Few living photographers are as consistently controversial and provocative as Joel-Peter Witkin, whose work elicits hostility and admiration in equal measure. Shocking and compelling, the photographs in this retrospective collection reach to the outer limits of human nature. 100 full-page reproductions, printed in four colors.
Announcing a new volume of Pfleger/Maurer/Weber: Mass Spectral and GC Data of Drugs, Poisons, Pesticides, Pollutants and Their Metabolites. Unmatched in scope, quality and reliability, this collection is the result of a unique effort. Part 4 of this famous reference work contains - 2000 new mass spectra (more than 6300 in Part 1-4) - data of nearly all the new drugs relevant to clinical and forensic toxicology, doping control, food chemistry, etc. - nearly complete coverage of trimethylsilylated, perfluoroacylated, perfluoroalkylated and methylated compounds - data revision of already published volumes in this second edition - updated sections on sample preparation and GC-MS methods - tables covering all the data of Parts 1-4 with directions as to page and volume on/in which the data can be found as well as the appropriate entry numbers of the electronic versions (tables listed by names and categories). The complete set of Part 1-4 now comprises more than 6300 mass spectra and reaches far beyond the needs of clinical and forensic toxicologists. The inclusion of pesticides and pollutants makes this data collection invaluable for environmental chemists, occupational toxicologists and food analysts, too. The data of the supplement volume will also be provided as an up-grade of the computer libraries (PMW_TOX3) by producers of mass spectrometers, e.g., Hewlett Packard, Finnigan (MAT, CE, Automass), Shimadzu and Varian.
Inevitable death and our agony to attain Utopia have made existence a form of pathology. We are left with the secret need for redemption which few of us will understand or witness. This need still lives in acts of love, courage and art. In the images included in this book it is found in the conjoined destinies of artist and subject, phantoms on either side of that curtain we call photography. Implicit in these photographs is the brutal extreme of their purpose and an intimation however distant to their makers that something was manifested beyond the event itself.
Shewing the Two Contrary States of the Human Soul (first published in 1794), an expansion of Blake's first illuminated book Songs of Innocence. The poems and artwork were reproduced by copperplate engraving and colored with washes by hand. Blake republished Songs of Innocence and Experience several times, often changing the number and order of the plates. The spellings, punctuation and capitalizations are those of the original Blake manuscripts. William Blake (1757 – 1827) was a British poet, painter, visionary mystic, and engraver, who illustrated and printed his own books. Blake proclaimed the supremacy of the imagination over the rationalism and materialism of the 18th-century. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age.
The sensual curve of the shoulder, the disturbing line of a scar, the magnetic pull of a lashed eye -- since the birth of photography, images of the human body have attracted, disturbed, fascinated, and obsessed us. The body has been scrutinized by medical and anatomical photographers; it has been celebrated by photographers of sport and dance; it has inspired a long tradition of photographing the nude; and it has been depicted in phantasmagoric terms. In this rich, involving archive of over 360 duotone and color images culled from worldwide collections, renowned photo curator William A. Ewing has compiled the most comprehensive and arresting visual survey ever published of the human form. From nineteenth-century erotica to the politicized images of the 1990s, The Body offers an exciting, elegantly packaged, provocative record of the camera's infatuation with the human figure.
After more than thirty years the heir apparent to the street photography of the 60s presents for the first time his complex and influential body of work. Cohen's photography confronts the viewer with a startling beauty, rapidly shifting from rough and confrontational to quiet and respectful. In these images emerges a cluttered world of visceral, sexualised encounters with the human body. This is one of the more complex bodies of street photography around and Cohen's work will open your eyes as wide as they can go and keep you flipping the pages for years to come.