USP 21 NF 16 (United States Pharmacopeia/national Formulary) No Supplements

Unknown, Author

Mack

Marvel Storybook Collection

MARVEL

"Films is Paul Graham's eulogy to the physical material of photography: Film. The 20th century's greatest medium has undergone a catastrophic decline over the past decade as digital cameras have swept aside the traditional process of taking photographs. Film has died: Kodacolor, Fujicolor, Tri-X, Kodachrome, Ektacolor -- all evocative names for any photographer -- are now gone or fading fast. Yet this magical material is a true product of both science: silver salts suspended in gelatin emulsion on celluloid base, and magical alchemy: it could capture light. Film became the defining material of 20th century creativity, and is ubiquitous to every great artist of photography and film making. While examining his past 30 years of work for the 2009 survey exhibition and book, Graham became enamoured with the material of his craft, and began to reflect upon the physical substance by which he, and all photographers, made their images. Besides scanning his images for the survey, he also scanned the blank film ends and unexposed frames from each body of work to gather an alternative survey, a 'negative retrospective' of his practice. What first appears to be abstract dots, blobs or colour forms, are in fact just greatly magnified images of the raw film emulsion -- the color dye clouds formed in the exposure and development of film. These images are not abstract at all, but extreme close-ups of the film's structure -- the red, green and blue dyes that form film emulsion, which comprise each and every celluloid image in existence. Their beauteous complication, the wonder of their granular form, irrespective of what they describe, is given here for us to enjoy. Graham presents us a timely tribute to the passing of film. The grains, color dyes and black and white crystals, make images of beauty, simplicity and scientific record. Part wistful homage, part farewell, part visual wonder, Films is a book for anyone who engaged with photographic material in the 20th century."

Films

Graham, Paul

A Living Man Declared Dead and Other Chapters is a significant and extensive book of a major new body of work by the American artist Taryn Simon with texts by Homi K. Bhabha and Geoffrey Batchen, to accompany an exhibition at Tate Modern, London in May 2011 and Neue Nationalgalerie, Berlin in September 2011

Taryn Simon - a Living Man Declared Dead

Taryn Simon

Gerry Johansson's sensitive and subtle photographs hint at human life through the occasional car or lone figure but for the most part they draw the reader's eye to the simplistic architecture of a small American town. In singling out Pontiac, Johansson offers comment on more than the landscape, photographing a microcosm of the effects of the decline in the auto industry in Michigan. His images survey the landscape with a characteristic Swedish melancholy, echoing the new topographic photographers of the 1970s.

Pontiac

Gerry Johansson

"The photos in this book have been made between 1991 and 2009 in Russia, Moldova, Kazachstan, Uzbekistan, Ukraine, Tatarstan, Georgia. The editing and sequencing of the images have been done by Stephen Gill.The title of these series, 'Lets's sit down before we go', is a metaphor for the subject of the images. An old habit in Russia. Before leaving for a long journey, people sit down for a moment and think about where they will be going and why..."--Photographer's website.

Let's Sit Down Before We Go by Bertien Van Manen (2011-11-01)

Bertien Van Manen

Redheaded Peckerwood is a work with a tragic underlying narrative - the story of 19 year old Charles Starkweather and 14 year old Caril Ann Fugate who murdered ten people, including Fugate's family, during a three day killing spree across Nebraska to the point of their capture in Douglas, Wyoming. The images record places and things central to the story, depict ideas inspired by it, and capture other moments and discoveries along the way.

Redheaded Peckerwood

Christian Patterson

War Primer 2

Adam Broomberg

Oliver Chanarin

Ron Jude’s new book, Lick Creek Line, extends and amplifies his ongoing fascination with the vagaries of photographic empiricism, and the gray area between documentation and fiction. In a sequential narrative punctuated by contrasting moments of violence and beauty, Jude follows the rambling journey of a fur trapper, methodically checking his trap line in a remote area of Idaho in the Western United States. Through converging pictures of landscapes, architecture, an encroaching resort community, and the solitary, secretive process of trapping pine marten for their pelts, Lick Creek Line underscores the murky and culturally arbitrary nature of moral critique. With an undercurrent of mystery and melancholy that echoes Jude’s previous two books about his childhood home of Central Idaho, Lick Creek Line serves as the lynchpin in a multi-faceted, three-part look at the incomprehensibility of self and place through photographic narrative. While Alpine Star functioned as a fictitious so

Lick Creek Line

Jude, Ron

Paul Graham The Present Street photography is perhaps the defining genre of photographic art. Seminal works by Walker Evans, Harry Callahan, Robert Frank and Garry Winogrand display photography's astonishing dance with life, and its unique role in forming our perceptions of the modern world.The Present is Paul Graham's contribution to this legacy. The images in this book come unbidden from the streets of New York, but are not quite what we might expect, for each moment is brought to us with its double - two images taken from the same location, separated only by the briefest fraction of time. We find ourselves in sibling worlds, where a businessman with an eye patch becomes, an instant later, a man with an exaggerated wink; a woman eating a banana walks towards us, and a small focus shift reveals the blind man right behind her.Although there are flashes of surprise - a woman walks confidently down the street one moment, only to tumble to the ground a second later - for the most part there is little of the drama street photography is addicted to. People arrive and depart this quiet stage, with the smallest shift of time and attention revealing the thread between them. A suited young businessman crosses the road, only to be replaced by his homeless alternate; a woman in a pink t-shirt is engulfed with tears, but seconds later there is a content shopper in her place.The Present gives us an impression quite different to most street photography where life is frozen rigid. Here we glimpse the continuum: before/after, coming/going, either/or. A 'present' that is a fleeting and provisional alignment, with no singularity or definitiveness; a world of shifting awareness and alternate realities, where life twists and spirals in a fraction of a second to another moment, another world, another consciousness.

The Present

Paul Graham

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Books by Mack