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Friedrich and his best friend were growing up in Germany in the early 1930s. At first, Friedrich seemed to be the more fortunate, but when Hitler came to power, things began to change. Friedrich was expelled from school and became an orphan when his mother died and his father was arrested and deported. This is a terrifying story of the destruction of a single Jewish family.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.18

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.

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.

This artist's book by the influential but deliberately elusive Düsseldorf Conceptual photographer features a series of pictures of a woman putting on her makeup. A peer of Gerhard Richter, Joseph Beuys and Bernd and Hilla Becher, Feldman helped pave the way for artists like Richard Prince, Sherrie Levine and Christopher Williams.

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."

1963, first American edition. Text block firm and clean, binding unblemished, boards straight, without highlights or underlining. Well packaged and promptly shipped from California. Partnered with Friends of the Library since 2010.

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.

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.

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.

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.

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.

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.

In 1981 I was approached by Klaus Peters to assist in publishing a selection of the papers of Kurt Otto Friedrichs. With some reluctance Friedrichs has agreed to help in making the selection although in the initial stages only one paper [47-2] was in his opinion worthy of being included. With some coaxing on my part the selection was made mainly by Friedrichs despite his frequent modest grumble that it did not make sense to include "that" paper as "X" had subsequently improved either the result or the proof. Later P.D. Lax and L. Nirenberg identified appropriate papers and, perhaps not so remarkably, there was almost complete overlap. The vast majority of the papers are in partial differential equations and spectral theory where Friedrichs had the greatest impact. For these Peter Lax and Tosio Kato have written the commentaries. Friedrichs made fundamental contributions in the theory of asymptotics; two papers, including Friedrichs' Gibbs Lecture, have been reviewed by W. Wasow. The very profound contributions Friedrichs made to applied mathematics are represented by some papers in elasticity, mainly written with J.J. Stoker and now reviewed by F. John and in magneto-hydrodynamics where Friedrichs' original notes have been reproduced and his contributions to the subject reviewed by Harold Weitzner. In both these areas Friedrichs recognized and clarified approximations made in engineering and physics.

In 1981 I was approached by Klaus Peters to assist in publishing a selection of the papers of Kurt Otto Friedrichs. With some reluctance Friedrichs has agreed to help in making the selection although in the initial stages only one paper [47-2] was in his opinion worthy of being included. With some coaxing on my part the selection was made mainly by Friedrichs despite his frequent modest grumble that it did not make sense to include "that" paper as "X" had subsequently improved either the result or the proof. Later P.D. Lax and L. Nirenberg identified appropriate papers and, perhaps not so remarkably, there was almost complete overlap. The vast majority of the papers are in partial differential equations and spectral theory where Friedrichs had the greatest impact. For these Peter Lax and Tosio Kato have written the commentaries. Friedrichs made fundamental contributions in the theory of asymptotics; two papers, including Friedrichs' Gibbs Lecture, have been reviewed by W. Wasow. The very profound contributions Friedrichs made to applied mathematics are represented by some papers in elasticity, mainly written with J.J. Stoker and now reviewed by F. John and in magneto-hydrodynamics where Friedrichs' original notes have been reproduced and his contributions to the subject reviewed by Harold Weitzner. In both these areas Friedrichs recognized and clarified approximations made in engineering and physics.

Hans Danuser is among the foremost contemporary Swiss photographers. Peter Zumthor is an equally celebrated Swiss architect. Seeing Zumthor represents a unique collaboration of their distinguished artistic visions: Danuser’s images of the buildings created by Zumthor are photographs that comment equally on the art of photography and the art of architecture.             More than twenty years ago, in a milestone event of twentieth-century architectural photography, Danuser photographed, at Zumthor’s invitation, two buildings: the protective structure built for archaeological excavations in Chur and St. Benedict’s Chapel in Sumvitg. When first shown in exhibition, those photos ignited a lively debate that has been revived with a recent exhibition of Danuser’s photographs of Zumthor’s most famous work, the spa at Therme Vals. Seeing Zumthor collects these three important series of Danuser’s pictures and includes essays by leading art historians exploring the relationship between the two seemingly different disciplines or architecture and photography.            An extraordinary work, Seeing Zumthor will continue to provoke a captivating dialogue between art historians, photographers, and architects.

Desde su descubrimiento y primera publicacion a comienzos de los anos cincuenta del siglo pasado, los rollos del Mar Muerto han constituido un preciado objeto de estudio e indagacion que, en mas de una ocasion, ha trascendido del ambito academico para convertirse en foco de atencion de un publico amplio. La investigacion en torno a los rollos ha supuesto importantes revelaciones sobre las variedades del judaismo en tiempos de Jesus asi como sobre el surgimiento del cristianismo, promoviendo tambien un acalorado debate sobre estos temas. La necesidad de una nueva introduccion a los rollos que tuviera en cuenta todos estos textos como biblioteca y que incorporara las discusiones cientificas y los avances tecnologicos mas recientes se ha ido haciendo paulatinamente patente. El significado de los rollos del Mar Muerto responde a este proposito. Analiza 350 textos qumranicos y describe las sociedades y culturas en que fueron compuestos, incorporando fotografias de los textos originales y de los lugares en que fueron hallados, ademas de numerosas tablas en que se recogen pasajes ilustrativos de los rollos, cronologias y otros datos de interes.

In this theological masterpiece on the ministry of the Pope (the Petrine Office) and the nature of the Church, the great Swiss theologian Hans Urs von Balthasar examines what he calls the anti-Roman attitude-a widespread hostility toward the Papacy. Unfortunately, this attitude exists even within the Catholic Church. How should we understand this? More importantly, how should we overcome it?Hans Urs von Balthasar answers these questions by providing a balanced discusstion of the Papcy's place in the Church. He shows how the Office of Peter is an essential aspect of the ongoing life and mission of Christ's Church. On the one hand, the Papacy is not "above" the Church, the author insists, nor is the mystery of the Church reducible to the Papacy. On the other hand, writes von Balthasar, the Petrine ministry of the Pope is a crucial element among other indispensable, constitutive principles, which include what von Balthasar calls the Johannine and Pauline dimensions, and above all else on the Marian aspect of the Church.