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By the middle of the nineteenth century, the most common method of photography was the daguerreotype—Louis Jacques Mandé Daguerre’s miraculous invention that captured in a camera visual images on a highly polished silver surface through exposure to light. In this book are presented nearly eighty masterpieces—many never previously published—from the J. Paul Getty Museum’s extensive daguerreotype collection.
The most comprehensive book of enameling and enameling techniques has been completely revised to bring you this essential new reference. The wonderful world of enameling—fusing glass to metal under high-temperature conditions-- is diverse! Practically anything made from enamel-friendly metal can be enameled, from vases to jewelry to buttons to metal mesh and solid forms. In the first edition, published in 2002, Cohen explored this world as it was then, but so much knowledge has been gained in the last 17 years that it was definitely time for an update! Every chapter and project has been completely reviewed, revised, and updated; it’s a whole new book, and one you will want in your reference library. The look and organization is updated, 15 years of experience has been added, about half the projects have changed, and two types of mini-projects to expand your learning experience are included. In addition, each project has a gallery of the work of other artists working in the same technique, to give a view of other ways a technique can look and be used. Classic techniques such as champlevé, cloisonné, and plique-à-jour each have projects, as do newer approaches such as the use of graphite pencil and enameling on steel—21 project lessons in all. And you will find the extensive troubleshooting chapter indispensable. **Silver Award Winner in Foreword Reviews Indie Awards in Hobbies & Home, 2019
A young Mayor’s assistant gets caught between Tammany Hall gangsters and her childhood nightmares in this mystery set in Depression Era New York. New York City, 1936.It’s been six months since Lane Sanders was appointed Mayor Fiorello “Fio” La Guardia’s new personal aide, and the twenty-three-year-old is sprinting in her Mary Janes to keep up. Managing endless revitalization efforts while combating the Tammany Hall political machine makes for long, unpredictable days. But the non-stop pace is a welcome distraction from the childhood memories that haunt her dreams—and the silver gun she’ll never forget. When Lane is attacked and threatened by one of the city’s most notorious gangsters, even the mayor can’t promise her safety. Corrupt city officials are using her as a pawn against Fio for disgracing their party in the prior election. But that doesn’t explain why her assailant wielding the same silver gun from her nightmares. Balancing a clandestine love affair and a mounting list of suspects, Lane must figure out how the secrets of her past are connected to the city’s underground crime network—before someone pulls the trigger on the most explosive revenge plot in New York history.
Reprint of the original, first published in 1858. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
What do images of the body, which recent poets and filmmakers have given us, tell us about ourselves, about the way we think and about the culture in which we live? In his new book A Body of Vision, R. Bruce Elder situates contemporary poetic and cinematic body images in their cultural context. Elder examines how recent artists have tried to recognize and to convey primordial forms of experiences. He proposes the daring thesis that in their efforts to do so, artists have resorted to gnostic models of consciousness. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. The works of Brakhage, Artaud, Schneeman, Cohen and others lie naked under Elder’s razor-sharp dissecting knife and he exposes the essence of their work, cutting deeply into the themes and theses from which the works are derived. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.