Eyewitness deserves ongoing mention as an excellent survey of contemporary art and the evolution of an art world in crisis. Almost thirty essays examine this modern art world and the place of contemporary artists within it, lamenting the collapse of an instructional system which allowed for artistic evolution and examining how art career have changed.

Over twenty essays provides the thoughts of contemporary artists who reflect upon trends in the art world. Eyewitness charts the collapse of institutions and traditions and their replacement with new systems in the art world; showing how the influences of major institutions have affected the content and display of art around the world. Insights on a market-dominated art world are particularly well done and revealing.

I hadn't read much of Jed Perl's previous work when I picked up a copy of this book. I was amazed at the acuity of Perl's criticisms. I did not agree with his assessment of each individual artist, but I thought his general philosophy of viewing art was right on, and should be required reading in high schools across the land. I note that much if not all of this book was written before the SENSATION fiasco in New York; Perl certainly saw it coming.

A truly magnificent book.

A treasure trove of a mini monograph on the man who colorizes the skeletons in everyone's jumbled childhood's closet. Mr. Winkfield is a magical artist who profoundly blends whimsy with sincere aspiration for a full aesthetic life.

This small book is part of a vague series called Icons by Taschen. They are a dim reflection on some of their larger works.

This book is definitely not for beginners, not meant to be an introduction to Man Ray. However, it has some value for people familiar with Man Ray, Andre Breton and/or Dada. Think of it as material for art history or food for thought about the time.

Do yourself a favor and don't try to learn about Man Ray from this book or any of the enthusiastic or overblown "reviews" of it. Start with something more comprehensive.

If and when you already know about Man Ray and where he fits, get this book and carry it around when you want to feed your head a little. It is nicely done and fills that need very well.

For those unfamiliar with Man Ray, he is not primarily known as a photographer and never intended to be. It is probably the ease of publishing his photographs that has distracted people to thinking of him this way. Don't miss the rest of his work, especially his writing. Read his autobiography and use his photographs as a "program" to identify the players, perhaps.

I bought this book expecting it to be a basic guide on Man Ray's work. The problem is it happens to be a little too basic. You can't find Man Ray's most expressive work, except for "Tears" (only on the cover), "Le Violin d'Ingres", "Mask of Woman", "Le Priere" and a few Rayographs. It seems to be a biographic record instead of an art book, although it doesn't blur the genius of Man Ray's photographs.

Man Ray used photography as painterly art, not photojournalism. Time spent with each plate provides a vista to questions, epiphanies, riddles, personality or beauty. His nudes are utterly refreshing in a time when women are photographed as blank "hey baby, what's your number" objects. (Ruth Bernhard also recommended.)

Add this book to your collection for the plates alone, but the accompanying essays are terrific. Better yet, visit the mind-expanding collection at the Getty in Los Angeles.