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German language. 11.61x9.21x1.22 inches. In Stock.

Pin-up girls, weight-lifting studies, newspaper clippings, baby pictures... Hans-Peter Feldmann tells stories with pictures. Accordingly, apart from the title page, this photo album contains no text. Even the frontispiece is a photograph of boxes from Feldmann's picture archive--amassed over many years and comprising images from magazines, advertising supplements, photography books, postcards and collectibles. Travel photos, family snapshots and pictures of friends play their part as well. In recent years, Feldmann has become increasingly noted for his commentary on the way we archive photos, sending up the everyday from a very personal perspective. He seeks out the trivial incidents, the unnoticed moments, and keeps them close at hand. According to Feldmann, "Works of art should not be expensive, nor unique, but cheap and fast to produce. A painting immediately acquires a sort of importance, whereas a photo is much more arbitrary, as it's a lot easier to throw away."

This sixth volume in Hans-Peter Feldmann's (born 1941) ongoing, much-loved and now-classic artist's book series offers a chaotic compendium of movie stills, photojournalism, ads, amateur photos, pornography, art, scientific imagery, archival imagery, found photographs and much else, dipping into the iconographic whirlpool of our times and bringing up a world both familiar and incongruous. From the very first page (there is no title page), Feldmann's carefully composed sequencing and design invites the reader to interpret the black-and-white photographs as a narrative--something that is only intermittently possible, but compelling and almost inevitable--like a photo book in comic-book form. Most of the images include faces, and occasionally, familiar figures such as Mohammed Ali, Isabella Rossellini or Henry Miller loom out from the image continuum, among those whose anonymity endows the book with a sense of vast scale and reach, as if traversing the entire history of photography.

Hans-Peter Feldmann (born 1941) is a virtuoso taxonomist of contemporary visual culture. Published for Feldmann’s major 2012 exhibition at the Serpentine Galllery in London (which travels to Vienna and Hamburg), Catalogue compiles well-known images alongside new and unseen works, including selections from the artist’s private photo albums and reproductions of early book works from the late 1960s on. Grids of seagulls and postcards share space with lighthearted photobooth snaps of people crossing their eyes and a variety of other visual gags. At once intimate and accessible, Catalogue includes a lengthy, playful interview with Hans Ulrich Obrist and Helena Tatay, in which Feldmann looks back over his career, discussing inspirational figures such as Marcel Broodthaers, Bruno Goller and Konrad Klapheck and his favorite books.

Now reaching its fifth edition, Hans-Peter Feldmann's continually updated Voyeur project is one of the original zeitgeist image-trawls (alongside Gerhard Richter's Atlas). A chaotic compendium of movie stills, photojournalism, ads, amateur photos, art, scientific imagery and much else, it dips into the iconographic whirlpool of our times and presents a world both familiar and utterly bizarre.

This sixth volume in Hans-Peter Feldmann's (born 1941) ongoing, much-loved and now-classic artist's book series offers a chaotic compendium of movie stills, photojournalism, ads, amateur photos, pornography, art, scientific imagery, archival imagery, found photographs and much else, dipping into the iconographic whirlpool of our times and bringing up a world both familiar and incongruous. From the very first page (there is no title page), Feldmann's carefully composed sequencing and design invites the reader to interpret the black-and-white photographs as a narrative--something that is only intermittently possible, but compelling and almost inevitable--like a photo book in comic-book form. Most of the images include faces, and occasionally, familiar figures such as Mohammed Ali, Isabella Rossellini or Henry Miller loom out from the image continuum, among those whose anonymity endows the book with a sense of vast scale and reach, as if traversing the entire history of photography.

Pin-up girls, weight-lifting studies, newspaper clippings, baby pictures... Hans-Peter Feldmann tells stories with pictures. Accordingly, apart from the title page, this photo album contains no text. Even the frontispiece is a photograph of boxes from Feldmann's picture archive--amassed over many years and comprising images from magazines, advertising supplements, photography books, postcards and collectibles. Travel photos, family snapshots and pictures of friends play their part as well. In recent years, Feldmann has become increasingly noted for his commentary on the way we archive photos, sending up the everyday from a very personal perspective. He seeks out the trivial incidents, the unnoticed moments, and keeps them close at hand. According to Feldmann, "Works of art should not be expensive, nor unique, but cheap and fast to produce. A painting immediately acquires a sort of importance, whereas a photo is much more arbitrary, as it's a lot easier to throw away."

A woman in a hospital bed. A postcoital couple. Two kids in the woods. A burlesque dancer. A group of flappers on the beach. A coal miner. An Afghan rebel with a machine gun. A pregnant woman. Picasso. Chet Baker. Female welders on break. A group of nuns. All smoking. This concise artist's book is an homage and a small consolation. Düsseldorf cult conceptual photographer Hans-Peter Feldmann, who has smoked for 30 years, here attacks the burgeoning international movement against smoking in public places with a series of found photographs that illustrate the positive sides of the act.

Hans-Peter Feldmann (born 1941) is a virtuoso taxonomist of contemporary visual culture. Published for Feldmann’s major 2012 exhibition at the Serpentine Galllery in London (which travels to Vienna and Hamburg), Catalogue compiles well-known images alongside new and unseen works, including selections from the artist’s private photo albums and reproductions of early book works from the late 1960s on. Grids of seagulls and postcards share space with lighthearted photobooth snaps of people crossing their eyes and a variety of other visual gags. At once intimate and accessible, Catalogue includes a lengthy, playful interview with Hans Ulrich Obrist and Helena Tatay, in which Feldmann looks back over his career, discussing inspirational figures such as Marcel Broodthaers, Bruno Goller and Konrad Klapheck and his favorite books.

Z : 24 x 30 cm, 244 Seiten/pages mit 450 Abbildungen. - Eines der letzten Tabus unserer heutigen Gesellschaft betrifft die Gefängnisse und ihre Insassen. Das Buch, von Feldmann konzipiert und gestaltet, veröffentlicht Photos, die er in den Jahren 2004 und 2005 in der Justizvollzugsanstalt Köln-Ossendorf gemacht hat, außerdem Texte, die im gleichen Zeitraum von inhaftierten Mädchen und Frauen für dieses Buch geschrieben wurden und Texte aus Interviews, die mit Mitarbeitern der Justizvollzugsanstalt geführt wurden. Inhaftierte in Gefängnissen decken ein weites Spektrum des menschlichen Daseins ab, das bis in Grenzsituationen hineinreicht. Es ist nicht zu übersehen, dass eine grosse Anzahl der Gefangenen, besonders bei den Frauen, selbst Opfer waren, bevor sie Täter wurden. Ebenso gibt es Verurteilte, die eine Gefahr für die Gesellschaft darstellen und die nur durch eine Inhaftierung von schweren und schwersten Straftaten abgehalten werden können. Ein einheitliches Urteil für alle die Fälle und Schicksale zu finden, die in Gefngnissen versammelt sind, ist unmglich. Klaus Heilmann ist Kunsttherapeut in der Justizvollzugsanstalt Köln-Ossendorf.

A woman in a hospital bed. A postcoital couple. Two kids in the woods. A burlesque dancer. A group of flappers on the beach. A coal miner. An Afghan rebel with a machine gun. A pregnant woman. Picasso. Chet Baker. Female welders on break. A group of nuns. All smoking. This concise artist's book is an homage and a small consolation. Düsseldorf cult conceptual photographer Hans-Peter Feldmann, who has smoked for 30 years, here attacks the burgeoning international movement against smoking in public places with a series of found photographs that illustrate the positive sides of the act.

Culling from magazines, books and using his own roving camera, Hans-Peter Feldmann douses the culture, sifting and sorting pictures of shoes, chairs, unmade beds, bicycles, at once neutralizing and relating each to the other. Handsomely designed and composed, Another Book is a scrapbook of the zeitgeist.

Now reaching its fourth edition, Hans-Peter Feldmann's bestselling Voyeur trawls the image wreckage of our consumer-driven culture, making eccentric or sinister juxtapositions (shots of nude women next to aircraft crashes) and cataloging the blandness of media bombardment to render its toxic assault visible to us, its near-helpless voyeurs.

SERVICE PARTS HANDBOOK is the reference work for anyone who has any connection with service parts. This book standardizes terms, principles, and practices. It details foundation elements of planning and control, and demonstrates new concepts such as the Logistics Performance Envelope. Richly illustrated with 110 figures and tables, SERVICE PARTS HANDBOOK is distilled from the authors' decades of experience in consulting, training, and systems for commerce, government, and industry.

Here, Hans Ulrich Obrist and Hans-Peter Feldmann have decided to play with the interview format: Obrist poses the questions in writing and Feldmann answers each of them with a picture. The results are frequently funny, and an impressive exercise in visual thinking.

Vinyl LP pressing. 2011 release, the third album from the alt-rock band. Produced by John Feldmann and Butch Walker, the album was recorded as a duo by vocalist and multi-instrumentalist Brendon Urie and drummer Spencer Smith, following the departure of lead guitarist, backing vocalist and primary lyricist Ryan Ross and bassist/backing vocalist Jon Walker in July 2009. The album's artwork was conceptualized by touring bassist Dallon Weekes who was inducted as a full-time member of the band near

Vinyl LP pressing. 2013 release, the fourth album from the Las Vegas-based Post-Hardcore band. Ungrateful was produced by John Feldmann, who also produced the band's second album This War Is Ours. It is also the first album without bassist Max Green, and features his replacement TJ Bell (ex-Motionless in White) and new full-time member Michael Money on rhythm guitar.

Culling from magazines, books and using his own roving camera, Hans-Peter Feldmann douses the culture, sifting and sorting pictures of shoes, chairs, unmade beds, bicycles, at once neutralizing and relating each to the other. Handsomely designed and composed, Another Book is a scrapbook of the zeitgeist.

Neuware -WERNER - ODER WAS Neuauflage in HDO steht an!Nach heißen und eiskalten Zeiten für Werners Zeichner Brösel alias Rötger Feldmann drückt er im eigenen Bröseline Verlach jetzt wieder voll auf die Tube! Nach dem Verlachsdebüt WERNER - WAT NU! (Band 13, 2018) - dem ersten Werner-Band seit 14 Jahren - geht's nun mit den ersten sechs Bänden weiter - und zwar in HDO (High Definition Offset)! So gut sah Werner noch nie aus!Ab Januar 2019 erscheint monatlich ein neuer alter Band der Reihe. Den Anfang macht am 25.01. WERNER - ODER WAS (1981). Der erste Band von Brösels liebevoll digital remasterten 12 Werner-Bänden, dokumentiert eindrucksvoll - und manchmal auch weniger eindrucksvoll - Werners erste Gehversuche, die von völlig anarchischem Humor geprägt sind und keinerlei Rücklicht auf Verluste nimmt! ODER WAS führt direkt in eine Zeit in der Sex noch sicher und Krafträder noch gefährlich waren. Wer das nich gelesen hat, weiß nich, wo die Wuäss gewachsen is!Brösel: WERNER - ODER WAS Bröseline VerlagISBN 978-3-947626-01-4Erscheinungstermin: 25. Januar 2019 144 pp. Deutsch

Now reaching its fifth edition, Hans-Peter Feldmann's continually updated Voyeur project is one of the original zeitgeist image-trawls (alongside Gerhard Richter's Atlas). A chaotic compendium of movie stills, photojournalism, ads, amateur photos, art, scientific imagery and much else, it dips into the iconographic whirlpool of our times and presents a world both familiar and utterly bizarre.