World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER.
RE-OPENING 01.02.24
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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Australian Art
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2002, English
Softcover (staple-bound), 96 pages, 17 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Purple Books / Paris
Fiction Inc. / Tokyo
$280.00 - In stock -
First and only edition of Purple Stars, a collection of portraits and fashion photographs of the stars of Purple magazine during those early definitive years of 90's anti-fashion and the establishment of one of the most important fashion magazines of our generation. Edited by Makoto Ohrui, Elein Fleiss and Oliver Zahm and published in Japan in 2002 by Purple Books & Fiction Inc, Purple Stars features the photography of Mark Borthwick, Juergen Teller, Camille Vivier, Wolfgang Tillmans, Laetitia Benat, Anders Edström, Takashi Homma, Jack Pierson, Anuschka Blommers & Niels Schumm, Richard Prince, Giasco Bertoli, Alex Antitch, Patterson Beckwith, Terry Richardson, Henry Roy, Vanina Sorrenti, Chikashi Suzuki, Mauricio Guillen, Marcelo Krasilcic, Serge Leblon, Armin Linke... with photographs of Hélène Fillières, Catherine Deneuve, Jutta Koether, Lou Doillon, Kim Gordon, Harmony Korine, Alex Bag, Kate Moss, Rita Ackermann, Colin de Land, Chloë Sevigny, Brad Pitt, Charlotte Rampling, Ludivine Sagnier, Camille Vivier, Cerith Wyn Evens, Yoshimi, Yukinori Maeda, Alexandra Bircken, Lizzie Bougatsos, Maurizio Cattelan, Susan Cianciolo, Elein Fleiss, Marieke Stolk, and many more.
A now very scarce compendium of some of the most iconic photographic images direct from the early pages of Purple.
Very Good copy, lacking glassine dust wrapper.
1999, English
Softcover, 448 pages, 15.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$190.00 - Out of stock
PURPLE magazine ("Fashion, Prose, Special, Fiction, Interior") Number 3, Summer 1999.
A rare copy of one of the best early editions of Purple, with Susan Cianciolo's Summer 99, Run 7 264 Canal St. shot by Anders Edstrom for the cover. Edited by Elein Fleiss, this wonderful early issue features work and words by: Maison Martin Margiela, Mark Borthwick, Juergen Teller, Jutta Koether, Lee Ranaldo, Susan Cianciolo, Anders Edstrom, Balenciaga, Kim Gordon, Jeff Rian, Rainer Ganahl, Dike Blair, John McCracken, Richard Hell, Alex Bag, Rita Ackerman, Tobjorn Rodland, Comme des Garcons, Tim Griffin, Richard Prince, Terry Richardson, Junya Watanabe, Hermés, Jil Sander, Banu Cennetoğlu, Helmut Lang, Antek Walzcak, and many many more....
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple Fashion.
Very Good copy, only very light wear.
2002, English / German
Hardcover (clothbound), 197 pages, 27 x 23 cm
1st Edition, Out of print title / used / fine
Published by
Sternberg Press / Berlin
$220.00 - Out of stock
Long out-of-print and collectible, Gebärden und Ausdruck (Gestures and Expression) is the first comprehensive publication on the work of German artist Kai Althoff (b. 1966). Fully illustrated and conceived by the artist, this beautiful clothbound hardcover book traces the evolution of the Althoff's work from the early nineties until 2002. The texts discuss Althoff’s repertoire of bohemian adolescents, revealing how his untranslatable dialect, hermetic cultural codes and twisted youth motifs are ultimately in service of the work’s epic dimension.
“What is happening here is more a question of the absorption, reduplication, and removal of the core of an existing societal dynamics where convictions, lifestyles, and attitudes previously radically opposed, or even mutually exclusive, have collapsed together into one.” —Anke Kempkes
Edited by Nicolaus Schafhausen with texts By Michaela Eichwald, Anke Kempkes, Bernd Koehler, Jutta Koether.
Fine, As New copy.
1999, English
Softcover, 494 pages, 15.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Purple Institute / Paris
$150.00 - Out of stock
PURPLE magazine ("Fashion, Prose, Special, Fiction, Interior") Number 4, Winter 1999-2000.
A rare copy of this early edition of Purple, edited by Elein Fleiss, this wonderful early issue that features work by: Mark Borthwick, Juergen Teller, Jutta Koether, Jack Pierson, Tobjorn Rodland, A.F. Vandervorst, Ann-Sofie Back, Takashi Homma, Anders Edstrom, Balenciaga, Hussein Chalayan, Susan Cianciolo, Comme des Garcons, Fabrics Interseason, Martin Margiela, Kim Gordon, Doug Aitken, Junya Watanabe, Hermés, Bernard Willhelm, Helmut Lang, Leah Singer, Louis Vuitton, Lewis Baltz, Liz Bougatsos, Bless, Experimental Jetset, Antek Walzcak, Harmony Korine, Mark Gonzales, Terry Richardson, Giasco Bertoli, and many many more....
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple Fashion.
2018, English
Softcover, 364 pages, 14 x 20 cm
Published by
Sternberg Press / Berlin
$62.00 - Out of stock
Isabelle Graw’s brilliant analysis of the exceptional position of painting in our increasingly digital economy combines a deep respect for the objects of study and those who make them with an impressive range of critical and theoretical insights. Along the way, The Love of Painting never loses sight of the medium’s dialectical relationship to the art world, the art market, and society at large. This is a lively, provocative, and persuasively argued book.
—Alexander Alberro, author of Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth-Century Latin American Art
It’s about time for a book declaring “the love of painting” to appear, afer the aridity of postmodernism’s announcement of painting’s demise. Isabelle Graw’s argument in favor of this love turns on what she terms “vitalistic fantasies”: the perception of artworks as “quasi subjects” saturated with the life of their creator. This notion of the work of art as a quasi subject relates directly to the philosopher Stanley Cavell’s consideration that “the possibility of fraudulence, and the experience of fraudulence, is endemic in the experience of contemporary art.” To understand this we must ask: Why do we relate to works of art in the same way we relate to people? The Love of Painting works on this question—and does so with success.
—Rosalind E. Krauss, author and University Professor at the Department of Art History, Columbia University
Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s The Love of Painting considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
Design by Surface
2022, English
Softcover, 184 pages, 10.8 × 17.6 cm
Edition of 400,
Published by
Discipline / Melbourne
$25.00 - In stock -
Australian artist David Egan's (b. 1989) exploration of Colour Handling — Colour as Embodied Substance in Jutta Koether's Red Paintings; Colour as Portal in Rosie Isaac's Green Mirror; Colour as Time Machine in Tony Conrad's Yellow Movies; Colour as Dissemblance for Pain in Derek Jarman's Blue; Colour as Medium in Etel Adnan's Worldly Paintings.
Originally written as part of a practice based PhD in Fine Art, completed at Monash University Art, Design & Architecture in 2022, this popular paperback book edition has been edited by Helen Hughes and Amy Stuart, with an introduction by Tessa Laird, designed by Zenobia Ahmed, and published by Discipline in an edition of 400 copies. Features accompanying full-colour plates section.
2019, English
Poster (double-sided, folded) in envelope, 59.5 x 63 cm
Published by
Daniel Buchholz Galerie / Köln
$30.00 - In stock -
Limited edition poster with the transcript of Rainald Goetz’s presentation of the English translation of his novel Insane, published on the occasion of the exhibition opening for the group exhibition Hölle in September 2018 at Galerie Buchholz New York, featuring new or selected works by Lutz Bacher, Caleb Considine, Vincent Fecteau, Rainald Goetz, Sergej Jensen, Jutta Koether, Michael Krebber, Monica Majoli, Albert Oehlen, Henrik Olesen, and Heji Shin.
Rainald Maria Goetz (b. 1954) is a German author, playwright and essayist.
2022, English
Printed envelope w. 10 cards, 22.5 x 15 cm
Published by
Galerie Buchholz / Köln
$38.00 - In stock -
Catalogue published to accompany Jutta Koether’s exhibition How goes it? at Galerie Buchholz, Köln in September 2021. This orange envelope contains 5 colour plate reproductions of the paintings featured in the exhibition, alongside 5 black and white text cards with a written correspondence between Sabeth Buchmann and the artist.
2010, English / Italian / German
Softcover (plastic printed cover, fluro hair-tie), 88 pages (w. 40 page inserts, 1 fold-out poster), 26.5 x 21.5 cm
1st Edition, Out of print title / as new
Published by
Mousse / Milan
Walther König / Köln
Museion / Bolzano
$240.00 - Out of stock
The very quickly out-of-print, first, only edition of this great Isa Genzken book, published on the occasion of the artist’s first survey exhibition in an Italian museum, at Museion, Bolzano, 11/09/2010 – 16/01/2011.
This volume takes a radical departure from the standardised format of the retrospective catalogue. While still being lavishly illustrated and offering an in-depth look at the quest for the modern which has informed the radical and diverse oeuvre of Genzken for four decades, it also gives a sense of the tremendous influence and inspiration of her body of work for three generations of artists. Profusely illustrated with Genzken's works in glossy colour, work sections spanning here entire career are puncuated by artist contribution inserts from Lawrence Weiner, Simon Denny, Nick Mauss, Monica Bonvicini, Jutta Koether, Mark Leckey, Elizabeth Peyton, and Cerith Wyn Evans. Comes in printed thick-plastic jacket with very Genzken fluro hair-tie "binding".
Fine, almost As New copy.
2021, English
Softcover, 592 pages, 12 x 17.8 cm
Published by
Blank Forms / New York
$50.00 - Out of stock
The collection of previously unpublished interviews and extended versions of Alan Licht's famous conversations with figures in the American art and music scene.
For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York's art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine The Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines.
Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously un-transcribed public exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee also included here, was suitably impressed.
Alan Licht (born 1968) is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Lovechild and in the experimental groups the Blue Humans and Text of Light. He has released numerous solo guitar albums and duo and trio records of improvised music, collaborating with avant-garde musicians such as Jim O'Rourke, Loren Mazzacan Connors, Rudolf Grey, Lee Ranaldo and Aki Onda.
Introduction by Jay Sanders. Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, Karl Precoda (Dream Syndicate), Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Stephanie Oursler, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, Georgia Hubley and Ira Kaplan (Yo La Tengo).
2021, English / German
Softcover, 286 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$38.00 - Out of stock
This June issue of Texte zur Kunst undertakes a wide-ranging inquiry into the figurative in art. The human body, and the figure more generally, is undoubtedly among the most widely depicted subjects in the history of art. Browsing the exhibition programs of museums and galleries today, one cannot fail to notice that figurative art and rhetoric are experiencing a renaissance. In cooperation with TzK’s publisher Isabelle Graw and artist Jutta Koether, the editors have conceived an issue that takes up figuration both literally – as the subject of figurative representation in painting, literature, performance, theater, and social media – and in the broader sense, as the materialization and apprehension of social phenomena. Traditional figure-ground relationships in painting are examined, as well as the mass-mediated production of the celebrity through identity politics and questions of representation in Black figuration.
Includes a conversation between editor Isabelle Graw and artist Kerry James Marshall, essays by art theoreticians Amelia Jones and Robert Slifkin, as well as writings by artists: “Figuring,” by Jutta Koether; an essay by Annette Weisser about Alina Szapocznikow; a text by Amy Sillman on Elizabeth Murray, curator Mahret Ifeoma Kupka in conversation with Bani Abidi, Silke Otto-Knapp, and Anta Helena Recke, plus reviews of Hal Foster's "Brutal Aesthetics : Dubuffet, Bataille, Jorn, Paolozzi, Oldenburg", "Seth Siegelaub. : Better Read Than Dead. Writings and Interviews 1964–2013", exhibitions by Amelie von Wulffen, Lorraine O'Grady, Alice Neel, Loretta Fahrenholz, Michaela Eichwald, Rindon Johnson, Julie Mehretu, "Cybernetics of the Poor", and much more.
2012, English / Swedish
Softcover, 224 pages, 28 x 21.7cm
Published by
Walther König / Köln
$68.00 - In stock -
In the years following the Second World War, artists across the world began to attack the most basic premises of painting, in ways that were both aggressive and playful. The creative act itself was deemed as important as the painting that resulted from it, creating an energetic interzone between painting and performance in which chance procedures, the movement of bodies and the participation of spectators were all recruited as tools.
Explosion! Painting as Action explores the connections and cross fertilizations between painting, performance and conceptual art from the late 1940s to the present. Examining painting, photography, video, performance, dance and sound art, this volume includes works by Lynda Benglis, Niki de Saint Phalle, Cai Guo-Qiang, the Gutai Group, Allan Kaprow, Yves Klein, Alison Knowles, Ana Mendieta, Rivane Neuenschwander, Yoko Ono, Jackson Pollock, Robert Rauschenberg, Carolee Schneemann, Shozo Shimamoto, Lawrence Weiner and many others.
2021, English / German
hardcover (leporello), 104 pages, 21 x 29 cm
Published by
Museum Abteiberg / Mönchengladbach
Walther König / Köln
$55.00 - Out of stock
Jutta Koether’s new artist book, Libertine, documents and interprets her eponymous exhibition at Museum Abteiberg, a major installation that delved into the museum’s history.
The artist designed the book and its fold-out (leporello) cover, presenting her latest series of paintings from 2018 to 2020 and their intersection with central works in the Mönchengladbach-based collection. The second part of the book contains a dossier of materials from her studio.
Three new essays by Ewa Lajer-Burcharth, Jenny Nachtigall and Nathan Stobaugh together with a postface by Susanne Titz offer a comprehensive art historical exploration of the artist, considered one of today’s leading contemporary painters.
Published after the exhibition, Jutta Koether: Libertine at Museum Abteiberg, Mönchengladbach, Germany (13 October 2019 – 16 February 2020).
English and German text.
2018, English
Hardcover, 372 pages, 29.7 x 24.9 cm
Published by
Walther König / Köln
$120.00 - In stock -
This extensive, over-sized hardcover catalogue offers a systematic and chronological overview of the multifaceted oeuvre of German artist, Jutta Koether. It goes back to her beginnings in the context of Neo Expressionism in Cologne in the early and mid-1980s, and her subsequent exploration of the colour red as an expressive device – presenting a response to the cliché of male painters. After moving to New York in the early 1990s, Koether began making breathtakingly intense and colourful large-scale paintings that layer motifs from pop culture, literature and art history in dense painterly gestures. In the early 2000s, the artist’s approach became increasingly involved with performance and music, culminating in inky black canvases and assemblage paintings incorporating devotional objects from Punk and ‘noise culture’. The final chapter of this retrospective is dedicated to Koetherʼs eccentric turn to history painting and her latest appropriations from art historyʼs visual memory.
Published on the occasion of the exhibition, Jutta Koether: Tour de Madame at Museum Brandhorst, Munich (18 May – 21 Oct 2018), and at Mudam Luxembourg, 2019.
1993, French / English
Softcover (staple-bound), 80 pages, 24.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$90.00 - Out of stock
The very scarce second issue of Elein Fleiss and (then art critic) Olivier Zahm's Purple Prose, the Parisian literary art zine that began the world of Purple. Founded in 1992 as a reaction against the superficial glamour of the 1980’s, Purple Prose embraced the immediate fanzine aesthetics of what became referred to as 1990's anti-fashion, a far cry from what we now identify with Purple Fashion with.
Purple Prose 2 (Winter 1993) features: Martine Aballea, Olivier Badot, Pierre Bismuth, Dike Blair, Olivier Blanckart, Henry Bond, Cocto, Tommaso Corvi-Mora, Liz Dalton, Peter Fleissig, Anne Frémy, Vitaly Glabel, Dominique Gonzalez-Foerster, Isabelle Graw, John S. Hall, Markus Hansen, Lothar Hempel, Thomas Johnson, Bernard Jolsten, Isaac Julien, Jutta Koether, Ariel Kyrou, Simon Lee, Christophe Lemaire, Michel Maffesoli, Eva Marisaldi, Barbara Osborn, Valerie Pigato, Jeff Rian, David Robbins, François Roche, Julia Scher, R. U. Sirius, Liz Stirling, Tom Verlaine, Jean-Luc Vilmouth, Jacques-Arthur Weil.
Very Good copy with light buckling/wear.
2016, English
Softcover (w. dust jacket), 292 pages, 12 x 19 cm
Published by
Sternberg Press / Berlin
$54.00 - Out of stock
Painting beyond Itself
The Medium in the Post-medium Condition
Isabelle Graw, Ewa Lajer-Burcharth (Eds.)
Contributions by Carol Armstrong, Benjamin H. D. Buchloh, Sabeth Buchmann, René Démoris, Isabelle Graw, David Joselit, Jutta Koether, Ewa Lajer-Burcharth, Jacqueline Lichtenstein, Julie Mehretu, Matt Saunders, Amy Sillman
In response to recent developments in pictorial practice and critical discourse, Painting beyond Itself: The Medium in the Post-medium Condition seeks new ways to approach and historicize the question of the medium. Reaching back to the earliest theoretical and institutional definitions of painting, this book—based on a conference at Harvard University in 2013—focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity. Myriad conceptions of the medium and its specificity are explored by an international group of scholars, critics, and artists. Painting beyond Itself is a forum for rich historical, theoretical, and practice-grounded conversation.
Institut für Kunstkritik Series
Design by Surface
2019, English / German
Softcover, 272 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
In the current issue of Texts on Art, "Literature," we explore the emergence of the genre of "autofiction": a field in literature that has been taken up between the formally distinct categories of fiction and autobiography. Annie Ernaux, Rachel Cusk, Deborah Levy, among others, whose works are exemplary in developing the form of writing in which the fictitious ego merges with the voices of others, where these voices are potentially in the social more generally.
ISSUE NO. 115 / SEPTEMBER 2019 "LITERATUR"
TABLE OF CONTENTS
PREFACE
BETWEEN YOU AND ME / A Correspondence on Autofiction in Contemporary Literature between Isabelle Graw and Brigitte Weingart
WOMAN AS SUBJECT OR EXEMPLARY OF HER KIND / A Conversation between Maija Timonen and Rachel Cusk
CLAUDE HAAS
ON - THE DEMISE OF AUTOBIOGRAPHY IN THE WHIRL OF AUTOFICTION. OR: REALITY TODAY
SURRENDER AS FREEDOM / Interview with Enis Maci by Aram Lintzel
PETER REHBERG
- QUEER AUTOFICTION AS BODY PROTOCOL
DIRK VON LOWTZOW
SOME QUESTIONS FOR LEÏLA SLIMANI
LEANDER SCHOLZ - LITERATURE OF WORKING-CLASS CHILDREN
JUTTA KOETHER -
WHEN YOU PAINT APPLES, DO YOU ALSO FEEL YOUR BREASTS AND KNEES BECOMING APPLES?
NEW DEVELOPMENT
EMPIRE OF ETHER / Colin Lang on the Advent of Drone Exhibitions
ROTATION
LIFE PRESERVER / Sven Lütticken on Alice Creischer’s “In the Stomach of the Predators: Writings and Collaborations”
KLANG KÖRPER
PROTO-WHATEVER-THIS-NEXT-PHASE-IS / Annika Haas über Holly Herndon in der Volksbühne Berlin und im Haus der elektronischen Künste Basel
REVIEWS
BLUE CUBES: VOLLGELAUFENE VOLUMEN / Diedrich Diederichsen über die 58. Biennale in Venedig
THE POWER OF NO / Eva Díaz on the Whitney Biennial 2019
GLOBAL SALE / Simon Baier über El Anatsui im Haus der Kunst, München
TO GIVE AND GIVE SUN / Övül Ö. Durmuşoğlu on Cecilia Vicuña at Witte de With, Rotterdam
FREE WILLY / Mikael Brkic on Jana Euler at Galerie Neu, Berlin
UNDERSTANDING THAT EVERYONE IS NOT UNDERSTANDING EVERYTHING / Gunter Reski über Heike-Karin Föll in den KW Institute for Contemporary Art, Berlin
CONSIDER NOT THE BIRD’S, BUT THE WORM’S VIEW / Adam Kleinman on Cian Dayrit at Nome Gallery, Berlin
KÜNSTLERIN SEIN / Georg Imdahl über Anna Oppermann in der Kunsthalle Bielefeld
SETTING THE RECORD STRAY / Ana Teixeira Pinto on “Straying from the Line” at Schinkel Pavillon, Berlin
CHICAGO, NOW! / Hans-Jürgen Hafner über Gustave Caillebotte in der Alten Nationalgalerie, Berlin
HIDE AND SEEK / Magnus Schaefer on Lydia Ourahmane at Bodega, New York
WE NEVER KNOW HOW HIGH WE ARE / Thomas Groetz über Mayo Thompson in der Galerie Buchholz, Berlin
INVOLUNTARY TRACES / Daniel Ricardo Quiles on Jonathas de Andrade at the Museum of Contemporary Art, Chicago
POETISCHE SEZIERUNGEN / Isabel Mehl über Cana Bilir-Meier im Hamburger Kunstverein
CAVEMAN BLUES / Saim Demircan on Edith Karlson and Dan Mitchell at Temnikova & Kasela, Tallinn
DIE MEISTERIN / Stefan Neuner über Lotte Laserstein in der Berlinischen Galerie
STAGING FEMINISM / Luisa Lorenza Corna on “The Unexpected Subject: 1978 Art and Feminism in Italy” at FM Centro per l’Arte Contemporanea, Milan, and “Doing Deculturalization” at Museion, Bolzano
WAHRNEHMUNG IST VERSCHIEBBAR / Christina Irrgang über Bea Schlingelhoff in der Galerie Max Mayer, Düsseldorf
GRIT AND VITALITY / Daniel Sturgis on Joan Snyder at Blain Southern, London
NACHRUFE
LINDA BILDA (1963−2019)
by Silvia Eiblmayr
AGNÈS VARDA (1928–2019)
by Jennifer Stob
MICHEL SERRES (1930−2019)
by Lorenz Engell
KLAUS BUSSMANN (1941–2019
by Ulrike Groos and Hans Haacke
EDITION
BIRGIT MEGERLE
STERLING RUBY
1993, English / German
Softcover, 96 pages, 21 x 26 cm
1st Edition, Out of print title / used / very good
Published by
City Gallery / Wellington
$50.00 - Out of stock
Catalogue produced to accompany the large solo institutional exhibition of German artist Rosemarie Trockel at Wellington's City Gallery, in New Zealand, 1993. Illustrated throughout in colour and black and white images, the catalogue reproduces all the sculptural, drawing, painting, video, wool, photography, collage works presented in the expansive exhibition, along with installation photography, a list of works, exhibition history, biography and accompanying texts by Jutta Koether, Gregory Burke, Robyn Gardner (all in English and German).
Very Good copy
2016, English
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by
Prestel / Munich
$120.00 - Out of stock
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, Guyton/Walker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
2016, English
Softcover, 544 pages, 21.5 x 15 cm
Published by
Paper Monument / New York
$49.00 - Out of stock
edited by Jennifer Liese
Since the turn of the millennium, artists have been writing, and circulating their writing, like never before. The seventy-five texts gathered here — essays, criticism, manifestos, fiction, diaries, scripts, blog posts, and tweets — chart a complex era in the art world and the world at large, weighing in on the exigencies of our times in unexpected and inventive ways.
With Contributions By:
Greg Allen, Rasheed Araeen, Tauba Auerbach, Fia Backström, Fiona Banner, Bill Beckley, Caroline Bergvall, Bernadette Corporation, Xu Bing, Gregg Bordowitz, James Bridle, Bruce High Quality Foundation, Tania Bruguera, Paul Chan, Mel Chin, Molly Crabapple, Critical Art Ensemble, Moyra Davey, Tacita Dean, David Diao, Jimmie Durham, Shannon Ebner, Harrell Fletcher, Andrea Fraser, Coco Fusco, Rainer Ganahl, Ryan Gander, Mariam Ghani, Renée Green, Deanna Havas, Pablo Helguera, Karl Holmqvist, Ashley Hunt, Juliana Huxtable, Emily Jacir, Helen Johnson, Ronald Jones, Nina Katchadourian, Mike Kelley, John Kelsey, Jutta Koether, Glenn Ligon, Yve Lomax, LTTR, Jill Magid, Josiah Mcelheny, John Miller, Naeem Mohaiemen, Nástio Mosquito, Takashi Murakami, Jayson Musson, Olu Oguibe, Marisa Olson, Şener Özmen, Katrina Palmer, Adam Pendleton, Mai-Thu Perret, Adrian Piper, Pope.L, Seth Price, Raqs Media Collective, Lili Reynaud-Dewar, Kay Rosen, Peter Rostovsky/David Geers, Natascha Sadr Haghighian, Mira Schor, Karin Schneider and Nicolás Guagnini, Michael Schwab, Gregory Sholette, Slavs And Tatars, Cally Spooner, Frances Stark, Hito Steyerl, Koki Tanaka, Ryan Trecartin, Suzanne Treister, Dmitry Vilensky, W.A.G.E., Mary Walling Blackburn, Ai Weiwei, The Yes Men, Young-Hae Chang Heavy Industries, and Qiu Zhijie
Praise for Social Medium:
"A thoroughly engrossing read ... entertaining as well as intellectually stimulating."
—Oliver Basciano, ArtReview
"The distinct textures of these individual voices together produce a larger portrait – not of a collective, but of art with a capital A: something far from prescription or cohesion, unable to be contained, requiring the work and words of many."
— Jennifer Krasinski, Frieze
“As this indispensable anthology so engagingly demonstrates, legions of artists armed with laptops have for the past fifteen years brilliantly hacked the ways we think about 21st-century culture and politics. Full of imaginative texts and revolutionary ideas, this is a user’s guide to the postinternet era.”
—Brian Wallis, editor of Blasted Allegories: An Anthology of Writings by Contemporary Artists
“This is such a beautiful book because the real thought balloon of the art world is exactly these brainy and ecstatic citizens’ writings. Hang out a lot with them please — gain everything and miss nothing. Watch ‘democracy’ get palped and monitored, challenged and witnessed here. I’d call Social Medium a deep vacation into the present, which we totally need.”
— Eileen Myles, author of Chelsea Girls
2011, English
Softcover with dustjacket, 98 pages, 12 x 19 cm
Published by
Sternberg Press / Berlin
$28.00 - Out of stock
Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)
Texts by Ina Blom, Oliver Brokel, Caroline Busta, Stefan Deines, Hal Foster, Stefanie Heraeus, Jutta Koether, Magdalena Nieslony, Michael Sanchez
Many contemporary artworks evoke the human figure: consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig, or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This book brings together contributions from the eponymous conference, all of which seek to speculate on the reasons as to why, since the turn of the millennium, we have encountered so many artworks that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi’s theory of semiocapitalism—a power technology that aims squarely at our human resources. The participants of this conference were asked to offer possible explanations for this wide acceptance of anthropomorphism—could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
2018, English / German
Softcover, 240 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 - Out of stock
The September issue of Texte zur Kunst focuses on Amerika (U.S. America principally): the land, the idea, and all that seems to come with it. What is Amerika today other than a contradiction between brute political reality and a largely fictional self-image, where fiction says as much about fact as “alternative facts” say about the truth? Within this contradiction, this issue tries to imagine modes of engaging with the current political machinery without opting for the one-dimensional dive into micropolitics that has plagued much recent activist discourse. The Trump regime has introduced a new form of politics whose tactics are closer to artistic practice—inventing parallel truths and questioning facts—than anything like traditional governance. As such, those familiar with art are in a unique position to offer an analysis of the specific forms that define contemporary politics in Amerika. We have thus commissioned artists and critics to come up with new strategies for analyzing the rampant barbarism, resisting the urge to sink into paralysis and defeat in the face of the endless onslaught.
Issue No. 111 / September 2018 "America"
Table Of Contents :
Foreword
Prefaces
Colin Lang
- The Horror, Vacui
Ken Okiishi -
Liberty and Justice For All, Not Us
Aria Dean -
Trauma And Virtuality
Letter To A Friend In New York / By Isabelle Graw
The Golden Hoard / Conversation With Andrea Fraser
Sina Najaf - i
The American Dream State
Robert F. Reid-Pharr -
What We Dare Not Remember
New Development
Is Space The Place? / Eva Díaz On Feminist Futures In The Anthropocene
Love Work Cinema
Between Bildersturm And Artistic Research / Rainer Bellenbaum About Films From The Years Around 1968 In The Historical Program Of The Kurzfilmtage Oberhausen
Reviews
Decolonialized Narrative In The National Art Temple / Susanne Von Falkenhausen On "Hello World" At Hamburger Bahnhof, Berlin
That Fluctuating Moment / Jesi Khadivi At The 10Th Berlin Biennale
The Silent Ship / Övül Ö. Durmusoglu On Manifesta 12 In Palermo
Love And Salt / Adrienne Rooney On Adrian Piper At The Museum Of Modern Art, New York
Tracks Of Disappearance / Tobi Maier About Bruce Nauman In The Schaulager, Basel
Man In The Mirror / Dan Kidner On "Picasso 1932 - Love, Fame, Tragedy" At Tate Modern, London
In The Bure Of The Circle / Marietta Kesting About Raster-Noton In The Kunstbau Lenbachhaus, Munich
Looking But Not Seeing? / Darla Migan On Faith Ring Gold At Weiss Berlin
Mad / Ame / Jenny Nachtigall About Jutta Koether At The Museum Brandhorst, Munich
If You Are Once Big / Nadja Abt About Philip Wiegard At Between Bridges, Berlin
Marked By Trade / Sven Lütticken On "Trade Markings" At The Van Abbemuseum, Eindhoven
Amazone Retired / Tina Schulz On Astrid Klein In The Falckenberg Collection, Hamburg
Born To Die / Colin Lang On Jeanette Mundt At Société, Berlin
Limitations Of Utopia / Christina Irrgang On Cyril Lachauer In The Berlinische Galerie, Berlin
Hereditary Peers / Saim Demircan On Luke Willis Thompson At Kunsthalle Basel
Zoology Of The Falls / Niklas Lichti On Peter Wächtler With Lars Friedrich, Berlin
Below The Surf / Steven Warwick On Georgie Nettell At The Kunstbunker Forum For Contemporary Art, Nuremberg
The Hour Of The Historics / Ariane Müller About Valie Export At The Neuer Berliner Kunstverein
Foreign Powers / Johanna Burton On Zoe Leonard At The Whitney Museum Of American Art
Committee Criteria / Kerstin Stakemeier On Henrike Naumann At The Museum Abteiberg, Mönchengladbach
Related Practices / Sandra Neugärtner On Anni Albers In The Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Term (s) Of Endearment / Kathi Hofer On "Milieu" At After The Butcher, Berlin
Obituary
Claude Lanzmann (1925-2018)
Edition
Cecily Brown
Mark Leckey
2015, English / German
Softcover (with dust jacket), 130 pages (4 b/w ill.), 12 x 19 cm
Published by
Sternberg Press / Berlin
$22.00 - Out of stock
Edited by Isabelle Graw, Daniel Birnbaum, Institut für Kunstkritik, Frankfurt am Main
First published in German in 1987, this is artist and writer Jutta Koether’s meditation on painting. In novella form, f. follows several disembodied female characters as they consider velvet, coral, the curtain, money, color, red. These objects, these things, help the narrator and other characters come into being, but it is paintings that embody who the narrator really is: “Even if I’m their hostage when I look at them, I’m not inferior to them. I lie down, stand, or sit in front of them and, in this moment, I’m everything they affect in me.” Unlike people, paintings are fixed, explicit with their intentions and challenges—in the end they will still be here, outlasting those who made them or who looked at them. A facsimile of the original German publication is included in this volume.
Translated from the German by Nick Mauss and Michael Sanchez
Institut für Kunstkritik series
Design by Surface
This title is now out of print.
2011, English
Softcover, 240 pages, 147 x 210 mm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$55.00 - Out of stock
The "death of painting" and its subsequent resurrection in transformed conditions is a leitmotif of the modern era. Painting’s postconceptual resurgence at the start of the 1980s began a dramatic expansion of its field. If painting remains important today, it is because its contradictions have been acknowledged as artists have radically diversified the components of its production and presentation.
This first anthology to focus on painting's multiple discourses over the last three decades brings together key statements, dialogues, and debates that have moved the conversation beyond the modern/postmodern dialectic while redefining the conditions necessary for an artwork to be described as "painting." The diversity of contemporary painting’s meanings and practices encompasses the randomness and eclecticism associated with Web-based creation. Although for many the presence of paint endures, others have argued for painting to be classed not as a material but as a philosophical category.
Compiled by a leading critic of painting who actively participated in these conversations while also teaching young artists in the studio classroom, this collection ranges widely, to reflect the diversity of ways in which painting continues to be investigated and evaluated in studios, exhibition spaces, and the marketplace of ideas. These writings, statements, and interviews reflect ongoing debates and reignite questions for an as yet unimagined future of painting.
Artists surveyed include Glenn Brown, Vija Celmins, John Currin, Marlene Dumas, Olafur Eliasson, Bernard Frize, Katharina Grosse, Andreas Gursky, Peter Halley, Gary Hume, Jutta Koether, Paul McCarthy, Suzanne McCleland, Beatriz Milhazes, Takashi Murakami, Albert Oehlen, Lari Pittman, Sigmar Polke, Gerhard Richter, Robert Ryman, David Salle, Chéri Samba, Jim Shaw, Jessica Stockholder, Philip Taaffe, Luc Tuymans, Jeff Wall and Sue Williams.
Writers include Daniel Birnbaum, Norman Bryson, Douglas Crimp, Gilles Deleuze, Sebastian Egenhofer, Hal Foster, Jeremy Gilbert-Rolfe, Isabelle Graw, David Joselit, Shirley Kaneda, Geeta Kapur, Thomas Lawson, Midori Matsui, Lane Relyea, Rene Ricard, Jerry Saltz, Mira Schor, Barry Schwabsky and Adrian Searle.
About the Editor
Terry R. Myers is a Chicago— and Los Angeles-based writer, educator, and independent curator. A regular contributor since 1988 to numerous international journals, including Art Review, The Brooklyn Rail, Parkett, and Modern Painters, he is the author of Mary Heilmann: Save the Last Dance for Me (Afterall Books, 2007). He is Associate Professor of Painting and Drawing at the School of the Art Institute of Chicago.