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Man sollte nicht vergessen, daß der Nationalsozialismus eine enthusiastische, funkensprühende Revolution, eine deutsche Volksbewegung mit einer ungeheuren Investierung von Glauben und Begeisterung war. (Thomas Mann) Wie konnte ein so kultiviertes Land wie Deutschland – ein Land, das Bach, Goethe und Einstein hervorbrachte – einer verbrecherischen Kreatur wie Hitler folgen und in einen Krieg ziehen, der mehr als 50 Millionen Menschen das Leben kostete? Dass wir uns mit der Beantwortung dieser Frage so schwer tun, hat einen einfachen Grund. Wir begehen den Fehler, das Dritte Reich von seinem Ende her zu betrachten. Sobald wir bereit sind, die Geschichte nicht von 1945, sondern von 1933 aus zu betrachten, wird schnell klar, dass die damalige Generation durchaus nachvollziehbare Gründe dafür hatte, sich der sogenannten nationalen Revolution anzuschließen. Indem dieses Buch die Leser an die Hand nimmt und sie die Welt mit den Augen der damals lebenden Menschen sehen lässt, hilft es uns zu verstehen, weshalb sich zunehmend mehr Deutsche hinter Hitler stellten und sogar für ihn zu sterben bereit waren. Zudem räumt es mit einer Vielzahl von weit verbreiteten Irrtümern auf – angefangen vom Judenboykott über die Reichskristallnacht bis hin zu den Kriegsursachen.

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.

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.

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.

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 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.

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.

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.

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."

The German battleships Bismarck and Tirpitz had brutally short careers. The Bismarck was sunk by the Home Fleet on her first operational sortie in May 1941. But the Tirpitz, hiding in Norwegian fjords, remained a menace to Allied convoys and tied down the British Home Fleet for three years. Periodic scares that the Tirpitz was 'out' disrupted naval operations and in 1942 led to the dispersal and destruction of Convoy Pq17. Many attacks on the Tirpitz were made by British X-craft and Chariots, by the Fleet Air Arm and by Raf Bomber Command. From May 1940 over 700 British aircraft tried to bomb, mine or torpedo the Tirpitz on 33 separate missions; she was finally destroyed by Lancaster bombers with 5-ton Tallboy bombs. This is the most comprehensive account of the air attacks on 'the beast' ever published, which is the result of extensive research of the British and German records by the author, former head of Defence and International Affairs at Rma Sandhurst.

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.

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.

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.

Neuware -Der Wald - eine riesige WohngemeinschaftGemeinsam mit Clara, Finn, Ida und Förster Felix erkunden die Kinder den Wald und seine Bewohner: Bäume, Tiere, Pilze, Moose - sie alle sind Teil dieser Lebensgemeinschaft. Wer lebt eigentlich wo im Wald Und wofür ist der Wald gut Wie können wir ihn schützen tiptoi beantwortet Kinderfragen auf Augenhöhe. Ein Buch, das Kindern Wissen über den heimischen Wald vermittelt und für dessen Schutz sensibilisiert.Was macht der Traktor auf dem Feld Wann kommt die Feuerwehr Wie groß wird ein Pony Die interaktive Sachbuchreihe tiptoi Wieso Weshalb Warum beantwortet wichtige Kinderfragen auf Augenhöhe. Die detailreichen Bilder werden durch zahlreiche authentische Geräusche und Erzähltexte lebendig. Das Sachwissen wird altersgerecht erklärt und ist fachlich geprüft. Dank der einfachen und intuitiven Nutzung mit dem tiptoi-Stift erschließen sich Kinder die Inhalte spielerisch selbst. Sie lernen, Zusammenhänge zu begreifen, und erfahren alles über ihren Alltag und ihre Umwelt. Zusätzlich gibt es auf jeder Seite ein spannendes Hörspiel, das die Kinder noch tiefer in das jeweilige Thema eintauchen lässt. So laden faszinierende Geschichten, Lieder und Spiele immer wieder zum selbstständigen Entdecken und Erforschen ein.tiptoi-Stift nicht enthalten. Muss separat erworben werden. 16 pp. Deutsch