 in the front of the book, and a beat up, played-with, broken and paintchipped version of the same robot in the back of the book. The wear on the used robot shows more as a sign of how much that toy was loved, not abused, and anyone who loves collecting chogokin, I think, would get the same tingly warm feeling looking at that beat Tetsujin 28 as the shiny minty one.

There are a few vinyl robots included in the line-up, and I could think of quite a few chogokin that were left out that could've taken up the pages of the vinyls, as I'm not much of a vinyl collector myself; vinyls are a whole other collector market and I can see why they were included in the book, but then again, I would've preferred that they weren't. Vinyls were usually monsters, but the ones that depict robots were the ones focussed on. All in all they don't take up a lot of space. Also the book is an almost even mix between the comical/humorous chogokin like Robocon and Robodachi and the more serious robot gladiators and team robots like the Godaikins; again these are (more or less) two different collector markets and not everyone collects both. As well, there are some Giant Machinders included, which is not even a scratch on the surface for them since there are quite literally hundreds if not more to collect in that category, but this book is really not meant to be a catalogued record of every robot ever made. Even though one will be able to think of some robots that were left out, all the major ones were included. The only complaint I have is that a lot of them are shown not holding a weapon, when many of them are known for their specific or characteristic weapon(s). Some are shown with a weapon, like Garbin, but too many are just robots standing weaponless. Again, though, this book isn't meant to be an official catalogue, so don't expect accessories to be featured.

If you want lists and cataloging of every robot ever made during the 70s and 80s, there are plenty of online sites that attempt to accomplish such a massive undertaking. But if you want to flip through a nice hefty little book just to get the tingly warm feeling of joy gazing upon the robots of your childhood, this book is totally worth it. It's a little window peephole into the past, but man is it worth peeping.

My love affair with Japanese robots began with the Transformer toys of the 1980's...those generation one beauties that were at least part die-cast metal compared to the plastic versions of today. But as a collector my obsession grew once I found out there were Japanese Transformers that were never released here in the states, or were variations on the American versions such Twin Cast a re-colored version of Blaster which cold hold two of the mini-cassettes instead of one, or Sound Blaster which was an awesome black repaint of Soundwave. But as I started to get into collecting these Japanese versions I started finding other interesting toys...Macross I had been aware of for some time, mostly as model kits. And I knew that Takara had licensed a version of the transforming Valkyrie that would be called Jetfire. But then I discovered Popy, Bullmark, and Takatoku, among others and began learning about Mazinger and the Jumbo Machinders and so many others.

While long time collectors may know all the history that "Super #1 Robot" relates, less knowledgeable collectors will certainly find it valuable. The book spans the history from 1972 to the early 80's and covering the first Popy toys right up to Bandai's Valkyries. These toys first started appearing on American toy store shelves in the mid-1970's but under new names with new background stories created for them. We knew them as Shogun Warriors or Micronauts. The book traces the history of Japanese robot toys which began to take off after WWII as weapons factories were re-tooled to make toys. Popy, a division of Bandai, would introduce the first Chogokin Mazinger Z toy in 1974. Made almost entirely of hefty die-cast metal, with bright enamel paints and real firing missiles and fists, they took Japan by storm. By 1977 there were over a dozen giant robot shows on Japanese TV and over two dozen makers of toys.

The book provides a brief history on the main players such as Popy, Bullmark, Ark, Takatoku, and Takara. Popy introduced the Jumbo Machinder in 1973. Standing two feet tall and made of sturdy polyethylene these giant toys would become Shogun Warriors in the states, complete with a Saturday morning cartoon and comic book from Marvel Comics. But the real robot craze would begin a few years later with Takara's Diaclone series of transforming vehicles which would eventually make their way to our shores as the Transformers.

Some 250 pages of full color photos trace the history of these robot toys from 1972 to 1982, just before the arrival of the Transformers. The photography by Tim Brisko is absolutely stunning and is worth the price of the book alone. Each photo has the toy name and number and the manufacturer. So what's pictured? Here's just a brief list: Getter 1 Chogokin, Great Mazinger, Robocon, Robo Meka, Black Raideen, Getter Ryger, Robo X, Gakeen, Dangard A, Buildplan Daikengo, Gokai Dragon, Tetsujin 28, GoLion, Royal Comination Daiojya, Combat Armor Dougram, VF-1F Super Valkyrie, and the Destroid Tomahawk.

This is simply a fabulous book and one that needs to be in the collection of any die-hard Japanese robot collector or fan!

Reviewed by Tim Janson

The occasional case of the mad artist -- gaunt, ragged and living solely in his own creative mind -- has dominated our view of how art is created. In fact, patronage was and is the medium in which most art is created. This beautifully printed book casts a clean scholarly light into this remarkable relationship of artist and patron. While doing so the authors also examine how the demands and desires of daily living and the strains and strengths of personal relationships -- spouses, lovers, friends -- play upon the same chords that the patron touches, for good or ill. All are amply documented by the authors and as with all biography the telling anecdote best reveals the character of the subject. The fact that for decades a fertile art community existed a thousand miles or more from patrons and markets raises the question of whether indeed something special for the art world was going on in Taos. Easily dismissed by many as regional artists in the past, the Taos artists are put in a context by the authors' examination of the skein of relationships stretching to Taos. I would think that the world of art scholarship on that basis alone needs to respond to this well-focused work by examining other colonies, schools and concentrations of artists in the history of our country, for the purpose of finding how those stories of patronage compare. On its face alone the art reproduced in this fascinating book makes the case for the importance of the Taos artists as American artists. But the patronage story raises this question: Why did big city people, living and creating the big story of its time -- industrial, urbanizing America -- choose to support the painters in the desert? It seems to be a paradox. Or is it? We await the next study in depth of artists and their patrons. "Taos Artists and Their Patrons" has set the height of the bar. I hope the authors of this book stay in the game for the next book.

While the literature on American art history has grown enormously during the last several decades, that devoted to patronage remains very scarce, usually directed toward single supporters such as Luman Reed and Mrs. Jack Gardner. Taos Artists and Their Patrons is probably the finest study to appear devoted to a single school of painting, that which arose in Taos in New Mexico at the end of the nineteenth century. The authors have thoroughly investigated all aspects of patronage--exhibitions, individual advocates, institutional support, and many other forms. At the same time, they have presented what must be the finest study of the work of the artists active in Taos, embellished by a wealth of marvellous images, beautifully reporduced. The book enjoys three major accomplishments: it is a definitive study of the nature of American art patronage; it is a thorough review of one of the most important regional schools of art in this country; and it's a fabulous read!

Excellent book showing a great deal of beautiful art from the Taos artists at the beginning of the century. The book does and excellent job of telling the history behind each painting. The book is also very inspirational to artists. I suggest this book to anyone interested in art, anyone who is an artist, or people interested in art history.

In the tradition of excellence demonstrated in his book "Victor Higgins, An American Master", Dean Porter, along with Teresa Ebie and Susan Campbell, has produced another visually and intellectually pleasing work.

Both artists and collectors will learn much by reading this book, for it proves that it is more than technical skill and artistic sensibility that contribute to an artist's financial and critical success.

Those who have instinctively turned to Europe and the Eastern American Artists when wanting to view fine works of art will be enlightened and surprised to learn that some of the finest works of art in this century have been produced not in Europe, but in the USA and in the Southwest in particular.

This is a beautiful and informative book for anyone interested in art, whether they be collectors or art historians or simply those who like to view magnificent works.

Dean Porter and his gifted associates have skillfully authored not only the best book ever written about the "Taos School of Art", but the most interesting and educational. Why is their book different? They departed from the standard biographical information generally available everywhere and continually repeated by other authors in every new book and took the time to bring into focus the collectors and art buyers who made it possible for the artists to make a living at their chosen profession. The many stories, glimpes, and setches of both the artists and collectors make this book most interesting and readable. There are also many new paintings never before shown in other books about this group of artist. There is also a art exhibit that compliments the book. This is a must read and must see for those who love and collect the "Taos School of Art". Like a fine red wine, you wish in your heart you could drink on forever.

McGinnis is a master of his craft, I mainly purchased this book not because I want to paint like him, but when I saw a piece he did for Enter the Dragon I had to commend his visual flair pertaining to movie posters.....the man is a master, and frankly, his Bond women are goddesses. This book conatins some great works of his, add it to your collection like I did.

I can't recommend this book strongly enough. Way back during an age when book illustrators were respected celebrities, Robert McGinnis would have been the toast of the town.

This book is a consumate showcase of an extremely talented artist. Every aspect of his career is covered and it lets the reader see that McGinnis had made a mark in not one, not two, but three different genres.

One: Paperback book art, in which he introduces an atomic age America to his very distinctive brand of woman: amazon tall, lean as a steel pipe and as majestic as a swan.

Two: The genre of movie poster art where he helps elevate James Bond from paperback book secret agent to one of the country's most recognizable pop icons.

And three: A return to his statuesque beauties in arguably the classiest collection of pin-up art the oil canvas has ever known.

As with many great American illustrators, Robert McGinnis settled into his later years by painting brilliant scenes of the wild and tamed West and those works are also given their own section in TAPESTRY.

A must-have for illustrators and art patrons if there ever was one.

This book has filled all my expectations. Before I bought it, I was looking a few paintings of McGinnis, but I was always sure about that this is a great publication. Excellent!

I'm in agreement with everyone else, that 1.) Robert Mcginnis is the best paperback book illustrator ever (perhaps rivaled only by Frank Frazetta); and 2.) This is the best collection of Mcginnis art available in book form. There's only one flaw in the whole thing: it never says what medium the artist uses (I found out it's egg tempera). If you love to gaze at beautiful paintings of every genre subject, or if you are yourself a painter or commercial artist, this belongs on your bookshelf. I've had it for years, and never tire of looking at it. A classic.

I had never even heard of Robert McGinnis until I was linked to this page by the editors' names (the Fenners) who I know from their affiliation with science fiction art. The reviews were so favorable that I decided to gamble on this book without any other familiarity with McGinnis. I usually lose on these impulsive gambles. Not this time. Suffice it to say this book is a total prize, it's just filled cover to cover with extreme beauty.

I am particularly impressed with this man's diversity of talent...he does great "pin up" type art of beautiful women, and then he does these embracing outdoor scenes which are almost within the genre of "Marlboro" commercials and then there are other pieces which are evocative of Norman Rockwell and Maxfield Parrish. Each painting is fantastic and to me represents a dinstinct aspect of the best phenomena in Earthly life. However, there is even a little sci-fi art in here, so not all his fantastic visions are necessarily Earth-bound!

I love unexpected treasure!

I was very pleased with the vast wealth of information provided in this book. It was easy to understand and covered all aspects of the state of the media world!

This is an excellent overview of all aspects of the television industry and what it is morphing into. I can see this being invaluable to anyone already directly involved in, or on the periphery of this industry.

It is educational as well for those not working in the business, or those looking to invest in the emerging technologies.

This book is a must read for those navigating the changing waters of the media industry. It contains a comprehensive industry overview, insightful analysis of current trends, thought-provoking predictions....and, it's an interesting and entertaining read as well.

Television Disrupted is an excellent book, well written and intelligently describing a wide range of complex topics surrounding traditional TV and internet delivered video. It does a particularly good job in describing the recent changes and potential future directions of the television industry.

Working within the software industry serving traditional television, people have frequently asked me what they can read to build their knowledge of the TV business. Historically, this has been a tough question to answer as there have been a few discrete magazine articles that were interesting, but I was unware of any books that were current, accurate, or made sense about the future of TV. Television Disrupted has solved this dilema by providing a great overview of the historical television industry as well as the massive changes that are pending as the television business takes advantage of the opportunities provided by internet delivered video.

In Television Disrupted, Shelly Palmer does a great job at presenting the probable futures of TV. From broadcast to narrowcast, from linear to dynamic and time-shifted,from analog to digital, Shelly explores and tries to anticipate the response of "old media" (networks) to "new media" (networked). How will "IP" and user generated content overcome inertia and established advertising / revenue models? All fascinating questions in a well thought-out framework. In the end and as always consumers will choose and define what is to become a much richer experience known as Television 2.0!

Antonin Artaud's forward thinking and innovatiove views on the theatre are an essential read for any practisioner of the theatrical arts. Wade through the madness and see the light.

I have read this at least once a year for the past four years and it changes my life every time. As I get older and more mature, so does my theatre theory. This is a theatre theory book that all collaborators should read.. from actors to designers, to dramaturgs and directors to Stage mangers and so on.

This is definitely required reading for theatre students. It will help you better understand the shift in modern and experimental theatre that has transpired over the course of the last century. It will also help you better understand the basis for a lot of horrible theatre concepts staged by overzealous students and professors, the world over.... Be wary of people throwing around the Theatre of Cruetly catchphrase as if they know what it means....

I'll admit that this is the first time I've read Artaud. And I'll admit that when I began reading the first section, The Theater and the Plague, I thought on numerous occasions, "Where is this guy going with this?" Upon concluding this section, and after picking myself up off the floor, I returned to the beginning for a another read through, and again, afterward, found myself floored. Artaud presents a take on theatre like none other. A take that many may disagree with, but few can deny the illuminating profundity of his analogies, correlations, and general theatrical philosophizing. But don't think Artaud is without a sense of humor. With a blurt like, "I saw some sort of human snakes, otherwise known as playwrights, explain how to worm a play into the good graces of a director...", whose not going to let out a chuckle? (Especially if you're guilty). In addition, this book boasts some of the best writing that I've ever read. His writing is crisp, unmasked, and intellectually and visually stimulating. And as an added bonus, nine "I'm an ugly man smoking a cigarette" black and white photos precede the text. At $10, "The Theater And Its Double" won't disappoint.

Antonin Artaud's obsession -- and I don't think that's too strong a word in this context -- lay in building a new philosophical framework for live theater, one that would give audiences unmediated access to powerful metaphysical truths. This book is keystone text that illuminates the rest of his life's work. Ultimately, it's not a satisfying one because of its repetitive and mystical nature and because, placed in historical context, Artaud's conception of what should constitute living theater seems somewhat constricted to later, media-saturated generations.

Let there be no mistake, however. The theatre francais of Artaud's day was hidebound by convention, a convention that surrealism took as somewhat of a challenge to overturn. Artaud's plea for a theater that would de-emphasize the spoken text and accord more emphasis on light, sound, movement and elaborate combinations of anything non-verbal that could be brought to bear on audiences is part and parcel of the surrealist rejection of theatrical convention. It is striking that Artaud, himself a marvelous film actor, dismissed out of hand the notion that motion pictures as an art form could do what live theater could not. In this respect lies the most obvious example of his limited vision. Film would eventually provide the director with all the tools that Artaud dreamed of for his Theatre of Cruelty. Bergman, Fellini, Kurosawa and Tarkovsky would all draw heavily on the notion of subordinating conventional dialogue to image and sound. Artaud's notion of theater is further undercut by the rise of television, its ubiquity and, in the age of digital electronics and computers, its raw immediacy. Television gives us unmediated images of real violence and conflict, of death on a horrendous scale, but many of us would rightly question whether being directly confronted by the unreasoning cruelty of the world we live in is especially ennobling or enlightening. In fact, many of us might argue the opposite, that it coarsens us, that it hardens the soul against outrage.

So, why give Artaud three stars for this book? Because there are some very crucial things that he gets right in this collection of essays. Most importantly, Artaud draws repeated attention to the flaws of complacency in theatrical production. It took an Artaud to remind Western civilization that theater's roots lay in public spectacle and religious rite and that its estrangement from those roots was killing theater as a living form of art. It took an Artaud to take theater off the stage and put it into the public space surrounding the audience, breaking the plane of conformity that separated actors from audience. Artaud, perhaps most ironically, reminds us that we call theatrical performers "actors" for a very good, but forgotten, reason -- their art at its peak acts upon the audience with a transformative power.

This very dense and, at times, mystifying collection is worth the effort required to read through it and come to grips with intellectually. I would especially encourage anyone interested in film as an art form to read Artaud and ponder how his insistence that a wide range of sense data can reconnect an audience with vital truths could be adapted to the cinema. For here, in a new art form that is still willing to tap into daring innovation, is where Antonin Artaud's passion is most likely to find a permanent home.

What I like most about this book is that it takes a few months from 1957 on a film location and tells how it feels to be there. The movie was not great, and it was forgotten soon enough. Yet, the atmosphere of film making and the camaraderie of the crew and cast is just a wonderful experience. Yes, they had some terrible times, with ego clashing and scandals covered up, but it is such a nostalgic little story, reading like a novel. All the people in the story, Audie Murphy and Michael Redgrave, mostly are fascinating, and how nice to have a special look at them. I truly enjoyed this armchair escape to another time and another place. Thanks!

This really is a marvelous book--full of all the details and asides that you don't get to read elsewhere. I found it amusing as well as informative. The author, Dr. Russo, clearly knows his subject--and shares his knowledge in a very entertaining way.

I have an interest in war, Japanese and Asian affairs. Amazon recommended The Quiet American with Michael Caine. Somewhat a Caine fan, I ordered it and liked it for what it implied about early US involvement in Vietnam. Amazon then recommended the dvd version with Audie Murphy and Michael Redgrave which I tried. That was different. What was going on? What had Graham Greene really written? Ordered and read new Penguin edition. Both film versions took liberties. Why? Amazon suggested A Thinker's Damn by Willima Russo, which finally sorted out for me why the Murphy/Redgrave version differed from the Greene book. Russo also filled in a huge number of additional details and insights about this first film version. The two dvds and the two books provide a very good look at book to film adaptations, and three people's impressions about US policy in early Vietnam. I wonder if Russo has written about the Michael Caine version; it is the one I prefer, even though I am a fan of Michael Redgrave who portrays Fowler in the early film. A good number of photographs illustrate this book.

This book has info about Audie that is not anywhere else. The author interviewed people close to Audie who never have talked about him before for publication. The movie The Quiet American was a special project for him, according to his best friend Willard Willingham. He soon hated doing it because Vietnam, even in 1957, was not a pleasant place before the war. This book reads like a novel but is all true. If you really want insights into Audie Murphy, you must read this book. Despite all that happened, he knew what he had to do. He was not just an actor. He was a hero--and in the Quiet American, he played the part to perfection. There is another remake of the movie now filmed, but nothing can top the original.

What I like most about this book is that it takes a few months from 1957 on a film location and tells how it feels to be there. The movie was not great, and it was forgotten soon enough. Yet, the atmosphere of film making and the camaraderie of the crew and cast is just a wonderful experience. Yes, they had some terrible times, with ego clashing and scandals covered up, but it is such a nostalgic little story, reading like a novel. All the people in the story, Audie Murphy and Michael Redgrave, mostly are fascinating, and how nice to have a special look at them. I truly enjoyed this armchair escape to another time and another place. Thanks!

I haven't found a Royo art book I didn't like, but this is one of the best ones. He depicts harsh future worlds: some with machines, some with fallen angels, others with a "Planet of the Apes" theme. One of my favorite types is the kind with a mostly abandoned world, complete with the skeletons of buildings and torn yet sexy clothing of the women who still inhabit that world.

His women certainly are sexy, but much more than that. The women suffer, but endure these future worlds, and often come out the stronger for it, making the illustrations more touching and powerful.

There are also a few cover arts for futuristic space novels by Julie E. Czerneda, which also have strong women as depicted in Royo art.

Being a long time fan of Luis Royo's art work, I expected some of the same poses, same features and same colors in III Millenium. To my wonderful suprise, he has taken a dip in the deep end of his talents and emerged with fantastic, horrific and touching artwork. He is, without a doubt, a master at his craft and transmits feelings to the viewer that are like a raw slap in face. For those of us who appreciate fine art, there is no comparison.

Wow! When I heard about Royo, I decided to look around for some of his work. When I bought this book I was delighted to see that my favourite picture, "The Announcement" was in it. The subtle blue in the eyes of the child are beautifully hypnotic. I personally enjoy drawing and I have to say Royo inspires me deeply. His blend of the female flesh with cold automatons is beautiful. What might seem like weird to individuals who look at this book, aesthetically, Royo has won my admiration because he is bold and different and that's what makes a unique artist.

Once again Luis Royo has created a world of wonder for his fans. Anyone who is a serious collector of his work should own this book. His imagination has created a world of the future that only pure talent could capture on canvas, and make us believe that Three Millenium may look just as he presents it. Incredible!

This book will lead you into the future, as Royo sees it. It's dark, ice-cold, scary. Barren landscape, ruined cities, machine making love to astonishingly beautiful women; monkeys control humans. Fallen angels turned to stone, yet capable to make love to each other. The colors are grey, brown, green, which make the light even more vivid. The details are painstakingly taken care of - just like everything Royo makes. You will find women in this book (too) which you wish you'd meet in real life - if you're a guy, like me :)

i liked the pictures in the book though there is not a whole lot of written material on Tibet. it is a perfect book for someone who is curious about Tibet with all its beatiful pictures and some history. this is a good book to ocassionally go through the pictures again. it is an excellent book to show to a friend who drops by your house or a gift to your children.

The following is a review of The Tibetans: Photographs by Art Perry that appeared in the December issue of Photo Metro magazine.

Perhaps the best book to date on Tibet. This work goes beyond the easy cliche images of dramatic landscapes and content-less smiling figures that populate so many other books. This is no parachute in, shoot pix, and fly out to publishers and galleries book. Perry spent five years on the project and represents both the beauty and the grit of day-to-day life. It shows. The book is quite well designed with intelligent text by Robert Thurman.

The following is a review of Art Perry The Tibetans: Photographs that appeared in The Toronto Globe and Mail, April 8, 2000.

(Headline:"Turning the spotlight on photography books," by Martin Levin.) For many years, B.C. writer and photographer Art Perry has documented threatened cultures, including the Nubians and the Mayans. Here he turns his attention, and his fine black-and-white photographic sensibility, on Tibetans, the world's most famous enigmatic people. Perry takes us to remote monasteries, up the Chang Tang Plateau and to the Tibetan exile communities in India and Nepal. The whole conveys a powerful sense of meaning - and loss.

The following article appeared in The Vancouver Sun, May 10, 2000

'Tibetan images snag major prize for local photographer' by Michael Scott, Sun Visual Art Critic

Vancouver photographer Art Perry has won a major international award for his large-format photographic book The Tibetans: Photographs. Perry, an instructor at Emily Carr Institute of Art and Design, becomes the second winner of the $30,000 Roloff Beny Photography Book Award at a ceremony in Toronto. (Magnum photographer Larry Towell received the first Beny Award for his book El Salvador.) The publisher of Perry's 1999 book, Viking Studio (an imprint of Penguin Books), will share in the award, receiving a $20,000 prize of its own. Perry spent five years collecting images of Buddhist societies in the Himalayas, working primarily in Tibet, but travelling also to Ladakh and Nepal. Last year, the Washington Post named his book one of the year's 10 best. A Vancouver Sun reviewer wrote: "Perry takes us from the slightly familiar markets and brothels of Lhasa clear through to the monasteries and mountaintops that have not been otherwise documented. The text is as clear-eyed as the pictures, but the message it contains is not entirely pretty. Though Buddhism practiced by the Tibetans will certainly endure, Tibetan Buddhist culture is very much under attack, perhaps by we western cultural imperialists, certainly by the country's Chinese occupiers. Read it, or just look at the pictures, and those Free Tibet bumper stickers will seem a lot more immediate." Here in Vancouver, Perry teaches a multi-disciplinary course at Emily Carr on the history of bohemianism - a course that covers film, punk rock and jazz as well as visual art. (I start by telling my students to stay up all night before coming to class," he jokes.) Perry also teaches a course in contemporary literature, a field that has sparked his interest in his own Irish roots. He says he will spend part of the Beny prize money on a sabbatical year in County Monaghan in northern Ireland. Perry plans to pursue both writing and photography during this time. "I have to say I am very, very honoured to be receiving this award," he says. "My father had some of Roloff Beny's big books and I grew up handling those incredible pages. There aren't people in those images, but they were lush and magnificent." Expatriate Canadian photographer Roloff Beny made an international name for himself in the 1970s and early 1980s chronicling a world of sensual beauty, with major large-format books on subjects such as pre-revolutionary Iran and Italy. He died in 1984.

The following is an article that appeared in the National Post, Toronto, May 11, 2000

(Headline: Photography book award, by Finbarr O'Reilly, National Post)

Vancouver-based photographer Art Perry has won the second Roloff Beny Photography Book Award for The Tibetans. The country's top photography book award, presented last night in Toronto, earns Perry a cash prize of $30,000. His American publisher, Viking Studio/Penguin Putnam, also gets $20,000, while two runners-up, Courtney Milne and Linda Rutenberg, get $5,000 each. Perry, who is a lecturer at the Emily Carr Institute of Art and Design, spent five years travelling throughout Tibet and the exiled Tibetan communities in India and Nepal, documenting with a camera the people he met along the way - monks, nomads, city dwellers. Through the Dalai Lama, Perry gained access to seldom-visited monasteries in remote regions where he captured a traditional way of life that is being threatened by the Chinese occupation of Tibet. In a current project, the Ottawa-born Perry has been documenting in both writing and photographs the fractured cultures of Northern and Southern Ireland. The project, which he began in 1998, is a lifelong dream of Perry, whose family is from Belfast. The award was created in memory of Roloff Beny, a world-renowned photographer who was born in Medicine Hat, Alta., and is intended to encourage excellence in photograph publishing.