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Mendelian Inheritance in Cattle
Manufacturer: Wageningen Academic Press
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ASIN: 9074134750 |
Book Description
The most up-to-date and complete travel guide made by and for lesbians. Over 9,000 listings cover North America, Mexico, the Caribbean, and major capitals of Europe, noting women-run businesses, vegetarian menus, wheelchair access, multiracial clientele, and much more. Special sections detail lesbian tours, festivals, conferences, and even camping & RV spots! Get the inside scoop on local lesbian hotspots from our unique city overviews, some even written by our readers! European cities include: Paris, London, Berlin, Amsterdam, Vienna, Rome, Prague, and Barcelona and Madrid, Spain. In South America: Buenos Aires, Argentina; Rio de Janeiro, Brazil; and Santiago, Chile. New for 2006: Copenhagen, Denmark!
Customer Reviews:
Damron's Women's Traveller 2006.......2006-08-17
This is the best way to find your way to lesbian owned and friendly businesses of all sorts all around the country. No other guide covers it so thoroughly.
Yes, this is a special interest for only some but for some of it it is very valuable!!!
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Christmas Long Ago from A to Z (Kalman, Bobbie, Alphabasics.)
Bobbie Kalman
Manufacturer: Crabtree Publishing Company
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ASIN: 0865053855 |
Book Description
This beautifully illustrated book looks at Christmas traditions of the late 19th and early 20th centuries that have become a big part of how Christmas is celebrated today. Topics include how Santa came to be, the use of candles, why angels are a part of Christmas, Santa's workshop, elves and reindeer, parades, and much more.
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- Recovering MFA Survivor
- to be read BEFORE entering Art School
- Ignores the field of "art education"
- QUESTION - Visual Arts "different" as an academic pursuit?!
- all art students and profs should have to read this
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Why Art Cannot Be Taught: A HANDBOOK FOR ART STUDENTS
James Elkins
Manufacturer: University of Illinois Press
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Binding: Paperback
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ASIN: 0252069501 |
Customer Reviews:
Recovering MFA Survivor.......2007-08-23
As a recovering survivor of an MFA program I can wholly relate to Elkins' criticisms about the failure of critiques to shape art and artists. It is poignant that Elkins is unable to offer up a solution.
to be read BEFORE entering Art School.......2006-08-31
this book is not for current art students, or graduates (it's simply too late for you to read this)
considering the expensive and time consuming path of art training at the University level ? then i recommend reading (or even just skimming) "Why Art Cannot Be Taught : A HANDBOOK FOR ART STUDENTS" not only because it gives a clear overview of the evolution of the methods of passing craftsmanship in the fine arts through (European) history, but because you'll see that picking a few art classes is probably going to serve you far better than undertaking a full course of study (and the stories of "classroom psychodrama", and students having to explain and defend their work was easily worth the price of the book, IMHO)
Ignores the field of "art education".......2006-05-20
As a critique of how studio art has traditionally been taught at the university level, Elkins is dead on (pun intended). His portrayal of B.F.A./M.F.A. programs is vividly familiar to anyone who has gone that route. The book is also hilarious and a great read. But since we (studio folk) are the chief audience, we already know all of this, right?
The critique of Elkins' book is not that he misrepresents anything, but that he misses things: namely the field that addresses teaching art, known as "art education." He does not pretend to consider it, but that doesn't excuse the neglect. If that sounds funny to you, meaning you assume Art Education is a joke-field, I urge you to delve into the research published in its premier journal, "Studies in Art Education," and, then, compare this research to that which has recently emerged from Art History and Art--that is, if "Art" (studio professors) produces any research at all. Well, it does here and there, and Art History produces some interesting research, as does Art Education, whose primary agenda is to address issues of critical theory, postmodernism, and visual/material culture. In fact, I understand that the Art department at Elkins' institution is in the process of making this pedagogical shift as well as some other leading Art schools here and abroad, like Yale.
The point I'm making is that Elkin's portrait--that postmodern art is at odds with the outdated mode that exists in art schools--is partly untrue. Cutting-edge Art programs, and certainly Art Education, are exploring interesting post-disciplinary projects that resonate nicely with the sublime mantra of the postmodernist discourse that informs them. In a general sense, the schools that Elkins describes are those whose tenured faculty have rested on their boring Modernist laurels, which died quicker than their 4th-tier universities could pass them through the nominal tenure process, a tragedy that I think is slowly but surely evaporating.
Understanding that Elkins is probably aware of all of this and expecting academic readers to draw this out of the book, it's not so bad. But for those who do not know the inner workings of academic art programs, the book could do a better job of explaining where the pedagogical answer lies. I like to think that for some reason, Elkins had those answers and kept them reserved for another book, rather than that he, like the oldie-moldy prof's he ribs, is a living anachronism.
QUESTION - Visual Arts "different" as an academic pursuit?!.......2003-07-16
The answer: I think so. The author changed my way of thinking about the subject of what is plausible in arts education in our time. The apprearance of total artistic freedom from judgement as formulated by postmodernists, yet the intrinsic nature of how the academy/school affects an artist, is seriously examined by Elkins.
This book is amongst the first to pragmatically question some of our common misunderstandings about the methodology involved in teaching the visual arts. The reason for this maybe due in part to modernist and postmodernist intellectualizing of art (e.g.-the endless pages of ink spilled in history books about content free Minimalist paintings and Conceptual Art). Elkins really does an marvelous job at collecting the evidence that studio art teaching and learning is fundamentally different in goals from more conventional subjects such as the sciences, languages and even music...yet, artists should have a somewhat rounded education.
To the authors credit, the book avoids the idealistic view of the arts, dispenses with the RomanticEra cliches of " the gifted talent" or "starving artist" or "outsider art" and deals with THE pragmatic reality of art instruction. Elkins' surveys are about the historical roots of art instruction: the Medieval workshops, the Renaissance guilds,the Baroque academies, and the 20th c. Bauhaus School are compared and contrasted with one another.
THIS comparison of instruction models is EXCELLENT!
The assumed historical 'reality' of the types of artists each system was capable of producing serves as a spring board for discussions on how philosophical discourse influences the instruction model. The book addresses the question of "what body of knowledge is central to the education of an artist?" Is it life drawing, technical and mechanical skills or is it a selected reading and immersion in the liberal arts(i.e.- should an artist have a classical education w/ emphasis on Greek literature -or- postmodernist and shifting in emphasis related to an artist's native culture?_)
Elkin's book fully illustrates the very real world dilemna that students interested in the visual arts face when choosing between "art schools" and small "Liberal arts colleges." "Art schools" tend to only be interested in art, with a myriad of opportunities to be exposed to the art world, with little if any exposure to core general education courses. Paradoxically, the art schools are also places where one is likely to find the latest art theory in deployment despite an 'art school'student populace that MAY NOT have the educational background to engage in meaningful discussion with instructors. The situation is the exact inverse with students at "liberal arts colleges" (and the university in general) where the student is academically armed, yet, is enrolled in significantly less demanding studio courses. "Liberal Arts colleges" and art departments of universities,while providing excellant general education for an art student -most barely engage in the issues of making Studio Art much beyond the dilettante level. Elkins makes a very fine point of emphasis on what is either impractical or too obscure to teach about art in the general curriculum of both classroom enviroments-i.e.-such things as art that uses obscure techniques, extremely radical and/or conservative methods. He deals with that rarely mentioned art class phenomenon- "the critque"- where the student presents thier work to the class to be analyized. Elkins illuminates 'The critque' of art schools (and studio art departments) in a manner that should deal with every sort of postive and negative experience that could be siphoned from such an ordeal.
Essentially the heart of "Why Art Cannot be Taught" is to illuminate what works and what makes 'sense' to teach in the pedantic school environment about art. Elkin's thesis ("that art cannot be taught") is a descriptive interpretation of the reality that art education like 'true art', the 100%creative stuff, is something unique and irrational that can't be easily duplicated at the whim of educators. A must for anyone that has interest in the peculiarities of being a student of the visual arts!
all art students and profs should have to read this.......2001-12-21
The author details art instruction through the ages and discusses the question asked in the title. Art and artists would be so much better thought of by society, and art istself would improve, if the ideas in this book were taken seriously. It is a DEEP book, not for casual reading.
Book Description
Hazel Conway introduces the student new to the subject to different areas of design history and shows some of the ways in which it can be studied and some of its delights and difficulties. No background knowledge of design history, art or architecture is assumed.
This title available in eBook format. Click here for more information.
Visit our eBookstore at: www.ebookstore.tandf.co.uk.
Book Description
This completely revised and updated edition introduces the reader to the practices, challenges, questions and writings encountered in the study of art history. Marcia Pointon describes and analyzes various methods and approaches to the discipline--explaining the history of their differences and their effects on the practice of art history. Stressing the multi-faceted nature of the field, she discusses the relationship of art history to film, literature, design history and anthropology. She also covers training and vocational aspects of art history, and provides a wealth of information on different career opportunities. This edition covers recent debates in art history and contemporary changes in the discipline, as well as 20 new illustrations.
Customer Reviews:
practical and concise.......2007-06-13
practical and concise- it's the ideal introduction to studying art history (particularly studying and preparing papers for university art history classes). I took an upper-level art history class my freshman year of college, and this book really made it possible for me to thrive in that class, despite my absolute lack of advanced art/advanced university studies.
Book Description
Perfect for students of costume design and history, A Handbook of Costume Drawing illustrates and describes the dominant male and female costume silhouettes for major historical periods ranging from Egyptian dynasties through the 1960s. Important details, including head and footwear, hair styles, fashion accessories, shoulders, waist, hem, and neckline are provided to maximize the historical accuracy of each design and to help you fully recreate the look and feel of each period.
Teaches how to draw a well-proportioned human body
Discusses the differences in fit between historical and contemporary clothing
Explains how to develop a stunning portfolio
Customer Reviews:
Really disappointed.......2005-05-07
This book is lame. It's black and white drawings are sloppy and they don't instruct. There is little or no instructions
This book is way over priced. Stay away from it.
50 bucks? You have to be kidding!.......2003-12-17
I bought this book as a gift. I was stupid enough to throw away the return slip before I realized what I bought. This is a flimsy black and white book that does not show much of any detail. There is nothing from China and Japan and maybe one exaple for every 250 years of history. There are even blank pages throughout the book for no reason. I am still going to give the book because I have nothing else to give but I know the person will be thinking that I"m a cheapskate and will never guess in a million years that I actually spent 50 bucks. I feel like I've been robbed. The reviewer that was the reason I bought the book has obviously only seen one or two books in his/her life.
Dissapointed.......2000-06-30
As someone who has "fallen in" to costume design, I was hoping that this would be a great reference that would help me to get my ideas across to my director, but it has done little more than show how to proportion the male and female figures correctly. I was dissapointed in the lack of technical information about drawing fabrics on the human figure. Instead of technique, it gives a very brief overview of what changed in the line of the garments and has a half silhouette on the side of the page to show how the figure changed from period to period. There are several fashion history books availible that have much better overviews and illustrations. Only a few examples on four pages are given for each period.
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Basics Design Methods (Basics)
Kari Jormakka ,
Oliver Schürer , and
Dörte Kuhlmann
Manufacturer: Birkhäuser Basel
ProductGroup: Book
Binding: Paperback
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ASIN: 3764384638 |
Book Description
Architects often employ design methods to help them find more creative forms. These methods make it possible to break free of the traditional canon of forms and established paradigms. At the same time, there must be enough leeway for a functional, systematic design conception to take shape. This volume focuses in depth on the design methods that have decisively shaped current architectural practice.
Themes are - Diagrammatic methods (using drawings and schematic representations), -Mimetic methods (imitative), - Parametric methods (using a characteristic quantity), - Automated and digital design methods of the contemporary avant-garde, e.g. scaling, datascapes, folding, and morphing.
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Basics Urban Building Blocks (Basics)
Michael Peterek , and
Thorsten Bürklin
Manufacturer: Birkhäuser Basel
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Binding: Paperback
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ASIN: 3764384603 |
Book Description
Our cities and neighborhoods are composed of Urban Building Blocks and a knowledge of these elementary components is part of the basic equipment of city planning. It is absolutely essential for urban design that one understands their form and structure, their functional conditions, and the differentiation into private and public spheres, as well as the ways they are networked into their surroundings. Study of these city building blocks represents a first step toward understanding, and successfully developing the built structure of the city as a physical and social habitat.
Themes are - the row, - the block, - the courtyard (the block in reverse), - the passageway, - the line, - the solitaire, - the group, - the "shed".
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Heraldic Design: A Handbook for Students
Heather Child
Manufacturer: Clearfield
ProductGroup: Book
Binding: Paperback
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ASIN: 080630071X |
Book Description
This is a skillfully written book that describes the basic rules and grammar of heraldry observed in designing a heraldic device. As it is quite impossible for the genealogist to interpret a blazon or to design a coat-of-arms without full mastery of heraldic rules and grammar, this book provides all the information necessary for the prosecution of either task.
Carefully explaining the unique rules and language of heraldry, and illustrating each point with a remarkable series of pen drawings, the book aims to give the genealogist and the student of design sufficient information about the structure and detail of heraldic insignia to enable him to produce well-balanced designs of coats-of-arms.
In addition to its usefulness as a manual, this is the kind of book that many will enjoy for the color and romance of heraldic history; e.g., the stories behind the great symbols of chivalry and the explanation of the uses of heraldry in architecture and other forms of embellishment. It is an unquestionable necessity for anyone forming a heraldic library.
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