Artists Books

I love this artist and am always inspired by this book. I first bacame familiar with this artist through a series of greeting cards made from his art. When my mother found this book we both had to have one. It is a nice shelf size, with full page and double page images. There are also excerpts that are blown up to show detail, sketches to show initial concept and process, and clever writing to keep you engaged in each piece. I was delighted as I read the book to find out just how much symbolism he uses. It makes his pieces much deeper than the common fanciful fantasy art. It was a real pleasure learning more about James Christensen. No matter how many times you look over these pictures, they will never get boring. You'll always see something new.

I love this book! I am an artist and illustrator. When I need inspiration to open my own creative juices, I study the pages of this book. Christensen's images come from a pure expression of the inner creative child blended with the quirky imagination of a "Renaissance" painter gone wild!

I got this book as a Christmas gift along with a painting by the artist. He's a good artist. Make no mistake about that. But you'd better be an ardent gamer to really enjoy his subject matter.

There's really no way to tell what James Christensen's art is like. It's as unsatisfactory as trying to describe what chocolate tastes like to the person who's never tasted it. It has to be experienced to be appreciated.

This is a wonderful collection reproducing almost all of Christensen's earlier work. It includes some "serious" works of which the artist clearly is a master, but his fantasy art is unlike anyone elses. It takes flights of fancy and works of whimsy to completely new heights. The person who can go through this delightful romp among a truly creative genius' works and not find themselves smiling for most of it is suffering from an atrophied sense of humor.

If you like fantasy, get this book. If you like art, get this book. If you have a sense of humor and the willingness to use it, get this book. Warning: you may have to take this book in small doses, or your smile may suffer from overwork.

This book causes you to see through the eyes of a child again, playing with reality and delighting in possibilities. It gets your "imaginative juices" flowing to where you won't look at ordinary, every day objects in the same way again. The artist provides the reader with insight into his whimsy, while at the same time providing a magical feast for the eye!

Beautiful reproductions of many of his best pieces. If you don't have the original serigraphs, these are the next best thing. Ed Lane

This is one of the best books by a great 20th century artist, illustrator and educator. The art is there in all its beauty and simplicity. Charlie Harper was never one to go out of the way to self promote or market his name or art. He was the real package, a nice person, first, and then one of the most creative artist of the 20th century.
Charlie never copied anyone and came years before the creation of the "graphic designer". He was an illustrator in the era of commercial artists not graphic designers. He proceeded the "clean" look of graphics that existed in the 1970s and 80s. In that respect he helped young illustrators and designers look for a way to simplify their approach to solving creative problems. The success of any visual artist is in the work and not the words. Take an opportunity to introduce yourself to this under exposed artist. I'm sure you'll enjoy the visual trip and get a chuckle out of his humorous comments.

These pictures are the perfect combination of art and wit-- there is a wonderful discovery on every page. Harper's captions are just as entertaining. This book enchants adults and children alike.

"Beguiled by the Wild: The Art of Charley Harper" tickles all my funny bones. He has delighted me with not only his unique art but also whimsical description and insights into the animal kingdom.
I am on a hunt for the proper bookstand to display this book, to be smiled at page by page.
I am charmed.
Karen of Maine

This book is a great value for it's price. Alot of color prints and a wonderful samples of Charley's style. Charley Harper is a huge talent and this book is a wonderful example of that.

OK, my order finally arrived today, I opened the book, what a disappointment!

To begin with, the plates are VERY small (especially those of the 2nd part). I mean, how are we supposed to blow them up without sacrificing the quality of the drawing?

Secondly, I don't see what the fuss is all about. Copying the old masters is standard practice for learning anything, whether that's drawing, painting, music or creative writing, for that matter. While I accept the value of starting from something easy and then progressing to more difficult exercises, you can achieve the same results by taking any of your favourite drawings (e.g. Leonardo, Michaelangelo, whatever) and copying them painstakingly.

John Ruskin's "The Elements of Drawing" is also worth reading (it has some good lessons on learning by copying, and not only.)

This is the best learning tool out there short of having an actual teacher. Hundreds of drawings waiting to be imitated in order to correct ones vision of what one sees. Finish this book and you'll know how to draw. Method used by many artists in the past including van gogh. This is my favorite of the dozens of art books I own. Am also glad someone mentioned buying it from the museum rather that the overpriced vendors offers.

The Dahesh Museum of Art is taking orders right now (Sept. 2007) for a new printing of the hardcover English version of the book, to be shipped at the end of October. I just put in my order, the new price is $95 (it was $90 at the first printing). For those who have been waiting to purchase this book for months, the new printing is only a few weeks away.

I've heard many times that students of drawing used to draw from master drawings and plaster casts before being allowed to work from life, but I was not aware that courses were in place to direct such study. One course that came into existence under the direction of academic artists Charles Bargue and Jean-Léon Gérôme, at once a definitive statement of ideals and a last hurrah for the academic tradition, was edited by Gerald Ackerman and published a few years ago.

Ackerman writes:
"The abandonment of the study of the classical ideal in the last quarter of the nineteenth century was a serious break in an established yet vital artistic tradition. After all, Western art is an artificial activity that became self-conscious in antiquity and again in the Italian Renaissance, each time articulating an intellectual, apologetic theory of art that continued to influence the creation and teaching of painting over the centuries".

"The twentieth-century break in this developed tradition is problematic for young, contemporary artists who may not be attracted by the many schools and movements of modernism but are instead drawn to the imitation of nature. Without access to the rich lore and methods of humanist figure painting, they find themselves untrained and underequipped for many of the technical problems that confront them as Realists. Without help, today's young Realist artists may end up uncritically copying superficial appearances, randomly selecting from nature, and unwittingly producing clumsy and incoherent figures".

I've pointed out before that our present situation in art is not characterized by pluralism, but by false pluralism. Real pluralism would provide for a situation in which both the realists and the various modernists could flourish together. Instead, realism as it would have been understood by Gérôme is not generally taken seriously by art professionals and not commonly taught at schools.

The change has been good for the various modernists - I feel like I came out okay - but bad for the realists. The above is one of the first acknowledgments I've seen that the tradition of painting and sculpture requires a community of like-minded people for sustenance. The realists have it especially hard because their craft is so difficult.

No doubt about it - if you copied every plate in the course, as is recommended, you would become a champion renderer. You might also die of boredom; I doubt that each and every plate is necessary to get the fundamentals across. You might also find yourself at a loss when faced with the female model, as not a single plate in the last series, which pictures the figure in schematic sketches, is an image of a woman.

But it's clear that realists need a particular kind of education, and I think it would do the modernists no harm to revive parts of the traditional curriculum. It didn't interfere with the progress of the Impressionists, the Cubists, or the early abstractionists. Ackerman's book provides an important look into the past, and suggests constructive ideas about how art could be nurtured in the future.

The book is a complete reprint of the fabled but rare Drawing Course ("Cours de Dessin")of Charles Bargue and Jean-Leon Gérôme, published in Paris in the 1860s and 1870s. For most of the next half-century, this set of nearly 200 masterful lithographs was copied by art students worldwide before they attempted to draw from a live model. This book will be valuable to a wide range of artists, students, art historians and collectors, even as it introduces them to the hitherto-neglected master, Charles Bargue.

The Drawing Course is separated into three sections, in an ascending order of difficulty. The first section consists of lithographs by Bargue after casts of sculptures, mostly antique examples that present the structure of the human body with remarkable clarity and intelligence. The second part contains the lithographs that Bargue made after master drawings by Renaissance and modern artists, and the third section almost 60 exemplary drawings of nude male models.

The first two sections were for use in commercial or design schools to teach the principles of good taste based on classical form, the better to turn out competitive goods for commerce and industry. The last section, drawing from live models, was reserved for fine-art academies, opinion being that such training was beyond the grasp or need of humble commercial artists.

By and large the subjects for the plates are quite elevated. A prettily turned foot is taken from the first-century Medici Venus at the Uffizi in Florence; a sinewy shoulder and arm from Michelangelo's ''Moses'' at San Pietro in Vincoli, Rome; and the serenely spiritual-looking head of Anne of Brittany, wife of Louis XII, from her recumbent tomb figure by Giovanni Giusti (1515-22) in the Cathedral of Saint-Denis in Paris.

This portrait was a subject of fascination for van Gogh during a period when he was studying for the ministry. ''The expression of Anne of Brittany's face is noble, and reminds one of the sea and rocky coasts,'' he wrote to his brother in 1877, mentioning that he had hung the plate with her likeness in his room.

Experienced artists will recognize the skill and insight with which Bargue solved problems of drawing from nature; they will want to copy these plates to sharpen their professional skills. For art students, the Drawing Course is a practical introduction to realistic drawing based on the observation of nature, a course blissfully free of the usual charts and schemata requiring memorization and often productive of stultification.

For art historians, the Drawing Course documents the longstanding tradition of accurate draftsmanship prized by the late nineteenth-century figure painters who stood at the convergence of classicism and realism.

This volume concludes with a biography of Charles Bargue and a preliminary catalogue of his paintings, accompanied by reproductions of works both located and lost. Bargue started his career as a lithographer reproducing the drawings of commercial illustrators for a popular market in comic, sentimental and erotic subjects.

By working with Gérôme, and by preparing the plates for this Drawing Course, Bargue was transformed into a master painter, equipped with the skills to match his taste, talent and ideas. He became a master of telling details and exquisite tonal harmonies.

For a die-hard Peanuts fan, this series is a must-have!

This series is going to be a regular drain on my bank balance for the coming decade, as that is how long it is going to take Fantagraphics to finish publishing this collection, if they stick to their published schedule.

Be warned: The Sunday strips are not in colour unlike the Calvin & Hobbes and the Farside collection in which even the black and white strips are printed on colour pages. This quite pisses me off...

Finally, a Peanuts collection in chronological order and nothing left out. It's going to be a long wait indeed...

I've always thought of creating a bookshelf of hard cover with all my favourite comic strips, when I could afford them... Calvin & Hobbes, Farside, Tintin, Asterix & of course Peanuts.

I have the first two, and I'm on my way with Peanuts... It's going to be a long and interesting 11 years...

Everyone's favorite beagle comes into his own in this fourth volume of the best-selling COMPLETE PEANUTS series. Snoopy covets Linus's security blanket, indulges in imitations and impressions,joins the baseball team and, toward the end of the book, he even--an epochal development!--starts sleeping on the roof of his doghouse.

Of course, fans of Schroeder, Lucy, Linus, Patty, Pig-Pen, Shermy, Violet, and Charlie Brown will also find plenty of hilarious strips to enjoy as well including several hundred that have never seen print in book form before today.

There was a time when the newspaper comic strip was HUGE. In the early 1900s, the success of a newspaper was in part due to the comics it featured. That era has long since disappeared, and it often seems that the comic strip is a neglected relic. There are still some good comics out there, but they are getting rarer and the newspapers treat them with less and less respect, cramming many onto a single page that used to hold just a few.

Where does Peanuts fit into all this? Well, it is the most popular comic strip of all time. Does any other strip have anything close to its legacy of movies, TV shows, plays, books and merchandise? And happily, it is deserving of its success; it is arguably the best comic strip ever, and certainly one of the top ten or so. As a result, it is not hard to see why the newspapers continue to publish old strips years after its creator, Charles Schulz had died. They don't stop printing it or allow another artist to take it over. The comic strips overall are a pale shadow of what they once were, so repeats of Peanuts can prosper because nothing new can replace them.

Volume 4 of the Complete Peanuts is where the characters are really beginning to show their full development. We have Lucy, the champion fussbudget and Linus, her philosophical brother with a dependence on his security blanket. Schroeder is the budding musical genius. Patty, Violet and Shermy are mostly supporting characters at this point; they will be eventually replaced by other characters (but not in this volume).

The two key roles, however, are those of Charlie Brown and Snoopy. Snoopy is up to his usual antics, pretending to be a vulture, grabbing at Linus's blanket and relaxing in his water bowl. He also starts his practice of lying on top of his dog house, although his first attempts are not all that successful. Charlie Brown is, well, Charlie Brown, the ultimate loser who the Fates themselves conspire against. Kites won't fly for him, pens constantly smear and if, by some remote chance, his baseball team is doing okay, they heavens themselves will open up and rain out the game. His "friends" are often cruel to him (with the exception of the benevolent Linus and the aloof Schroeder). In a way, the main theme of Peanuts is defined in the very first strip (in volume 1) when Shermy says, "Good old Charlie Brown...How I hate him." This seems to be the way the whole world thinks of this hapless character.

Peanuts may seem to some to be just an overrated strip, but I don't think that's so. It may be overly merchandised, but the comic itself is a cornerstone of the genre and one of the most influential strips out there. This volume again shows why Peanuts is one of the all-time greats.

Here the Peanuts gang becomes familiar, as they start hitting the usual topics that would develop and blossom over the years. Every one of the main characters has secured their place, and Snoopy starts his development into the multi-faceted character we know and love.

Probably the best thing about the book is that we watch Charles M. Schultz modify and mollify his characters. In 1957, quite a few of the Sunday cartoons show Lucy becoming too much the bully, abusing her younger brother viciously without cause and causing no end of pain to Charlie Brown. During 1958, Lucy develops a vulnerability and Linus becomes more an actor, sometimes getting back at his sister and sometimes causing his sister's temper tantrum (it's easier watching her blow up when she has a cause). Schultz could have blown things with Lucy, but with a few modifications between her and Linus, a balance is made that makes things more interesting.

Now, here's to next April, and 1959-1960.

Rest in peace Dondi, your art will never die! If you liked Subway Art and Spraycan Art then grab yourself of a copy of this absolute gem as Dondi was truly up there with the likes of Seen etc and my favorite Dondi piece still has to be the children of the grave. Buy this as in a few years when it's harder to get your gonna regret it and probably pay a lot of dollar.

i grew up in brooklyn in the 70s and was witness to much of what is shown in this book. there are dozens of train photos from all phases of dondis subway days which i spent much time looking at. what really fascinates me though are the hidden things in these photos. anybody pick up on the iz the wiz throwups in the top photo of page 26. how about the le throwup in the top photo of page 57 or the blade tags inside the windows of the photo on pages 71/72? ever wonder what are those pieces faded beneath so much of dondis work? the birth of graffiti book out recently showed the very beginnings of the graff movement in nyc, but there seems to be a lack of photo/written history of the stuff from that time till the late seventies. i wonder how many people know how cool it is to just sit, relax and look at something like this that you've admired for so long without having to run down a train platform and try and commit to memory the amazing blur that just went by. the interview with dondi was very insightful and actually gave me a renewed appreciation for his work. the book itself is medium sized, hardcover and the paper is of excellent quality. i would love to see more books like this on other just as prominent writers. blade, lee, seen etc.

this is one great book,very well detailed from dondis underground train bombing days plus his days when he was hitting up art gallerys and it even tells you about dondi b4 he was even a writer.plenty of great pics plus lots of top reading too.one of the better graff books.

What can I say an excellent book from an excellent artist, I am sure Dondi and others form the late 70's to early 80's movement in NYC never would have thought that their creations and inovations would become such a world wide hit and change cities across the world. From my early days as a youngster starting out in Graff in 1985 to now as a somewhat maturer but always youthful graff lover I can definately say that this book was like turning back the clock, and boy was I shocked to hear that he was never caught, "I just wish I could say that"!. A well documented and presented book but sad he is'nt here still to have written it himself "RIP DONDI"

This is one of the must-have books if you dig graffities! It features lots of beautiful photos, sketches and actual pages from the Dondi's own black book. Hardcover with slipcover gives a good value for money!

It is always great to have the chance to glimpse the work process of the masters in photography. This book provides enough information for anyone wanting to better their work in black & white and to learn from the best.

Inspiring, fascinating, revealing. Ansel Adams writes "the story
behind the pictures", the why, the how. Not necessarily or always the
"technical" details, but certainly the "artistic" inspiration.
The reproductions of his photos are good, although having just had
the pleasure of seeing the actual photos in Washington DC, they
simply cannot convey the complete splendor and impact of the originals.
Well worth reading!

I bought this book to give to my kids. My mother gave me one 20 years ago. Ansel Adams took portraits of my Great Grand Parents and put it in this book. I want my kids to have copies. If you are a photographer, there is a lot of info about how he took the pictures.

Nice to be able to go back to basics in these times of megapixels and gigabytes.

There are many great books about photography, of which this is just one, but there are relatively few books about how to be a great photographer. On the latter topic this book is exceptional.

Ansel Adams was clearly both a gentleman and a gentle man, who lived to create great images for the pleasure and education of others. We are exceptionally lucky that he left us both his wonderful pictures, but also a few books which explain not only how, but also why some of them were created.

This book covers a photography career of over 60 years, taking 40 of his greatest pictures, and describing how they were made. Although much of the technical advice is still valid today, a lot of it requires on the fly translation from the language of large format cameras and glass plates to the world of digital SLRs, with tiny sensors and vast memory cards. That exercise might put some people off, but it makes you think harder about his advice, and that's a good thing.

However, where this book really scores is with the human stories of how and why Adams made certain pictures. Two examples stick in my mind.
Firstly, how one of his iconic views of Yosemite was made after a day's hard hiking with a full size view camera, large wooden tripod, and just twelve glass plates. He suspected that he had wasted the first eleven, and had just one left for a favourite view of Half Dome. He took extra care with that one, and the results are still thrilling 80 years on.

Then there's his tale of photographing 50s Californian farming families. This is a charming insight into how a great photographer of people develops both trust and ideas, lubricating both with an appropriate supply of beer. You suspect these days were not so hard for Adams as the great Yosemite hikes.

"Examples" also contains some remarkable philosophical insights into the process and role of photography. The one which now sticks foremost in my mind is that enthusiasm for a subject will not create great photographs - you have to visualise the image and its impact mentally, then make it. This is perhaps the single most powerful piece of advice in the book.

In 1935 Adams was concerned that the advent of 35mm would result in a vast number of bad photographs. Yet he was keen on the new medium, because he could also see its benefits. The same page could be written ten times over about digital photography, but you know that had Adams lived a little longer he would have been a keen PhotoShop-er.

This is a good book on photographic technique, but there are others. But there are few books which give such an insight into the soul of a great photographer.

Fantastic book! What a joy! I agree with some of the other reviews that this is perhaps, not a book for novice sculptors. However, if you are working in clay; already been creating sculptures; and are looking for a way to increase the size of your work, this is the book for you. It will be a timeless treasure for me. Just seeing how other sculptors are currently working gets my juices flowing.

Pay particular attention to the "gallery" at the end of each section. After being blown away by the featured artists work, you get into their heads a little more by seeing examples they have chosen of other sculptors work. Good stuff!

If you are a beginner, don't be put off by the lack of basic information. Go take a class in clay--whether it's on the wheel or hand-building--get inspired and keep this book to remind you of what could be in your future.

Better than expected. Some novel and interesting techniques as well as anatomical knowledge put to use in unique visions makes for a very useful book for beginner and advanced sculptors. There is just enough personal and aesthetic information to make me want more. And, the focus on individual artists who then select other admired artists offers a sense of network and insight.

I am fairly new to building in clay, and I found this book a treasure trove of ideas and techniques by masters of the art. The book is beautifully illustrated, and each of the artists describes their personal vision with regards to their work and then gives a detailed description of the process and techniques used in creating a piece along with formulas for their clay bodies, glazes and firing techniques. I found this book very helpful and inspiring.

I've been wanting to get into ceramics for a while and this book was just the thing to get my creative juices flowing. It has many (500 actually) beautiful pieces to admire, with such a wide selection of styles. I love that it has a both beautiful and grotesque figures revealing so many artistic view points. It's definitely not a "how to" book, with just enough info to get a basic idea of how each piece was created but the beautiful photographs and wide variety of sculptures makes it well worth purchasing.

A rich and exciting collection of wonderful artists and a never ending wealth of inspiration. My favorite book of contemporary ceramic art

I bought this book for my nephew and it is a nice quality board book that has poetry along with images of Van Gogh's famous paintings. Even the adults enjoy looking at the artwork!

We bought the 4-box collection which includes this book, and have bought many of the others since. My daughter loves them, and they are a wonderful addition to any child's library.

My 16 month old son enjoys this book very much. He is fascinated by the images and he likes to listen to the rhymes as well. An excellent introduction to art.

Little ones love these colors, Van Gogh used a lot of vivid colors and they are just as stimulating as Seuss illustrations. Finally a book parents can ejoy reading to their kids!

I am a preschool teacher and enjoy teaching three year olds about art and artists. One artist that we recently studied was Vincent Van Gogh. The children painted sunflowers just like Van Gogh. They loved looking at this book and hearing the story that went along with it. They spent a lot of time studying his sunflower painting in this book and then painted beautiful sunflowers of their own!

December 14, 2005

Woonsocket Harris Public Library Board of Trustees
Diane Rivers, Chair
Dorian Parker, Vice-Chair
Lisa Sparks, Secretary
John Pellizzari
Ernest "Buddy" DiSpirito
303 Clinton Street
Woonsocket, RI 02895-3214
Fax: 401-767-4140

Dear Members of the Woonsocket Harris Public Library Board of Trustees,

On behalf of the 2,900 members of PEN American Center, an international organization of writers dedicated to protecting freedom of expression wherever it is threatened, we are writing to express our deep concern over the fact that the Woonsocket Public Library Trustees are considering a request to ban It Stops with Me: Memoir of a Canuck Girl written by native Woonsocket author-artist Charleen Touchette.

We understand that a citizen request to ban the book was made at the Library Trustees' September meeting. The Library Trustees removed the book from the Woonsocket Harris Public Library shelves after the September meeting pending a decision.

It Stops with Me: Memoir of a Canuck Girl, the latest work by author-artist Charleen Touchette, invites you into the provincial world of a French Canadian girl in Rhode Island who cannot tell anybody her family secrets. Years later when she has her first daughter she must relive her childhood to heal the future generations of her family. It is a story of survival and triumph as a victim of childhood abuse and was written for an adult audience. The novel tells a realistic story with complex figures. Such books help readers approach sensitive topics and figure out how to deal with them. Even if the novel's themes are too mature for some, they will be meaningful to others. No book is right for everyone, and the role of the library is to allow community members to make choices according to their own interests, experiences, and family values.

Author Charleen Touchette, a member of our colleague organizations PEN USA and the Author's Guild, advocates for the freedom to write worldwide. It Stops with Me has been praised by authors Lawrence Ferlinghetti, Louise Erdrich, Margaret Randall, Ana Pacheco, and Winona LaDuke, and received a Foreword Book of the Year 2004 Finalist Award.

PEN American Center respectfully asks you to deny the request to ban It Stops with Me: Memoir of a Canuck Girl and to return it to library shelves. By doing so, you will be upholding a fundamental principle of freedom: the right of all Americans to read, inquire, question, and think for themselves.

Thank you for your attention to this matter.

Sincerely,

Hannah Pakula

Larry Siems
Chair, Freedom to Write Committee Director, Freedom to Write
and International Programs

"This book is incredible." Louise Erdrich
"beautiful book." Lawrence Ferlinghetti
"Tough, evocative, border-crossing, honest, unflinching...large enough so it can embrace its readers. Margaret Randall, Author. PEN NM Lifetime Achievement Awardee 2005
"An emotion-charged story of initial struggle and ultimate success...a must in any library collection." Book Wire
"magnificent in its courage and decency." Sam Ballen Author Without Reservations.

Great Reads - New Mexico Magazine, April 2005 p. 45.
Personal Journeys: More Than Just Survival by Michelle Miller Allen
"Our girlhood years, formed in various cultures and family configurations-from the most abusive to the most loving-and tempered by the social prejudices and taboos of one's time-are where we begin our journeys into adulthood. These factors have much to do with whether we will just survive or become empowered by the most demanding, even devastating, events on our individual paths.
It Stops with Me: Memoir of a Canuck Girl by Charleen Touchette (TouchArt Books 2004) Touchette's memoir opens the doors into the lives of women who shaped her childhood into adulthood-the healers, storytellers, homemakers, and artists. This most compelling book includes fascinating color and black and white reproductions of the author's artwork over three decades. The book charts Touchette's journey from a French Canadian/RhodeIsland childhood at the hands of an abusive alcoholic father, to Wellesley College, to New York City's culture of arts, to Minnesota and Indian Country.
Touchette combines the voice of the reminiscing adult writer/artist with that of a child obsessed with "making things" as a survival mechanism. Abusive parents seem to bank on the false assumption that their children, as adults, will not remember abuse. Yet anyone who doubts the intelligence and level of awareness in a young, abused human being should read the end of Chapter "Forsythia Blossoms": "I do not know when I started fighting back. I do not have a memory of when Daddy started hitting me. I was too young. But I do remember clearly the moment when I looked up at my dad's face, and realized he was a fool. I was seven."

Reviewer Jennifer Lefkowitz chose "It Stops with Me" as the Book Special for "Girlfriends Magazine" November 2005 issue, p. 58 with two color photos of Touchette's art.

"It Stops with Me: Memoir of a Cannuck Girl"

"Charleen Touchette's memoir is healing and cathartic, a story of survival and triumph as a victim of childhood abuse. The author is an artist, and throughout the book she showcases her paintings, which resemble the work of painter Frida Kahlo. Like Kahlo, Touchette survived vehicle collisions; after a spine injury she is able to connect her past to her present. This compelling memoir dives into the dark trenches of that past, confronting memories with ancient practices. "I learned it is the task of all human beings to cut through the fog and illusion of maya, and reconnect with the light." A - Jennifer Lefkowitz

"Water Illumination" (top) and "Boom Boom Boom" are two of the many paintings which illustrate the author's journey."

Charleen Touchette's story "The Pie Religion" is online in the May issue of Késsinnimek - Roots - Racines

"What a loving, touching article! I could see, smell, hear everything, thanks to your beautiful descriptions. And what memories of my own childhood you brought back; we, too, had a pie religion among the women in our large family. My mother even had a modest business of making pies for the restaurants and the hotel in our little Northern Vermont town.
Indeed, the secret to pie-making is passed on from mother to daughter to daughter as a sacred tradition.
Thanks for a great read!
I've recommended your article to several people, with my comment that if I could write as well as you, I'd give up quilting and stitching...and making pies!"
Louise Dubrule

An autobiography of a spunky Franco-American woman from Woonsocket, Rhode Island gives cultural storytelling multi-generational appeal. Too many Franco-Americans (with ancestral roots in French-Canada) are quickly amalgamating into the mainstream of American culture without writing their special family stories. Fortunately, Charleen Touchette, a Woonsocket, Rhode Island writer and artist now living in New Mexico, puts both of her pleasingly creative talents together in "It Stops With Me: Memoir of a Cannuck Girl".
Touchette writes about her Franco-American roots by relating simple, often bittersweet and even brutal experiences growing up as a typical French Catholic girl in Woonsocket and later as an accomplished artist.
Moreover, Touchette energizes her autobiography's prose with a series of original black, and white and color print blocks. In other words, "It Stops With Me" expresses Touchette's Franco-American creativity using prose accentuated by her surprisingly cutting edge original art describing absorbing coming of age experiences. Her journey from a parochial Franco-American into her adult life is fraught with opportunities, along with unexpected harsh challenges. Her life is ordinary in some ways but hardly a nostalgic cake walk.
"It Stops With Me" is at its best when Touchette looks back and elevates normal Franco-American experiences to familiarities we can identify with. For example, she describes cooking with her "Ma Tantes" or getting ready to receive First Holy Communion at Woonsocket's Eglise Précieux-Sang (Church of Precious Blood).
Discord arises at a young age. Growing up as a French Roman Catholic girl is an underlying theme. Touchette's typical childhood is without the benefit of feeling safe at home, as she depicts in one of her portraits of a "Not a Picture Perfect Family".
Rather, Touchette's absorbing life story endures familial stress, social and personal conflicts, even leading to physical ailments, which haunt her into adult years.
Touchette's hard hitting narrative is set apart from others of the modern autobiographic genre by the intimate and complicated relationships she shares with her family. Delving even deeper into her private spiral are the intense personal investigations Touchette undertakes with regard to her sad relationship with her father.
Nevertheless, in spite of the particular circumstances, it's typical of Franco-Americans to harbor deep attachments for their relatives and parents regardless of obvious flaws, shortcomings or even family violence. Female family role models are especially strong in Touchette's life. "Although my Maman was a devout Catholic, she was a strong supporter of my right to freedom of expression," writes Touchette. In fact, her female relatives were outraged when Touchette even considered not going to college after high school. In her Woonsocket Franco-Americans world, Touchette writes about how curious it was to be singled out for college when no other woman in her family ever went beyond a high school education.
Throughout the autobiography, her French heritage is front and center, even when she embraces the peace of Judaism.
Many of the book's chapters are charmingly led by simple French titles.
Touchette's talent as a creative writer moves the reader beyond the dark side of her autobiography. Using the power of words, she inspires us to learn more about her as an individual woman with a spellbinding story to tell. Touchette does a good job explaining the pros and cons of the personal contrasts she inherited from her religious and ethnic roots. This is a well written autobiography, nominated for book awards, with a progressive social focus.

Excellent service. This book arrived on time (even early) and in very good condition. I recommend this bookseller and give 5 stars.

Nikola Durdevic
Croatia, Europe

I am not convinced that this is the BEST Jean Michel Basquiat retrospective catalogue to date...but the work selected for this publication is certainly consistently better than most others published before or after this one. Basquiats peak of productivity was from1981-83 and much of that work is catalogued here..But the dissapointment is that many of his last works (circa 1988) will not be found here....but in the more extensive Basquiat catalogue published by the Tony Shafrazi Gallery.
There are also a few images here that will make you wonder why they were selected and some of the text seems to over emphesize  
the fact that Basquiat died of a DRUG OVERDOSE.
You can skip the text or consider it ....it's the work that counts in the end!

This is by far the best catalogue of Basquiat's work as it was shown at the Whitney. By far, this book superseed others as it relates to quality and quantity of plates. Strongly recomend.

If you are looking for a wonderful combination of Basquiat's work and biography, this is the book to own. This book is full of many beautiful color plates of his work, as well as the story of his short, successful, but tragic life as an artist who had his brief moment in the sun before succumbing to the drugs.

Such a tragedy for a talented fellow like Basquiat to succumb to the temptations of drugs at such an early age. His paintings are so raw and fresh. I feel as though he used canvasses as giant doodle pads which he displayed to the world. Many of our own doodle pads (next to our phones, on our office desks, etc.) end up in the [bin] but Basquiat's ended up in the galleries and museums of the world. Some think of his work as [bad] but I view it as a treasure. Fine art, cartoons, grafitti and doodling...the best things in life. This book is the best collection I've seen of his work. The reproductions are well done and the essays are enlightening. For the art afficianado, this book needs to join the collection.