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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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.
1995, Japanese
Softcover, 224 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Data House / Tokyo
$15.00 - Out of stock
"Sniff out!! Our fuckin' rotten brain.... Dedicated to all the gay guys in Japan"
???
The very controversial and very popular inaugural 1995 issue of Tokyo's Danger magazine. 90's nihilism publishing from Tokyo's "apocalyptic" Data House to file alongside Too Negative and End of The Century, Danger (or Dangerous), a "scientific" journal of lunatic subculture, launched onto newsstands with an in-depth international reportage on "Drugs", featuring articles on speed shooting, South American cartels, the world's rarest drugs, hallucinogenic plants from around the world from magic mushrooms to ayahuasca, how-tos/maintenance/cultivating knowledge, the history of ecstasy, sex on drugs, music on drugs, a drug slang dictionary, drug-related books and guides, world scene and dutch coffeeshop reports, xxx film director Fumiki Watanabe interview, an exploration of Japan's "dangerous documents", corpse museums, hitmen, sex criminals, "Your personality & cause of death", and genuinely horrible other tid-bits from the darker side of humanity.
Note: Aside from some photographs and violent and absurd cartoons, Danger is a "scientific" journal, filled with Japanese texts and info graphics.
Very Good copy, light cover/edge wear. 1995 edition, 1996 printing.
1985, English / Japanese
Softcover (w. dust jacket), 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Ryuko Tsushin / Japan
$160.00 - Out of stock
First 1985 edition of "London after the Dream" by Japanese photographer Herbie Yamaguchi (b. 1950, Tokyo). A wonderful, lesser-known Japanese photo book of Yamaguchi's images of London in a time of great turmoil, under the control of Thatcher, the 'Iron Lady'. Yamaguchi, who came from the experimental performance arts scene in Tokyo, immersed himself in the punk rock scene in London. Being penniless and without a studio, Yamaguchi shot the people around him, from his flatmate Boy George to Joe Strummer to The Slits, the hair-dressers to the squat kids, intimately capturing an radical musical moment in the city against the backdrop of class tension. London after the Dream collects the best of these photographs, chaptered through Yamaguchi's images of the city's youth, his young adult peers (including a spread featuring Johnny Rotten vis-à-vis Lady Diana), and Britain's older generation. The changing of the guard.
Very Good copy in VG dust jacket.
1995, English
Softcover, 432 pages, 22 x 27.4 cm
1st Edition, Out of print title / used / very good
Published by
MIY (Mind In You) Publishing Ltd / UK
$160.00 - In stock -
First and only edition of this enormous definitive history of House Music, self-published in Britain in 1995. Spanning Ambient, Techno, Jungle, Acid; from the DJ's to the raves; this huge book documents a cultural music and dance movement first-hand through the experiences and words of all the major DJ’s from the scene at the time including Larry Heard, Frankie Knuckles, Adonis, Norman Jay, Carl Cox, Fat Tony, Pete Tong, Alfredo, Fabio, Jesse Saunders, Grooverider, Juan Atkins, Sasha, Dimitri, Farley "Jackmaster" Funk, Derrick May, Andy Weatherall, Jamie Principal, about 80 interviews and profiles in total, plus extensive reviews, reflections and photography of the scenes in Ibiza, Great Britain, Italy, New York, San Francisco, Chicago, Detroit, etc., spanning all the major clubs and festivals of the time. The book's design also embodies the aesthetic of the movement at the time, with every page immersed in an insane sea of psychedelic, early CG graphic design, complete with a never-ending collection of rave flyers.
A true labor of love, this one-of-a-kind historical time-capsule is a must for any dance music collector.
1999, English
Softcover, 300 pages, 17 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Black Dog Publishing Ltd / London
$290.00 - Out of stock
Scarce first 1999 edition of this definitive resource on the work of COUM Transmissions and Throbbing Gristle.
"These people are the wreckers of civilisation", exclaimed the Conservative Member of Parliament Nicholas Fairbairn in 1976. His outburst was meant to describe four artists and musicians: Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson and Chris Carter - members of the seminal band Throbbing Gristle. What "these people" had done to deserve such an epithet, and what they were about to do, is the subject of this book.
Throbbing Gristle are widely lauded as the band that invented industrial music, and their influence can be observed across today's musical landscape: from house and techno to industrial death metal. Wherever experimental electronic music is being made, Throbbing Gristle's influence can be felt.
"Wreckers of Civilisation recalls a time which despite volumes of print remains occluded, obdurate, even intimidating: that moment before the conservative reconstruction. To be awake in London in the late 1970s was to be plunged into turmoil: externally manifest in riot, internally within various forms of damage and depression and, if one felt brave or driven, extreme aesthetics. COUM Transmissions and Throbbing Gristle mark the furthest reach of that impulse: even more so than Punk, they plunged into a technological and personal examination of the dark side - the forbidden, the taboo, the dystopian future on the doorstep. Today this might seem like science fiction or deliberate shock tactics, but then it seemed like reportage, front line dispatches from a convulsed country."
Heavily illustrated and complete with a chronological list of actions, concerts and exhibitions, discography, filmography, bibliography and much more, this heavy volume has become an invaluable and sought after resource on TG, COUM Transmissions, and Industrial Records.
Simon Ford is a freelance writer and art historian. He was previously Research Associate in Craft and Design and Curator of the Design Council Slide Collection at Manchester Metropolitan University, as well as being a curator at the Victoria and Albert Museum. He received his PhD in the History of Art from the Courtauld Institute of Art in 2000. He is the author of Wreckers of Civilisation: The Story of COUM Transmissions and Throbbing Gristle (1999, 2017, Black Dog Publishing). His most recent book is The Situationist International: A User's Guide (2006, Black Dog).
Very Good copy.
1982, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - Out of stock
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 21 May 1982. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on "Female" artists in avant-garde music and culture, including articles on the history of women in experimental music (The Shaggs, Malaria!, Brigitte Fontaine, Suburban Lawns, Tamia, Lydia Lunch, Phew, Sandy Denny, etc.), interviews/in-depths articles on/with Nico, Dagmar Krause, The Slits, The Raincoats, plus features on This Heat, Lieutenant Murnau (Vittore Baroni), Grafika Airlines cassette label, Penguin Cafe Orchestra, 4AD, Mike Oldfield, The Work, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1978, Japanese
Softcover, 96 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate June 1978. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on "Occultism" with features on the history of the occult in culture and its influence on avant-garde art and music, with in depth articles on Ash Ra Temple, Magma, Heldon, David Bowie, The Pop Group, This Heat, Kate Bush, Robert Fripp, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1981, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 19 December 1981. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on "Psychic Youth" with features on This Heat, Robert Wyatt, Chris Cutler, Art Bears, Recommended Records, Throbbing Gristle, Keiji Haino, Fred Frith, Merzbow, King Crimson, Peter Hammill, Massacre, Holger Czukay, Can, The Cure, Bauhaus, Dome, New Order, Joy Division, P.I.L., Pungo, Neo Tendency, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1978, Japanese
Softcover, 109 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate April 1978. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on "Fantasy" in European rock and avant-garde music, features on fantasy art and literature, the Island Records label, Brian Eno, Klaus Schulze, David Bowie, special feature on Derek Bailey, Italian Prog, Peter Hammill, Ashra, Brian Eno, Tony Banks, Van Der Graaf, Genesis, Vangelis, Peter Gabriel, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1978, Japanese
Softcover, 90 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / good
Published by
Fool's Mate / Tokyo
$90.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 8 April 1978. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on Electronic Music with interviews and discographies of/with Brian Eno, Klaus Schulz, Tim Blake, the Egg Label, Vangelis, Mauro Bagani, Can, Amon Düül 2, Hawkwind, Throbbing Gristle, The Residents, Lucio Battisti, a special feature on Italian Rock (PFM, New Trolls, Area, etc.), Henry Cow, Gilgamesh, Recommended Records/R.I.O., Scorpians, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1980, Japanese
Softcover, 96 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / good
Published by
Fool's Mate / Tokyo
$90.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 16 March 1980. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on Throbbing Gristle/Genesis P-Orridge/Industrial Records, Come Org., Henry Cow / Art Bears, Brian Eno, French Meta Musique — The History of Magma, Heldon, Lard Free, Bernard Szajner, Catherine Ribeiro+Alpes, Yochk'o Seffer, Ariel Kalma, Theatre Du Chene Noir, Weidorje, Benoit Widemann, Urban Sax, Ilich, etc., P.I.L., The Pop Group, Metabolist, Camel, and much more. Highly recommended to any fan of such things.
Good copy. General wear/age.
1979, Japanese
Softcover, 240 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$100.00 - In stock -
Rare "Special Stock" compendium book by the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This special three issue collection combines Vol. 4 "Fantasy" + Vol. 6 "Eros" + Vol. 7 "Avant-Garde". Says it all really. Incredible in-depth, encyclopaedic features on Derek Bailey (full biography and discograohy), British avant-garde/free music/jazz/avant-rock/R.I.O./Canterbury (Bailey, Henry Cow, Daevid Allen/Gong, Lol Coxhill, Soft Machine, Company, Slapp Happy, Keith Tippett, National Health, Evan Parker, Art Bears, King Crimson, Hatfield and The North, Kew Rhone, National Health, Robert Wyatt, Spontaneous Music Ensemble, Incus Records, Ogun Records, etc.), R.I.O. expanded (Univers Zero, Art Zoyd, ZNR, The Residents, Albert Marcoeur, Stormy Six, Etron Fou Leloublan, Samla Mammas Manna, etc.), plus features and articles on Robert Fripp, Atoll, Annette Peacock, Italian Prog, Gloria Mundi, Peter Hammill, Ashra, Brian Eno, Tony Banks, Van Der Graaf, Genesis, Vangelis, Peter Gabriel, New Spanish Rock, and much more. Highly recommended to any fan of such things.
Very Good copy.
1980, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 13 August 1980. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue "La Pop Metaphysique" with cover feature on the history of King Crimson (Part 1) with in-depth chronology, the history of German Rock Music part 1 (Amon Düül I and II, Gila, Kluster, Neu!, Harmonia, Conrad Schnizler, Klaus Schulze, Tangerine Dream, Can, Sky Records, Roedelius, Moebius, etc), "Pop Music for all the Schizoid-Human & Schizoid-Ages" (Suicide, James Chance, Monochrome Set, etc.), Slapp Happy/Peter Blegvad/Kew Rhone/Amateur/Henry Cow/Faust, "The Real Story of National Health", "U.S.A. Free Music" (L.A.F.M.S., Trans Museq, Henry Kaiser, etc.), Georges Bataille, Gunjogacrayon, Metabolist, David Bowie, Etron Fou Leloublan, Mario Millo, PFM, Ralph Lundsten, Memoriance, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1980, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 14 November 1980. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on the history of King Crimson (Part 2) with in-depth chronology, the history of German Rock Music into German Intermedia, Dada, Neo-Dada, German Avant-Garde theatre, etc. (Amon Düül I and II, Bertolt Brecht, Guru Guru, Can, Klaus Schulze, Tangerine Dream, Strauss, Agitation Free, Joseph Beuys, Ash Ra Temple, Popol Vuh), Kate Bush, Bert Jansch, Robert Wyatt, Throbbing Gristle and Industrial Records (TG, Monte Cazazza, Leather Nun, S.P.K.), Fred Frith interview, plus the R.I.O. Festival in Reims, France, 1980 (This Heat, ZNR, Eskaton, Stormy Six, Samla Mammas Manna, Tim Hodgkinson, Etron Fou Leloublan, Marc Hollander, Ghédalia Tazartès, Maggie Nicols, etc.), INA-GRM discography (François Bayle, Jean Schwarz, Guy Reibel, Jean-Claude Risset, etc.), and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1981, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$90.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 18 October 1981. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This incredible issue with cover feature on Fred Frith and Recommended Records, plus Vini Reilly/Durutti Column, The Flying Lizards, David Cunningham, Steve Beresford, Piano Records, Phew, David Toop, Michael Nyman, Aksak Maboul, Crammed Discs, Family Fodder, Video Aventures, Band Apart, Robert Wyatt, Lidsay Cooper, Tim Hodgkinson, Nord, Ken Lockie, Landscape, Alan Gowen, Electroacoustic music, medieval heresy and satanism, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
1981, Japanese
Softcover, 224 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$100.00 - Out of stock
Rare "Special Stock" compendium book by the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This special collection combines Vol. 15 + S.S in January 1981. Features: Heldon and Magma, Rock in Belgium (COS, Aksak Maboul, Marc Hollander, Julverne, Esperanto, Wallace Collection, etc.), Rough Trade Records (The Raincoats, Swell Maps, This Heat, The Fall, Young Marble Giants, Liliput, etc.), EGG Records (Patrick Vian, Fracoise Breant, Ose, Michel Magne, Christian Vander, etc.), Ash Ra Temple, Prog in Italy (PFM, Area, New Trolls, Stormy Six, etc.), Gilgamesh, The Residents, Henry Cow discography, Nurse with Wound, P.D./P16.D4/Permutative Distorsion, L.Voag, Borbetomagus, YLEM Tapes, Negativland, alchemy and the occult, The Pop Group, Bauhaus, Japan, Siouxsie and the Banshees, Vangelis, Jon Anderson, Blondie, Mike Oldfield, and much more. Highly recommended to any fan of such things.
Very Good copy.
2000, English
Softcover, 458 pages, 23 x 15 cm
1st Edition, Out of print title / used / good
Published by
Feral House / Los Angeles
$80.00 - Out of stock
First 2000 edition of the second coming of America’s darkest shadow side, Apocalypse Culture II, the completely cult classic sequel edition to what was called by J.G. Ballard “the terminal documents of the twentieth century.” The original Apocalypse Culture, an underground bestseller since its emergence in 1987, has remained a huge influence on popular culture. The sequel delineates further regions of the Forbidden Zone, the psychic maelstrom that everyone knows exists but fearfully avoids.
Subject matter includes:
The biological resurrection of Jesus Christ via modern cloning technology
Interviews with a convicted murderer and cannibal turned celebrity
Recipes for cooking babies
Homunculi
Pedophilia
A re-enactment of the 914 deaths that occurred at Jonestown in 1978
A report on Bobby Beausoleil, his art, and his prison sex life
The farthest-out conspiracy of all with reasons to take it absolutely seriously
Letters sent to Anton LaVey’s Church of Satan
A sample necrocard for those who wish to donate their body to necrophilia
Steps to overcome masturbation
The replacement of human mates with expensive masturbatory devices
Fecal black magic
Mind control via advertising
And dozens of other compelling examples of our own Apocalypse Culture. Observing that society has been infantilized by being told at every opportunity how to think and what to believe, editor Adam Parfrey refuses to provide easy moral lessons in Apocalypse Culture II, though he supplies pertinent information before and after many articles to assist the interpretation of thoughtful readers. Some will find the contents quite shocking, but that, according to Parfrey, is not his primary purpose. This is an examination of sociological truths that speak of the culture that both created and ignore them.
Contributors include Colin Wilson, Ted Kaczynski, Pentti Linkola, Jim Goad, Peter Sotos, Michael Moynihan, Sondra London, Jonathan Vankin, Irv Rubin, George Petros, Chris Campion, Robert Sterling, David Woodard, Dan Kelly, Wes Thomas, Crispin Hellion Glover, Boyd Rice, Kadmon, Chad Hensley, James Shelby Downard, Rod Dickinson, Steve Speer, Sarita Vendetta, Ghazi Barakat, Kristan Lawson, Issei Sagawa, Rosemary Malign, Danny Rolling, Larry Wayne Harris, Nicolas Claux, Stu Mead, Trevor Brown, George LaMort, and Beth Love.
“This is a black box of a book, spuming to the brim with the overly articulate paranoias of our age. It is impossible to either put it down or keep yourself from throwing it against the wall. There is no denying its dense psychic substance, though. The dark angels sit crowded on every page.”—Andrei Codrescu, National Public Radio
“I write books, I read books, and Apocalypse Culture II is the best book I have ever read. Pardon me now if I go out on a limb, but if there is no Pulitzer for this man, this work, I will eat my own Nobel. Adam Parfrey is equal parts H.L. Mencken and P.T. Barnum.”—Richard Meltzer
“Apocalypse Culture II is an instant classic, blasting through the last frontiers of taboo.”—Rachel Resnick, author of Go West Young Fucked-Up Chick
“Salacious. Visceral. Great. With Apocalypse Culture II, Adam Parfrey immerses the reader in the deep dark sanguinary sanctums of the subconscious.”—Robert Williams
“Apocalypse Culture II is the New Testament, redefining and satirically exposing the mutations of consensus hypocrisy. Psychoses duel in the hilarious, absurd, provocative and incestuously urban litanies of deformed martyrs. An unexpectedly sacred alchemical tincture.”—Genesis P-Orridge
“Adam Parfrey’s astonishing, un-put-downable and absolutely brilliant compilation, Apocalypse Culture II, will blow a hole through your mind the size of JonBenet’s fist. This book should be in hotel rooms.”—Jerry Stahl, author of Permanent Midnight
“Adam Parfrey shows himself to be unique among investigative journalists: one unafraid to go where barkers fear to tread.”—Nick Tosches
“Apocalypse Culture II is a chaos bible of delightful forbidden information that falls somewhere between The Cat in the Hat and Mein Kampf. It’s also thick enough to leave a good-sized bruise on someone’s face after you get pissed-off by reading it.”—Marilyn Manson
Good copy with general wear/laminate wripples/"kinkiness".
1990, English
Softcover, 362 pages, 21.6 x 24 cm
Out of print title / used / good
Published by
Feral House / Los Angeles
$40.00 - Out of stock
"Apocalypse Culture is compulsory reading for all those concerned with the crisis of our times. An extraordinary collection unlike anything I have ever encountered. These are the terminal documents of the twentieth century."—J.G. Ballard
Two thousand years have passed since the death of Christ and the world is going mad. Nihilist prophets, born-again pornographers, transcendental schizophrenics and just plain folks are united in their belief in an imminent global catastrophe. What are the forces lurking behind this mass delirium?
APOCALYPSE CULTURE is a startling, absorbing and exhaustive tour through the nether regions of today’s psychotic brainscape.
First published in 1987, APOCALYPSE CULTURE immediately touched a nerve. Alternately excoriated and lauded as “epochal”, “the most important book of the decade,” APOCALYPSE CULTURE had begun to articulate what many inwardly sensed — the-fear inspired irrationalism and faith, the clash of irreconcilable forces, and the ever-looming specter of fin de race. In its present incarnation for Feral House, APOCALYPSE CULTURE has significantly increased in size, taking on new perspectives on our current crisis, with pertinent revisions of many articles from the original edition.—burb from this expanded and revised 1990 edition.
Good copy with general wear/"kinkiness".
2023, English
Hardcover (w. dust jacket), 224 pages, 29 x 29 cm
Published by
George Schwarz and Charis / East Sydney
$190.00 - In stock -
Powerful Paradise the Art of George Schwarz and Charis is an artists book, a collaboration between George Schwarz, his partner Charis, Linda Dement and Craig Judd. It is an introduction to a wonderful life and to beautiful, complex and intriguing art. Ernest Georg Schwarz and Charis Elizabeth McKittrick enjoy a unique partnership beginning 1964. The word collaborators in this case is an inadequate descriptor. In their presence one is witness to but a force of nature, a swirling vortex of creative mutuality. Simultaneously lovers, artists, apiarists, activists, authors, film and wine makers, 'Powerful Paradise' is a celebration and a legacy.
This extremely limited hardcover edition is the first survey of the couple's life in art, the last survivors of bohemian Kings Cross. Creators of the first Australian hardcore sex films to be passed by the censors (and also refused classification), George and Charis were ahead of the curve in every aspect of their practice. This volume features the only writing covering their film output, extensive photographic work and global travels. Simultaneously erotic, taboo, progressive, liberated; lives dedicated to their work and one another and perhaps too provocative/evocative for the Australian art establishment.
1985 / 2001, English
Softcover, 148 pages, 11.4 x 17.2 cm
Published by
Autonomedia / New York
$29.00 - In stock -
"A Blake Angel on Bad Acid" — Robert Anton Wilson
"Fascinating..." — William Burroughs
"Who is Hakim Bey? I love him!" — Timothy Leary
Back in print — the underground cult bestseller and first book by anarchist writer and poet Hakim Bey (Peter Lamborn Wilson) published in 1991 by Autonomedia. Originally published in 1985 and circulated in the underground via small private and pirate editions, these texts were an inspiration for a generation of troublemakers and idealists. Both celebrated in the punk underground (where the original book has become a seminal text) and denounced in some anarchist circles, the book has proved itself as both influential and relevant to multiple generations of dreamers, agitators, and activists.
Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho-black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults — this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture. This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living.
This new edition contains the full text of "Chaos: The Broadsheets of Ontological Anarchism", the complete "Communiques of the Association for Ontological Anarchy", and the new long essay "The Temporary Autonomous Zone", and a new preface by the author.
Very Good copy with some light wear.
1978, Japanese
Softcover, 204 pages, 21 x 29.6 cm
1st Edition, Out of print title / used / very good
Published by
Hanashi-no-Tokushu / Tokyo
$650.00 - In stock -
Exceptionally rare (signed!) 1978 first edition photobook by Michiko Matsumoto, one of post war Japan's leading photographers. As a young female photographer growing up in a period of turmoil, Matsumoto conveys the wonders of women to the viewer from the perspective of a woman. Women Come Alive is her rarest and greatest example of this. This wonderful book collects "seven years with women...", Matsumoto's front-line photographic records of the women's liberation movement in Japan in the 1970s and her "Sisters Across Borders" (New York, Paris, Los Angeles, London...), as well as portraits of female artists, activists and friends Yoko Ono, Maki Asakawa, Eiko Ishioka, Michiko Gorman, Mamako Yoneyama, Teruko Yoshitake, Tokiko Kato, Harumi Yamaguchi, Chinatsu Nakayama and others. A true time-capsule, this book visits the workshops, bookshops, marches, women's centres, lesbian bars, exhibitions, editorial offices, dances and studios of a pivotal time of great change. An incredible book of feminist protest and celebration. Virtually an impossible book to find, even without a signature from the artist! Highly recommended!!
Very Good copy in very good dust jacket. Signed in black ink and dated 1978.6.7 on title page.
2014, Japanese
Softcover (in card slipcase w. obi), 260 pages, 25.4 x 18.2 cm
Signed.,
1st Edition, Out of print title / used / fine
Published by
Town to House / Japan
$280.00 - In stock -
Signed first edition of "Shinjuku 1968" by acclaimed Japanese photographer and representative of the Provoke movement, Hitomi Watanabe, published in 2014 and now out of print.
"The core of the collection is formed by photographs from the year 1969, the year in which the Shinjuku West Exit square became a passage and a meeting penned by the media as “Folk Guerilla” was obliterated by the riot police, a greater part of the collected photos were taken in 1968. At that time, the first place editors would take me to was a bar called Unicon, near Shinjuku Gyoen. After that, we would go barhopping to places like DUG (which is still going strong even today),Trevi, DIG, Mokuba, Pit In, Bizarre, places where modern jazz was playing. The time of the Red Tents of Juro Kara near Hanazono shrine, of the avant-garde films of ATG, the performance art happenings on the streets, before they became pedestrian zones… It was a time when hippies stoned off their mind would cross your path, and “underground” was the word you’d hear in the streets of Shinjuku. When it was not Shibuya or Shimokitazawa, not Kichijoji but Shinjuku where culture was taking place. Days like these continued, until one night, a huge riot took place in the Shinjuku area. The 10.21 International Anti-War Day. While being jostled with the crowd, the once abstract Vietnam War and its consequences became a tangible reality which I experienced with my own body.
In the Shinjuku of 1968, you can see an entire era reflected." — Excerpt from the afterword
"These may be photographs of the past, but they show the present." — Nobuyoshi Araki
Shinjuku 1968 consists entirely of Watanabe's photographs of the Tokyo neighbourhood Shinjuku at the end of the 1960s, which can be said to be the beginning of her photographic career. It was here that she first encountered the Japanese counter culture and became involved in the student movement and anti-war protests. Her candid photographs of the everyday lives of the protesters, the state violence, and the aftermath of rioting from her insider’s vantage on this tumultuous moment afforded her work an undeniable, enduring power. Here, in "Shinjuku 1968", Watanabe presents her documents of the protests and rallies beside her images of the underground scene, the theatre, clubs, the Shinjuku streets, shopfronts, and the everyday folk that inhabited the neighbourhood at that time, with some of the images republished for the first time since her iconic "Shinjuku Contemporary 1968" and "Kaihoku '68 / Liberated Area '68" photo books of the 1960s.
Very Good copy, almost As New, with original slipcase and publisher's obi-strip (featuring Nobuyoshi Araki testimonial). Signed and dated by Hitomi Watanabe in 2015 to the colophon page in black pen.
1977, English
Softcover, 192 pages, 21.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$200.00 - Out of stock
Rare copy of this remarkable issue of the original Semiotext(e) journal, published and edited by Sylvère Lotringer between 1974—1985, with later book-length issues appearing in the 1990s. This key issue, Anti-Oedipus: From Psychoanalysis to Schizopolitics, was published hot on the heels of the publication of Deleuze and Guattari's seminal "Anti-Oedipus: Capitalism and Schizophrenia", published by Viking in 1977. This issue of the journal explores the issues raised by Deleuze and Guattari, whilst searching for their practical applications. Features major contributions by Sylvère Lotringer, Gilles Deleuze, Felix Guattari, Jean-François Lyotard, Guy Hocquenghem, Antonin Artaud, Jacques Donzelot, John Rajchman, et al.
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Very Good copy with some wear and usual tanning to the spine, raw paper stock edges. Spine and binding undamaged.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$350.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
1972, German / English / French
Vinyl ring-binder (screen printed w. design by E. Ruscha), 650 pages +, 32 x 27 cm
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$500.00 - Out of stock
Scarce copy of the only edition of the most elaborately designed, and lowest circulated Documenta catalogue, conceived by curator Harald Szeemann to accompany the fifth edition of Documenta, a quinquennial contemporary art exhibition held in Kassel, Germany.
Subtitled "100 Days of Inquiry into Reality -- Today's Imagery," curated by the team of Harald Szeemann, Jean-Christophe Ammann and Arnold Bode, Documenta 5 followed a lineage of comprehensive shows documenting conceptually and minimally charged artworks curated by Szeemann including Live in Your Head (Kunsthalle Bern, 1969), and Happenings and Fluxus (Kunstverein, Köln), 1970. The largest, most expensive and most diverse of any exhibition anywhere, Documenta 5 was criticized in 1972 as being “bizarre…vulgar…sadistic” by art critic and essayist Hilton Kramer and “monstrous… overtly deranged” by art historian and art critic Barbara Rose, yet it still resonates today as one of the most important exhibitions in history. Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials, architecture, science fiction, kitsch objects, film, advertising, children's art, etc. in addition to the more anticipated international survey of new painting and sculpture - Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society. This massive tome is housed in the iconic orange vinyl-covered, two-ring binder screen printed with the famous ant design by Edward Ruscha. The binder holds a tabbed index of illustrated artist's pages and associated texts and material, largely in German, but also many in English. All registers are present apart from the usual missing 19-25 which were not directly integrated into the catalogue and had to be ordered by the visitor separately to become their own contribution. This very complete copy also includes the additional 80 page, hole-punched Documenta 5 guide book, with floor plans, complete listing of exhibited artworks, list of exhibitions, bibliography, and many gallery, museum and other related advertisements. More than a catalogue, this publication is a piece of art history in itself.
Includes artists: Vito Acconci, Vincenzo Agnetti, Peter Alexander, John de Andrea, Giovanni Anselmo, Arbeitszeit, Archigram, Chuck Arnoldi, Art & Language, Richard Artschwager, Michael Ashkin, John Baldessari, Robert Barry, Georg Baselitz, Lothar Baumgarten, Robert Bechtle, Gottfried Bechtold, Bernd & Hilla Becher, Joseph Beuys, Karl Oskar Blase, Mel Bochner, Alighiero Boetti, Christian Boltanski, Claudio Bravo, George Brecht, K.P. Brehmer, Marcel Broodthaers, Stanley Brouwn, Günter Brus, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Pier Paolo Calzolari, Luciano Castelli, Christo and Jeanne-Claude, Chuck Close, Tony Conrad, Ron Cooper, Bill Copley, Joseph Cornell, Robert Cottingham, Paul Cotton, Hanne Darboven, Walter De Maria, David Deutsch, Jan Dibbets, Herbert Distel, Gino de Dominicis, Marcel Duchamp, John Dugger, Don Eddy, Franz Eggenschwiler, Ger van Elk, Richard Estes, Luciano Fabro, John C. Fernie, Robert Filliou, Jud Fine, Joel Fisher, Terry Fox, Howard Fried, Hamish Fulton, Franz Gertsch, Gilbert & George, Ralph Goings, Hubert Gojowczyk, Dan Graham, Walter Grasskamp, Nancy Graves, Hans Haacke, Duane Hanson, Guy Harloff, Michael Harvey, Haus-Rucker-Co, Auguste Herbin, Eva Hesse, Rebecca Horn, Jean Olivier Hucleux, Douglas Huebler, Jörg Immendorff, Will Insley, Rolf Iseli, Ken Jacobs, Neil Jenney, Alfred Jensen, Jasper Johns, Joan Jonas, Max G. Kaminski, Howard Kanovitz, Edward Kienholz, Imi Knoebel, Christof Kohlhofer, Jannis Kounellis, Tom Kovachevich, Piotr Kowalski, David Lamelas, Barry Le Va, Jean LeGac, Alfred Leslie, Sol LeWitt, Richard Long, Ingeborg Luscher, Inge Mahn, Robert Mangold, Brice Marden, Agnes Martin, Etienne Martin, Richard McLean, David Medalla, Fernando Melani, Jim Melchert, Mario Merz, Gustav Metzger, Bernd Minnich, Malcolm Morley, Ed Moses, Bruce Nauman, Hermann Nitsch, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Blinky Palermo, Panamarenko, Giulio Paolini, A.R. Penck, Giuseppe Penone, Vettor Pisani, Sigmar Polke, Stephen Posen, Markus Raetz, Arnulf Rainer, Gerhard Richter, Klaus Rinke, Dorothea Rockburne, Peter Roehr, Allen Ruppersberg, Edward Ruscha, Reiner Ruthenbeck, Ulrich Ruckriem, Robert Ryman, John Salt, Salvo, Lucas Samaras, Paul Sarkisian, Jean-Frederic Schnyder, Ben Schonzeit, Werner Schroeter, HA Schult, Rudolf Schwarzkogler, Fritz Schwegler, Richard Serra, Paul Sharits, Allan Shields, Katharina Sieverding, Robert Smithson, Michael Snow, Keith Sonnier, Klaus Staeck, Paul Staiger, Jorge Stever, Robert Strubin, Paul Thek, Wayne Thiebaud, Andre Thomkins, David Tremlett, Richard Tuttle, Ben Vautier, W + B Hein, Franz Erhard Walther, Robert Watts, William Wegman, Lawrence Weiner, John Wesley, H.C. Westermann, William Wiley, Rolf Winnewisser, Tom Wudl, Klaus Wyborny, La Monte Young, Peter Young, Gilberto Zorio.
Catalogue also includes Bob Projansky and Seth Siegelaub's "The Artist's Reserved Rights Transfer and Sale Agreement." This "Agreement form has been drafted by Bob Projansky, a New York lawyer, after my [Siegelaub] extensive discussions and correspondence with over 500 artists, dealers, lawyers, collectors, museum people, critics and other concerned people involved in the day-to-day workings of the international art world. The Agreement has been designed to remedy some generally acknowledged inequities in the art world, particularly artists' lack of control over the use of their work and participation in its economics after they no longer own it. The Agreement for has been written with special awareness of the current ordinary practices and economic realitites of the art world, particularly its private, cash and informal nature, with careful regard for the interests and motives of all concerned. It is expected to be the standard form for the transfer and sale of all contemporary art, and has been made as fair, simple and useful as possible. It can be used either as presented here or slightly altered to fit your specific situation. If the following information does not answer all your questions consult your attorney." -- from Agreement's cover. Copies of the contract are individually included in English, Germany, and French editions.
Very Good, complete (as issued) copy. Very minor wear.