The seventh installment of Feldmann’s ever-collectible found-image photobook series
For most of his career, German visual artist Hans-Peter Feldmann (born 1941) has been a virtuoso reappropriator of images, mining visual culture both high and low to create assemblages of disparate symbology. His Voyeur project presents a unique series of photographic artist’s books filled to the brim with juxtapositions, each page composed of images sourced from all areas of modern life. Excerpts from film, photojournalism, advertisements, fine art, amateur photos, pornography and scientific illustrations, some instantly recognizable and some utterly obscure, appear in the seventh edition of Feldmann’s series. Questions of copyright and commercialization are hinted at but never answered as Feldmann encourages readers to draw their own conclusions about the artistic value of ephemeral curation. Readers may leaf through the book as one might a stranger’s personal scrapbook, creating their own narratives from the contextless images.
in stock $19.95
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FORMAT: Pbk, 4.25 x 6.5 in. / 265 pgs / 800 b&w. LIST PRICE: U.S. $19.95 LIST PRICE: CANADA $27.95 ISBN: 9783960988939 PUBLISHER: Walther König, Köln AVAILABLE: 6/8/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR
The seventh installment of Feldmann’s ever-collectible found-image photobook series
Published by Walther König, Köln.
For most of his career, German visual artist Hans-Peter Feldmann (born 1941) has been a virtuoso reappropriator of images, mining visual culture both high and low to create assemblages of disparate symbology. His Voyeur project presents a unique series of photographic artist’s books filled to the brim with juxtapositions, each page composed of images sourced from all areas of modern life. Excerpts from film, photojournalism, advertisements, fine art, amateur photos, pornography and scientific illustrations, some instantly recognizable and some utterly obscure, appear in the seventh edition of Feldmann’s series. Questions of copyright and commercialization are hinted at but never answered as Feldmann encourages readers to draw their own conclusions about the artistic value of ephemeral curation. Readers may leaf through the book as one might a stranger’s personal scrapbook, creating their own narratives from the contextless images.
