National Art Education Association

American Indian Art: Form and Tradition by Walker Art CenterReview by: James F. WarwickArt Education, Vol. 27, No. 4/5 (Apr. - May, 1974), pp. 26+30Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191917 .

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book reviews: SCULPTURE CASTING: MOLD TECH- NIQUES AND MATERIALS: METAL, PLASTICS, CONCRETE. Dennis Kowal and Dona Z. Meilach. New York: Crown Publishers, 1972. $8.95 Dona Meilach and Dennis Kowal pre- sent us with another informative and beautifully illustrated "how-to" book.

The book, intended for the student and professional sculptor, covers widely used techniques in casting polyester and epoxy, bronze, and con- crete. Separate chapters are devoted to each technique and its appropriate mold-making process. A section is also included on foundry and kiln building.

Ample and high quality photos ac- company the process from original, to mold, to casting, and cleaning up. In- cluded are RTV Siliocon Rubber, Cold, Latex, Gelatin, Ceramic Shell, Plaster, and Sandcasting mold techniques. Photographs are used with accom- panying text (largely in caption form) to take the reader step-by-step through the various stages of the dif- ferent methods. The photo work def- initely carries the book, and is its most meritorious aspect. Examples are given of historical and contemporary work throughout the text, although it would have been desirable to see more work

book reviews: SCULPTURE CASTING: MOLD TECH- NIQUES AND MATERIALS: METAL, PLASTICS, CONCRETE. Dennis Kowal and Dona Z. Meilach. New York: Crown Publishers, 1972. $8.95 Dona Meilach and Dennis Kowal pre- sent us with another informative and beautifully illustrated "how-to" book.

The book, intended for the student and professional sculptor, covers widely used techniques in casting polyester and epoxy, bronze, and con- crete. Separate chapters are devoted to each technique and its appropriate mold-making process. A section is also included on foundry and kiln building.

Ample and high quality photos ac- company the process from original, to mold, to casting, and cleaning up. In- cluded are RTV Siliocon Rubber, Cold, Latex, Gelatin, Ceramic Shell, Plaster, and Sandcasting mold techniques. Photographs are used with accom- panying text (largely in caption form) to take the reader step-by-step through the various stages of the dif- ferent methods. The photo work def- initely carries the book, and is its most meritorious aspect. Examples are given of historical and contemporary work throughout the text, although it would have been desirable to see more work

from leading contemporary sculptors. On the distaff side, there are some

misplaced photos, but, more impor- tantly, it is doubtful the uninitiated could use the book without calami- tous results. The text requires the user to have a fairly good working knowl- edge ot mold making and casting. The text is too sketchy (as are some of the photos) to be used by the novice in the manner the book jacket proclaims; "... the definitive book covering everything you need to know to cast a variety of modern materials ...."

While the authors communicate some safety precautions, the mention is inadequate for the procedures in- volved.

The text is accompanied by very use- ful appendices on: material specifica- tions and idiosyncracies; a glossary of terms; and supply sources. However, the bibliography is limited.

The book is valuable for the sculp- tor in that it brings together classical and contemporary techniques on a variety of substitutive processes that are not to be found together in other sources. Despite the criticisms, Sculp- ture Casting, used with knowledge- able guidance and advice and with ac- companying supportive texts, would be a useful teaching tool and resource.

A. James Wright Glassboro, New Jersey

from leading contemporary sculptors. On the distaff side, there are some

misplaced photos, but, more impor- tantly, it is doubtful the uninitiated could use the book without calami- tous results. The text requires the user to have a fairly good working knowl- edge ot mold making and casting. The text is too sketchy (as are some of the photos) to be used by the novice in the manner the book jacket proclaims; "... the definitive book covering everything you need to know to cast a variety of modern materials ...."

While the authors communicate some safety precautions, the mention is inadequate for the procedures in- volved.

The text is accompanied by very use- ful appendices on: material specifica- tions and idiosyncracies; a glossary of terms; and supply sources. However, the bibliography is limited.

The book is valuable for the sculp- tor in that it brings together classical and contemporary techniques on a variety of substitutive processes that are not to be found together in other sources. Despite the criticisms, Sculp- ture Casting, used with knowledge- able guidance and advice and with ac- companying supportive texts, would be a useful teaching tool and resource.

A. James Wright Glassboro, New Jersey

AMERICAN INDIAN ART: FORM AND TRADITION. Walker Art Center. Indian Art Association. New York: E.P. Dutton Co., Inc., 1972. 154 pp. $12.95 No single publication could possibly cover all the wonders of American In- dian art, but this volume comes close. Stemming from an exhibition, the book was intended to ". . . serve not only as a catalogue of the exhibition, but that it function as a survey of cur- rent attitudes and information on many aspects of Indian Art and cul- ture." This is not a catalog, even in the sense of the legendary MOMA ex- hibition graphics. It is very much in its own right a fulsome volume.

The book does serve as an impres- sive graphic record of selections drawn from nearly 1000 works gathered to- gether under the aegis of the Walker Art Center in Minneapolis. The "Lenders to the Exhibition" are tes- timony to the strength of the show, for it is an imposing list of some 40 of the major sources of American Indian art in this country.

The editors, in selecting a dozen au- thorities, granting them considerable freedom to respond in their own way, have provided readers with a variety of perspectives.

Noting just a few of these bespeaks the caliber of the contributors: Vincent Scully on "Men and Nature in Pueblo Architecture," Frederick J.

AMERICAN INDIAN ART: FORM AND TRADITION. Walker Art Center. Indian Art Association. New York: E.P. Dutton Co., Inc., 1972. 154 pp. $12.95 No single publication could possibly cover all the wonders of American In- dian art, but this volume comes close. Stemming from an exhibition, the book was intended to ". . . serve not only as a catalogue of the exhibition, but that it function as a survey of cur- rent attitudes and information on many aspects of Indian Art and cul- ture." This is not a catalog, even in the sense of the legendary MOMA ex- hibition graphics. It is very much in its own right a fulsome volume.

The book does serve as an impres- sive graphic record of selections drawn from nearly 1000 works gathered to- gether under the aegis of the Walker Art Center in Minneapolis. The "Lenders to the Exhibition" are tes- timony to the strength of the show, for it is an imposing list of some 40 of the major sources of American Indian art in this country.

The editors, in selecting a dozen au- thorities, granting them considerable freedom to respond in their own way, have provided readers with a variety of perspectives.

Noting just a few of these bespeaks the caliber of the contributors: Vincent Scully on "Men and Nature in Pueblo Architecture," Frederick J.

KANDINSKY, WASSILY THE WHITE DOT

ALSO AVAILABLE, THE COMPLETE SHORE- WOOD 96 PAGE FULL COLOR CATALOG OF 846 REPRODUCTIONS ILLUSTRATING WORKS OF ART FROM THE WORLD'S FIN- EST MUSEUMS AND PRIVATE COLLECTIONS.

KANDINSKY, WASSILY THE WHITE DOT

ALSO AVAILABLE, THE COMPLETE SHORE- WOOD 96 PAGE FULL COLOR CATALOG OF 846 REPRODUCTIONS ILLUSTRATING WORKS OF ART FROM THE WORLD'S FIN- EST MUSEUMS AND PRIVATE COLLECTIONS.

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WRITE FOR DESCRIPTIVE BOOKLET SPECIFYING GRADE LEVEL.

SHOREWOOD REPRODUCTIONS

ANNOUNCES THE PUBLICATION OF FORTY-SIX NEW PRO- GRAMS OF PRINTS WITH TEACHER GUIDES SPECIALLY

CREATED FOR ALL GRADE LEVELS.

PROGRAMS INCLUDE MANY NEW REPRODUCTIONS PUBLISHED FOR THE FIRST TIME. ARTISTS INCLUDE CHAGALL, DELACROIX, ERNST, FEININGER, KANDINSKY, GIACOMETTI, KLEE, DA VINCI, LINDNER, MARINI, MIRO, MODIGLIANI, MONDRIAN, MUNCH, NOLDE, SCHLEMMER. EACH PRO- GRAM CONSISTS OF 12 REPRODUCTIONS, EXTENSIVE TEACHER GUIDE

AND A PERMANENT STORAGE PORTFOLIO.

WRITE FOR DESCRIPTIVE BOOKLET SPECIFYING GRADE LEVEL.

SHOREWOOD REPRODUCTIONS, INC. SHOREWOOD REPRODUCTIONS, INC.

10 EAST 53RD STREET

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NEW YORK, N. Y. 10022

26 26

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Dockstader on "Indian Art in the Southwest." and Dorothy Jean Ray on "Eskimo Sculpture." Commentary ranges from comparatively direct, but no less scholarvly discussions on quite different tribal art work, to some pro- foundlv perceptive observations on poetic imagery, Indian tradition, and esthetics.

In format it is admittedly a large book, but well this side of being just a coffee table visual. Well bound, its pages are heavy-coated stock which takes and holds the fine line detail seen in the photographic reproductions. Each of the more than a dozen (hap- ters is faced with a full color plate, with more than 170 or so black and white photos spaced throughout.

The book's healthy price will no doubt prevent it from being a casually purchased popular best seller. For those readers interested in American Indian art, it is, to employ that abused but appropriate clich6, "a must".

James F. Warwick Port Washington, New York

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