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Valerie Traub analyzes the representation of female-female love, desire, and eroticism in a range of early modern discourses, including poetry, drama, visual arts, pornography, and medicine. Contrary to the silence ascribed to lesbianism in the Renaissance, Traub argues that the early modern period witnessed an unprecedented proliferation of representations of such desire. As a contribution to the history of sexuality and to feminist and queer theory, the book addresses current theoretical preoccupations through the lens of historical inquiry.

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.

Valerie Traub analyzes the representation of female-female love, desire, and eroticism in a range of early modern discourses, including poetry, drama, visual arts, pornography, and medicine. Contrary to the silence ascribed to lesbianism in the Renaissance, Traub argues that the early modern period witnessed an unprecedented proliferation of representations of such desire. As a contribution to the history of sexuality and to feminist and queer theory, the book addresses current theoretical preoccupations through the lens of historical inquiry.

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.

Documentary photos by Duane Michals of Rene Magritte's home with playful portraits of him and his wife. Edited by Charles Traub. 72 pages; 60 b&w and color images; 8.5 x 8.25 inches.

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.

“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.

Twenty years ago, New York–based photographer Charles H. Traub (born 1945) abandoned all pretense of trying to find specific themes and subjects in his photographic wanderings, instead creating what he calls "Taradiddles," in which he fully embraced any and all ironic situations. This volume is a collection of trifles that in Traub's hands become matters of remarkable social commentary.Traub's previous publications include Dolce Via (2014) and Lunchtime (2015).

Look out, ladies: there's another Traub bachelor in town! Jason "Jace" Traub is every bit as gorgeous as his sexy twin brother, but rumor has it he is even more marriage-shy. There's not a woman alive who could make this restless rancher settle down....Yet insiders whisper that Jace has been talking wedding plans with Jocelyn Bennings, the chestnut-haired beauty who ran out on her own wedding just days ago! Could the confirmed bachelor really be hooking up with heartbroken, headstrong Joss? Stay tuned, loyal readers, to find out if their marriage of convenience runs amuck—or if lasting passion will finally rope in the last single maverick!

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.