《Bitch Life》由日本著名Figure、首办原型师--韮泽靖监修，联合鸟山明、桂正和、寺田克也、村田莲而等一众大师协力，还有一部份我们不认识的日本作者涉及其中，这就形成了这本豪华阵容的《Bitch Life--Illustration File》。
最早见到《Bitch Life》的介绍是在香港杂志里面，文章用日本顶尖画家云集为主导，而且突出全书以“三级”为卖点，渲染文字极尽夸张作大之能事。笔者当初接触到这些介绍，确实是心驰神荡起来，同时亦充满了好奇。后来终于一偿相思之苦，托人在香港买到了两本。得到画集之后第一时间打开翻阅，结果发现鉴于香港传媒的尺度规限，之前杂志所介绍的都是小儿科，然而未公开的《Bitch Life》的色情画面比比皆是，“三级”成份是非常惊人的。
从书的内容可以看出，不同的作者就有不同的创作取向，有些作者自重身份，不敢画得太放纵，如村田莲尓；然而有的作者就大胆得突破了过往的创作底线，例如桂正和，他为《Bitch Life》创作了一个四幅的超短篇故事，漫画情节流露出桂正和压抑了很久的色情神经，宣泄ＳＭ的意识大于画面的营造，从而由头到尾地向外宣告：“桂正和是应该去画成人向漫画的！”事实上，桂正和也有这样的实力和条件，从《电影少女》到《I"s》，桂正和在创作过程中，经常将自已代入到男主角的位置，诸多感官刺激的描绘、性幻想的场面，实际上是给自已和读者们一个意淫的想像空间，不过创作尺度亦只到《I"s》为止，要想成为成人向漫画，桂正和都一直未去尝试。然而《Bitch Life》这种实验性的刊物，恰到好处地为桂正和提供了这个突破口，同时亦为读者实现了这个梦想。 桂正和的超短篇用女学生为主角，男性主角潜伏在画面的角落，由始至终都没有以正面示人，全篇没有一句对白，只有少许的象声词，这也是过往在桂正和作品中少见的，而且故事情节属于比较无聊的一类，单纯是为了色情而画色情，看来他未能够将过往《I"s》情爱交融的优点转嫁在上面，要想创作好的成人向漫画，桂正和还要认真好好修炼才成，否则单凭现有的少年＆半色情漫画水平，都很难挤身大师殿堂的。
在其他大师的作品方面，令人有惊喜感觉的创作实在说不出什么。寺田克也一贯地玩弄高超的造形及绘画技巧，不过风格就是我们一向常见的神秘感；插画家沓泽龙一郎为《Bitch Life》画了一辑黑白插图，分别描绘江户、明治、二战等多个时期的日本世情；《无限の住人》作者沙村广明今次不再画“砍瓜切菜式”的武士生涯，反而画出几张现代人物的素描，不过如常展示出他深厚的素描功力；凭着《特警Ｘ世代》让大家认识的贰瓶勉，同样亦贡献出几张习作，题材环境依然是暗黑的、阴冷的、无助的空间，残缺的机体和死寂背后的身影互相对应，勾勒出一个我们未知的、仿佛即将发生的年代；日本顶尖首办原型师--韮泽靖在国内可能知名度不高，不过他的造型想象能力却属于天才横溢，而且今次的《Bitch Life》能够汇聚众多漫画名家，由此可见他在日本的江湖地位了。韮泽靖为《Bitch Life》创作的几幅插图已经比过往的保守，但是在配色方面同样能够毫不逊色于职业画家，在芸芸作者中脱颖而出；然而笔者一向喜爱的游戏人设专家村田莲尓却交了行货，新作可能不如他以前设计的角色那么讨好，也算是一个新尝试吧。

Isabelle Huppert stands out among actresses due to her audacious choices of roles, both for films as well as for the theater. Her intelligence and intuition are evident in the parts she plays. Her renown as an actress is not limited to the French cinema but embraces Europe and the rest of the world.
This most mysterious of actresses likes to be photographed but she is not an easy subject. She offers herself to the eye of the camera yet remains secretive, almost absent. The great photographers of our time—Richard Avedon, Edouard Boubat, Guy Bourdin, Henri Cartier-Bresson, Elliot Erwitt, Lartigues, Annie Leibovitz, Steven Meisel, Helmut Newton, Sylvia Plachy, Marc Riboud, and Scavullo—took up the challenge. Huppert’s energy and strength are often shrouded behind a kind of melancholy, and these photographers have captured beautifully that contradictory quality. Not only a collection of gorgeous images, this haunting book also unveils the bond between the public image and the secret soul of this unique woman.

本书为中国优秀艺术家的摄影作品合集，对90年代以来新时期的先锋摄影创作进行了系统回顾，并由著名批评家撰文。

Enjoy the classic, complete collection of Cicely Mary Barker's original Flower Fairies books in this brand-new edition. This collector's favorite has been redesigned and now features a lavish, eye-catching jacket with silver foil. The interior still includes all of the well-loved illustrations and poems from Barker's eight original books, as well as a selection of fairy rhymes.

内容紹介
2007年5月より、カバーが新しくなりました。
ちょっと可愛くて、エキセントリックな「女の子」が
全ページでパンクに暴れまくる。
オールカラーで展開される、手のひらサイズのピクチャー・ブック。
内容（「BOOK」データベースより）
ロサンゼルス滞在中に描いたドローイングを収録したオールカラーピクチャーブック。
内容（「MARC」データベースより）
緑色の眼をした子どもたちと犬。ドイツのケルンを拠点に制作活動を行う画家の、3カ月のロサンゼルス滞在中に描いたドローイングを収録。

30cm X 37cm，完全呈現奈良美智作品的大開數版面。收錄「橫濱Triennale 2005」展覽中的最新77幅作品，以實際尺寸大小精美印製，並且在每頁都採單面印刷、附有裁切線，讀者可將其中作品自行裁下，作為一件獨立的裝飾品。

曾被東京武藏野美術大學退學、後畢業於愛知縣立藝術大學並留學德國的奈良美智，筆下的招牌便是頭大大的小孩、潔白馴良的狗、以及身著綿羊裝的兒童，非常可愛；創作素材有大幅的壓克力畫作也有立體的多媒材或陶瓷雕塑作品。但若只是如此則跟一般的日本商業流行圖像無異。奈良筆下的人物，其臉上那對眼尾上吊、不懷好意的雙眼其實才是他作品的正字招牌。那種眼中露出一付「看什麼看？你管我！」的不友善神情，但同時卻又身處在寂寥、淡漠背景中的畫作主角們，讓人一看到就捨不得把眼睛轉開。有的時候畫中小孩的手裡還會拿著小刀，有時則是頭上綁著繃帶或插了根冒著血的釘子，或是那些閉著眼不斷流淚的狗，這種欲言又止的受傷動物神情似乎牽動了心裡的什麼，跟純粹的可愛是很不一樣的。他的作品深受大眾喜愛，也在國際間獲得注目，許多作品已被美術館購入成為日本近代美術的典藏品。

This is a monograph on the extraordinary 40 year career of Japanese sculptor and performance artist Yayoi Kusama, recently the subject of a major retrospective at New York's Museum of Modern Art, which toured the United States and Japan through 1999. In January-March 2000 the Serpentine Gallery, London will be presenting a large solo exhibition devoted to Kusama's work. Internationally noted for her soft sculptures an psychedelic installations, Kusama explores themes of love, infinity and obsession throughout her work, from her net-like pattern paintings begun in 1959, to her Pop-inspired love happenings in the 1960s, to installations in which every surface has been compulsively covered in polka-dots, mirrors or stuffed phallus-like protrusions. A visionary whose work is unique in the panorama of post-war art, Yayoi Kusama is known not only as an artist but also as a fashion-designer, poet and novelist - all documented in this comprehensive monograph.

詹尼·范思哲 他是二十世纪最具革新性、最有天赋的时装设计师之一。范思哲从流行音乐、街头艺术与他广博的艺术知识中获得灵感，创作了光芒四射的时尚作品。本书全面展示了这位时装天才的非凡时装艺术和完美时装工艺。本书对时装设计专业人士以及时装模特都有较高参考价值。

Marc Riboud's images are a window on a world in transition as China reinvents itself with dizzying speed--his is as revealing a window as we are likely to find. The contrast between China old and new, as interpreted by Riboud, is an often startling one that cannot help but inform and intrigue. He specializes in the juxtaposition of images, perhaps none are more jarring than his photograph of a poor man lugging a sack of belongings down a trash-littered back street while a pair of chubby-cheeked babies glance over his shoulder in a nearby poster and a porno actress bares her chest in an ad overhead. Riboud's home is France, his territory is the world from Vietnam to Iran, but his heart and soul are apparently in the China he has covered from the days of Mao's revolution through the erosion of Communism to the country's modern economic upheaval.

温迪·贝克特嬷嬷被人们称为是“自克拉克勋爵为我们写作《文明》以来最出色的艺评人”。在这部著作中，她为每一个人，为艺术史家、学生或是那些敏于生活和艺术之美的普通人，书中收录45件欧洲画家的惊世杰作，让你在西方美术发展史中亲历它萌芽、发展和辉煌的全过程。另有温迪嬷嬷的独到见解，将这一旅程变得“有声有色”。对每一个人来说，我希望这一天会像黎明一样到来，即他们能够拥有自己的大历程和大旅行，去分享这个世界的无数成果。艺术家为我们所提供的观看、打开现实景象的能力，它正存在于我们每个人的内心之中。
随着《温迪嬷嬷的大历程》的广受欢迎，对于艺术的挚爱使温迪·贝克特嬷嬷将她的艺术赏鉴进一步深入到对十个欧陆城市的艺术作品的“大旅行”上来。 像她之前的那些从事“大旅行”的18世纪的旅行者一样，温迪嬷嬷对于能有机会切身看到那些过去只能在书本中欣赏到的伟大的艺术珍品感到十分高光。她的艺术旅行涵括了马德里的委拉斯开兹和戈雅、维也纳的布吕盖尔和提香以及彼得堡的康定斯基的诸多杰作。

无论是谁，打开本书之后都会发现，这是一部把昨天既收藏于历史、又属于于现实，图文并茂的佳作！“广告”老么？老在什么地方？不过“老广告”的提法并不能因而算错。为什么呢？因为商业性广告的出现，对于人类社会来说确实很古老；也可以说，人类社会自从有了商品交换的那一天起，广告就出现了。
从另一种意义上来说，广告的成功与否，实际上是对商家竞争能力的挑战。这本书，经著者由国庆同志心摹

当原始人见到大象时，他们停了下来。看见大象正在吃草，它们拔出嫩草，掘出草根。原始人觉得它们的生活似乎美好惬意，无忧无虑。在大象的巨足之下，雄狮犹如泥土。它的潦牙能拔根倒树，而它那铁石般的头，似乎能所枝断木。人们还发现它的长鼻柔韧灵活，不禁赞叹道：象是陆地上的万兽之王！可是大象为人们所羡慕的一切并没能保护它们，请看《大象：世界的支柱》（“发现之旅”口袋本画册之一）所展示的大象的悲惨历史。

作者简介:
沃纳?霍夫曼，西方著名的艺术史学家，1962年在维也纳成立20工纪美术馆，自任馆长至1969年；1969年至1970年任汉堡美术馆馆长，曾在多所美国大学讲学并担任客座教授。主要著作有：《符号与造型――二十世纪绘画艺术》、《现代艺术基础》《世俗乐园――十九世纪艺术》、《美杜莎魔力》等。本书译自其著作《二十世纪艺术的转折点》之英文版。


内容提要:
19世纪末20世纪初，艺术世界一下子变得纷乱无序，新艺术、野兽派、立体派、抽象艺术、行为艺术等诸多流派与手法竟波逐流，使传统艺术家及一般观

Mark Cohen is a restless poet of a photographer. In GRIM STREET he demonstrates his enormous ability to grasp a winking moment of life in the back streets, isolated fleeting views of the ordinary made extraordinary. This very fine book of photographs is less attuned to compositionally correct images as emotionally charged ones. As such it is a monograph of the smarmy, dark, seedy and at times embarrassingly immediate life of the underbelly of America as represented by the streets of Wilkes-Barre, PA.
Cohen's successful forays in to this territory are accompanied by 'interviews' conducted by Anne Wilkes Tucker and Thomas Southall. The composite result is a book that 'reads' like a novel and will remain compelling present in the mind's eye long after perusing it. Fine work! Grady Harp, August 05
"A lot of it is mood driven, but I don't exactly know where the motive and inspiration to take pictures comes from. So it's very spontaneous work; there's not a lot really to plan." So it would seem at first glance upon Mark Cohen's masterful collection of work presented in his first (and hopefully not last) book Grim Street . From this revealing quote by the author, we are lead to believe that Cohen himself discovers in his darkroom much of the beauty portrayed in his work.
As anyone who has followed Cohen's work knows, Mark has been influenced greatly by the renowned street photographer Cartier-Bresson with his ability to capture the unfolding "decisive moment." But Cohen's work is anything but unfolding, on the contrary; it is literally in-your-face obtrusive, grabbing on film fleeting sublime moments, otherwise lost forever in eternity. One can almost amusingly imagine Cohen, armed with his trade mark flash and wide angle lens, scurrying around a photo-opportunity with Bresson. While Bresson contemplates from a distance the "decisive moment" to release the shutter; Cohen (in his own words) uses "grab shots" often without even the use of a viewfinder to capture what could be called "multiple moments." It is apparent from this exquisite body of work that Mark Cohen is the heir apparent to the recently deceased Bresson, and, one might say, an "impatient" 21st Century updated version of the master.
Ignoring for a moment the obvious psychological and sociological content of Cohen's work, the visual subject matter of Grim Street is indeed at first glance difficult to digest. It is anything but "cheery", often times seedy, sometimes voyeuristic, and occasionally downright lascivious. But the ultimate irony is that these qualities of course are passing and superficial, as fleeting as Cohen's flick of the shutter. For it's only with pausing and contemplating the work that the disquieting subject matter "disappears" and the true mastery reappears. That perfect wisp of hair, that "just so" turn of a cat's tail, that flawlessly lit foreground and carefully nuanced background, those repeating diagonals inside exquisite compositions, and all the artistic universals that forever have withstood the test of time, are there to be discovered in this collection.
May this reviewer be so bold as to suggest an answer to Mr. Cohen's own query about the source of his inspiration referred to earlier? A grim street is down-and-dirty, mean and often times dangerous. Surely there is no inspiration to be found in such a secular reality, unless one has the genius and magical gift to capture a transcendent glimpse of a more perfect place. The source of that gift, the inspiration is not temporal. Undoubtedly we're all traveling on a type of "grim street." Thank God we have inspired and graced artists such as Mark Cohen to give us an occasional glance at our idyllic destination.