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I'm kind of an idiot, so something like tightning the alternator belt needs to be explained pretty clearly for me. This book shrugs that type of basic adjustment off. It spends a lot of time on things (like rebuilding the transmission) which I am never likely to do. .
Hint for publishers: Maybe what we need is better description of the basic things people might actually do: change belts, tighten belts, change and gap plugs, change rotors, charge batteries and so forth. Think of the Reader's Digest car guide, but focus on specific details of a given model.
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I am required to use this software to complete a "Payroll Problem" final project for my class. This software is so poorly put together, with help files that are less than helpful. The book instructs us to follow steps to enter data in the format desired. This is quite the challenge. For example, we're told to code Liability Payments to their respective vendors; this would normally be a reasonable request, however it was nearly impossible to even find how to do this, and when I finally did, it didn't work. I followed the instructions provided in the "help" files, and got no results. As I sit here, I still have no Cash Payments Journal, nor have I ever seen a Vendor List. When working with the "W-2 Statements" it makes no allowance for tax deferred deductions, so total wage amounts are incorrect, making the "W-2 Form" feature completly useless.
I work with Quickbooks on a daily basis (which I also have an issue or two with), and there are virtually no similarities between this program and REAL accounting software. I can see why this was given away for free, and I can only hope no one actually tries to use this to keep books for a business.
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Mather is interesting as a woman, as an artist and member of an eclectic group of West Coast artists, one of whom was Edward Weston with whom she worked and did other things for about 12 years. There is no question that they stimulated each other. Nothing could be less important except to get you to buy a book, I think.
Warren weakens Mather by linking her to Weston, trying to make the case that she influenced him. Her analysis is superficial to the point that her writing seems like an "infomercial". This is not surprising since the author used to work for an art auction house.
She would be far more informative if she had pointed out the differences between their approaches to the same subjects. Artists, particularly photographers of the place and time in question, met each other in clubs where they showed each other their work and talked about it. Everyone knew everyone and their influences helped define the differences between them. The Impressionists hung out together, the Dadaist hung out together as did almost every group or movement in art history. It is not informative for the author simply to restate this commonplace.
One of Mather's photographs of a boy wrapped in a kimono Warren compares with Weston's photograph of Tina Modotti in a kimono taken some years later. The subject is not new, and both photographs are wonderful but entirely different. Mather's is graphically 30 years ahead of its time, abstract, soft and easy.
Weston's is bold, sharp and explicit, and a dramatic break with pictorialism. It was probably influenced by Stieglitz, not Mather, according to those who wrote about Weston's meeting with Stieglitz. These two pictures, like many of the others Warren compares, are not even about the same thing.
In the end, this is a book about Edward Weston and not Mather. No new light is shed on either one of them, despite the huge bibliography of reference material. Not all of the works listed support Warren's case but she never mentions this of course.
There is a lot of art in this biography but not much art history. The photographs are well selected and presented. Margrethe Mather made some exceptional photographs which brought her a just amount of fame.
Mather's personal life would make a good movie. She was beautiful, talented and led a mysterious life which ended somewhat tragically. She died unknown mostly because she wanted to, and that is an important part of her story which Warren explores in this book.
Warren is working on a longer treatment of Mather. Hopefully she will pay more attention to the substance of the artist's work and her personal life and distract us less with her association with Weston.
This book is graphically rich and stimulating food for thought. Buy if for the art and dig up some of the material referred to in the footnotes.