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First edition, first printing. 8 3/8 x 8 3/8 x 3 1/8 inches, with 108 black and white and four-color plates printed on individual loose cards (with titles printed on verso), a 26pp. volume with texts by Charles H. Traub and Anne W. Tucker and an interview with Allan Chasanoff by Vince Aletti and Anne W. Tucker (booklet), and a 148 pp. volume with over 1000 black and white illustrations of works in the Chasanoff collection (illustrated stiff wrappers), all contained in a hard slipcase-type box made of paper-covered boards. A uniquely designed, extraordinary publication of an eclectic collection of unusual works by many of photography's most influential artists.

What do we know about early modern sex, and how do we know it? How, when, and why does sex become history? In Thinking Sex with the Early Moderns, Valerie Traub addresses these questions and, in doing so, reorients the ways in which historians and literary critics, feminists and queer theorists approach sexuality and its history. Her answers offer interdisciplinary strategies for confronting the difficulties of making sexual knowledge.Based on the premise that producing sexual knowledge is difficult because sex itself is often inscrutable, Thinking Sex with the Early Moderns leverages the notions of opacity and impasse to explore barriers to knowledge about sex in the past. Traub argues that the obstacles in making sexual history can illuminate the difficulty of knowing sexuality. She also argues that these impediments themselves can be adopted as a guiding principle of historiography: sex may be good to think with, not because it permits us access but because it doesn't.

First edition, first printing. 8 3/8 x 8 3/8 x 3 1/8 inches, with 108 black and white and four-color plates printed on individual loose cards (with titles printed on verso), a 26pp. volume with texts by Charles H. Traub and Anne W. Tucker and an interview with Allan Chasanoff by Vince Aletti and Anne W. Tucker (booklet), and a 148 pp. volume with over 1000 black and white illustrations of works in the Chasanoff collection (illustrated stiff wrappers), all contained in a hard slipcase-type box made of paper-covered boards. A uniquely designed, extraordinary publication of an eclectic collection of unusual works by many of photography's most influential artists.

“Barbara Traub captures an expansive desert of everything but normality where monstrous beings of all shapes, colors and sizes congregate each year with contraptions that challenge everyday familiarity.”—Sidelines Online“The event is more than the sum of its art cars, kinetic sculptures or suntanned bodies clad in body paint and glitter (and sometimes not much else).”—WiredAttended by 20 people on a San Francisco beach in 1986, the “Burning Man” festival has mushroomed into a desert pilgrimage for 40,000 people annually. For one week, Burning Man qualifies as Nevada's fifth-largest city, and climaxes on Labor Day weekend with the burning of four-story tall wooden “man.”This is an unprecedented photographic record of an evolving decade of Burning Man, from its infancy as a performance art exhibit to its explosion as a pop culture destination. Photographer Barbara Traub captures the sacred and profane, from inspired costumes to otherworldly artifacts that defy convention.Traub describes the dynamic scenes along with contributions from filmmaker Les Blank, Burning Man founder Larry Harvey, and poet Lawrence Ferlinghetti. Now a global network fueled by the Internet, Burning Man is the twenty-first century’s ultimate celebration of the human imagination.Barbara Traub is a critically acclaimed photographer residing in San Francisco, California. Her art has exhibited internationally, and her Burning Man photographs have appeared in Wired, Spiegel Online, Photo District News, San Francisco Chronicle, and New Age. Chief photographer for HardWired's book Burning Man, she curated Photo SF’s 2004 “Art of Burning Man” gallery.

The snapshots that make up this provocative book were taken "on the fly," the by-product of twenty years of Charles Traub's exotic travel and busy life. They were left in a plastic box for years. Recently Traub's new interest in still life painting turned his attention back to the saved images which themselves were still lifes, using the frame to bar from the image any temptation that might jeopardize pictorial excitement. Things happen, people collide and improbably juxtapositions are snapped at a fraction of a second. Traub is quire sure that his encounters with the absurdities of our everyday lives, whether in Tokyo or Rio, New York or Tel Aviv are far more interesting than anything that might be contrived for the camera's lens. Here they are "still lives", frozen moments on the street, often in poignant or ironic pairs that comment on each other and broaden the moments in our minds. 110 color photographs.

What do we know about early modern sex, and how do we know it? How, when, and why does sex become history? In Thinking Sex with the Early Moderns, Valerie Traub addresses these questions and, in doing so, reorients the ways in which historians and literary critics, feminists and queer theorists approach sexuality and its history. Her answers offer interdisciplinary strategies for confronting the difficulties of making sexual knowledge.Based on the premise that producing sexual knowledge is difficult because sex itself is often inscrutable, Thinking Sex with the Early Moderns leverages the notions of opacity and impasse to explore barriers to knowledge about sex in the past. Traub argues that the obstacles in making sexual history can illuminate the difficulty of knowing sexuality. She also argues that these impediments themselves can be adopted as a guiding principle of historiography: sex may be good to think with, not because it permits us access but because it doesn't.

Traub experienced devastating losses in the stock market before he came upon the straightforward methodology of the NAIC. Once introduced to these principles, he became an instant convert. After several years of in -depth work, Traub developed the NAIC's official software, The Investor's Toolkit, now used by more than 40,000 investors. He teaches the NAIC investing method to standing-room-only audiences around the country and is a regular speaker at NAIC conferences. Take Stock is as important for what it says you don't have to know as for teaching you what you should. Building on the simple concepts taught by NAIC, Mr. Traub strips away the intimidating jargon the pros use to make themselves seem more knowledgeable. Cutting the required financial vocabulary to only ten simple terms, Traub shows you, in a breezy and good-natured style, how to apply those terms to learn the only two things you need to know about investment: if the company is good enough to buy, and, if so, the right price to pay for its stock. "Few people have done as much to help empower individuals to become successful investors as Ellis Traub. His book leaves the chaos and confusion of the investing world behind and puts readers on a simple brick road through Wall Street. His message: Yes, you can. Here's how!" -Donald E. Danko, CFA, Editor, Better Investing

In his latest collection, photographer Charles H. Traub (born 1945) turns his emphatically American gaze upon the streets and byways of Italy, from Milan to Marsala. Traub’s brilliant blues, reds and yellows accent the baroque posturing and gestures of strangers and ordinary people. Traub’s friend and guide, the late photographer Luigi Ghirri, said of the imagery, "you see our foibles, strip us bare, make love through the camera and then venerate us." Dolce Via is the first comprehensive collection of these vivid color photographs, which were made in Italy during the early 1980s. This publication includes contributions from American art critic, photographer and founding editor of Artforum, Max Kozloff, and the Italian poet, Luigi Ballerini.

Book By Traub, R. and H. Starcke, Editors.

Traub experienced devastating losses in the stock market before he came upon the straightforward methodology of the NAIC. Once introduced to these principles, he became an instant convert. After several years of in -depth work, Traub developed the NAIC's official software, The Investor's Toolkit, now used by more than 40,000 investors. He teaches the NAIC investing method to standing-room-only audiences around the country and is a regular speaker at NAIC conferences. Take Stock is as important for what it says you don't have to know as for teaching you what you should. Building on the simple concepts taught by NAIC, Mr. Traub strips away the intimidating jargon the pros use to make themselves seem more knowledgeable. Cutting the required financial vocabulary to only ten simple terms, Traub shows you, in a breezy and good-natured style, how to apply those terms to learn the only two things you need to know about investment: if the company is good enough to buy, and, if so, the right price to pay for its stock. "Few people have done as much to help empower individuals to become successful investors as Ellis Traub. His book leaves the chaos and confusion of the investing world behind and puts readers on a simple brick road through Wall Street. His message: Yes, you can. Here's how!" -Donald E. Danko, CFA, Editor, Better Investing