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:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
World Food Book Bag
Australian Art
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Fluxus
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Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
$.00 - Out of stock
The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale
2003, English
Softcover, 418 pages, 27.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$220.00 - In stock -
A very rare copy of the inaugural issue of Purple Fashion, edited by Olivier Zahm, featuring Richard Prince, Bruce Benderson, Gary Indiana, Paolo Roversi, Olivier Mosset, Camille Vivier, Mark Borthwick, Pierre Bailly, Elein Fleiss, Viviane Sassen, Helmut Lang, Kerry Hallihan, Antek Walczak, Marcelo Krasilcic, Michael Lonsdale, Maison Martin Margiela, Katja Rahlwes, Niels Schumm, Dike Blair, Vava Ribeiro, Monte Hellman, Comme des Garçons, Slavoj Zizek, Balenciaga, Tony Alva, Marina Faust, Wolfgang Tillmans, Terry Richardson, Dominique Gonzales Foerster, Jeff Rian, Noritoshi Hirakawa, Anuschka Blommers, François Laruelle, Yan Céh, Issey Miyake, Rick Owens, Susan Eldridge, John Galliano, Ann Demeuelemeester, Vava Ribeiro, Serge Leblon, Hiromix, Cecile Bortoletti, Vanessa Bruno, Takashi Suzuki, Miltos Manetas, Pascale Gatzen, Stéphanie Moisdon, Junya Watanabe, Ferdinand Gouzon, and many more...
In 1992, Elein Fleiss and Olivier Zahm started the magazine Purple Prose as a reaction against the superficial glamour of the 1980s; much as a part of the global counterculture at the time, inspired by magazines like Interview, Ray Gun, Nova, and Helmut Newton's Illustrated, but with the aesthetics of what usually is referred to as anti-fashion. Based on their personal interests and views; Purple was, and in a sense still is, made much in the same spirit of the fanzine. Started "without any means, and without any experience, because we wanted to make a magazine that was radically different. We wanted to support the artists around us that no one else supported, much less talked about."—Olivier Zahm. The magazine became associated with the "realism" of the new fashion photography of the 1990s, with names like Juergen Teller, Terry Richardson, Wolfgang Tillmans, Mark Borthwick, Corinne Day, and Mario Sorrenti. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications such as les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion, in which Zahm aimed at fusing together his two worlds, fashion and art. Now one of the most iconic and influential fashion magazines in history.
Very Good copy, some light wear to spine and extremities.
2001, English
Softcover, 224 pages, 27 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$240.00 - In stock -
A very rare copy of the eighth issue of Purple, edited by Olivier Zahm, art directed by Makoto Ohru, featuring Chiara Mastroianni on the cover. One of the best issues, featuring Mark Borthwick, Roe thridge, Richard Kern, Katja Rahlwes, Terry Richardson, Wolfgang Tillmans, Chloë Sevigny, Henry Roy, Colin de Land, Bruce Benderson, Anders Edström, Jutta Koether, Kate Moss, Maison Martin Margiela, Takashi Homma, Chloë Sevigny, Kim Gordon, Antek Walczak, Hermés, Masafumi Sanai, Dike Blair, Comme des Garçons, Balenciaga, Nakako Hayashi, Jeff Rian, Dominique Gonzales Foerster, Bless, Experimental Jetset, Bob Nickas, Ann Demeuelemeester, Claude Closky, Kyoji Takahashi, Michael Smith, Matt Sweeney, John Kelsey, Helmut Lang, Bennett Simpson, Gareth James, Miu Miu, Vanina Sorrenti, Cedrick Eymenier, Andreas Larsson, Mark Kingwell, Bernard Joisten, Laetitia Benat, Anaïd Demir, Costume National, Michel Sumpf, Alex Antitch, Giasco Bertoli, Jeremy Blake, Ola Rindal, and many more....
In 1992, Elein Fleiss and Olivier Zahm started the magazine Purple Prose as a reaction against the superficial glamour of the 1980s; much as a part of the global counterculture at the time, inspired by magazines like Interview, Ray Gun, Nova, and Helmut Newton's Illustrated, but with the aesthetics of what usually is referred to as anti-fashion. Based on their personal interests and views; Purple was, and in a sense still is, made much in the same spirit of the fanzine. Started "without any means, and without any experience, because we wanted to make a magazine that was radically different. We wanted to support the artists around us that no one else supported, much less talked about."—Olivier Zahm. The magazine became associated with the "realism" of the new fashion photography of the 1990s, with names like Juergen Teller, Terry Richardson, Wolfgang Tillmans, Mark Borthwick, Corinne Day, and Mario Sorrenti. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications such as les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion, in which Zahm aimed at fusing together his two worlds, fashion and art. Now one of the most iconic and influential fashion magazines in history.
Very Good copy.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$80.00 - In stock -
Rare first May 1971 (w. Ken Katayama cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
This scarce first issue with incredible cover by Japanese illustrator Ken Katayama, features work/contributions by author Izumi Suzuki, film director Michio Okabe, artist Genpei Akasegawa, critic Junzo Ishiko, author Boris Vian, film director Eiichi Uchida, film critic Jin'ichi Uekusa, manga artist Shotaro Ishinomori, author Mieko Kanai, music critic Masaaki Hiraoka, artist Koichi Tanigawa, manga artist Shigeru Sugiura, graphic designer Mad Amano, doll artist Shimon Yotsuya, illustrator G. Akechi, art critic Junzo Ishiko, art critic Yoshida Yoshie, film director Toshio Matsumoto, graphic artist Keiichi Tanaami, author Koji Suzuki, artist Toshio Saeki, manga artist Shigeru Mizuki, manga artist Mori Masaki, manga artist Mitsuhiko Yoshida, artist Tsunehisa Kimura, playwright Jūrō Kara, and many more.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$70.00 - In stock -
June 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$90.00 - Out of stock
July 1971 (w. Simon Yotsuya cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
This third issue, themed "Heaven and Hell", features incredible cover by renowned Japanese doll artist (and female doll actor) Simon Yotsuya, and contributions by ero guro master Toshio Saeki, artist Genpei Akasegawa, art critic Junzo Ishiko, "Funeral Parade of Roses" director Toshio Matsumoto, Butoh dancer Natsu Nakajima, poet and critic Akiko Baba, photographer Masatoshi Naitō, manga artist Ryuzan Aki, literary critic Katsutarō Isogai, illustrator Akechi Goro, writer Masaki Umehara, author Utagawa Taiga, literary critic Nobuo Kasahara, essayist Shinichi Kusamori, critic Hidetomo Kanaoka, illustrator (Flower Travellin' Band) Shinobu Ishimaru, manga artist Shigeru Sugiura, scholar Aoi Suenaga, artist Takahashi Shōtei, illustrator Yosuke Inoue, and many more. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$70.00 - In stock -
August 1971 (w. Hiroshi Nakamura cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
September 1971 (w. Seiichi Hayashi cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$80.00 - In stock -
November 1971 (w. Kikuji Yamashita cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
January 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
October 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
April 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
July 1972 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / average
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
May 1972 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
August 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / average
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
September 1972 (with cover by Aoi Fujimoto) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1977, English
Softcover, 20 pages / 30 postcards (2 missing), 32 x 21 cm
1st Edition, Out of print title / used / average
Published by
Penguin / Ringwood
$50.00 $30.00 - In stock -
Scarce Oz publication by the Kevin Pappas collective from 1977 made up entirely of double-sided useable colour Australian postcards on perforated card, all designed by a group of mostly Melbourne-based artist larrikins of diverse cultural backgrounds. A satirical celebration of Australian culture as only the 1970's could produce. The designer's include none other than Mimmo Cozzolino, Fysh Rutherford, Geoff Cook, Izy Marmur, Neil Curtis, Meg Williams, Con Aslanis. From late 1972 they traded together as All Australian Graphics, for which Aslanis created their mascot and brand, the fictitious Greek man/Australian kangaroo hybrid 'Kevin Pappas'. Eschewing the austere international Swiss style, they determined to create design that was distinctly Australian in flavour. This is as distinctive as it gets!
A book of 32 postcards, this copy is missing 2 (30 present and bound as issued), otherwise Good copy, light wear.
1983, English
Softcover, 144 pages, 27.5 x 21 cm
1st Edition, Out of print title / used / fine
Published by
Penguin / Ringwood
$65.00 - In stock -
The only book of its kind. Underground Comix, published in 1983 by Penguin, Ringwood, compiled by Phil Pinder, with cartoons by Matt Mawson, Liz Mackie, Michael Leunig, Cheryl Buchanan, Moll, Andre Dziatlek, Victoria Roberts, Rick Amor, Jenny Coopes, Fred Negro, Ian McCausland, Bob Daly, Martin Sharp, Carol Porter, Toby Zoates, Stuart Roth, Neil McLean, Sarah Curtis, Tony Edwards, Phil Pinder, Laurel Olszewski, Colin Stevens, Michael Kneebone, among others from the pages of Living Daylights, Cane Toad Times, Rats, Oz, Refractory Girl, Cobber Comix, Tribune, Australasian Weed, Digger, Much More Ballroom Funnies, Tracks, High Times, Broadside, Fabula, Inkspots, starring After Dinner Moose, Iron Outlaw, Blinky Bill, Superfem, and much more...
Australian cartoonists have long been recognised as among the best in the world. Many, like Michael Leunig, Jenny Coopes, Martin Sharp and Victoria Roberts, developed their talent in the underground publications which blossomed in the 1970s. These artists were among the pioneers in breaking down Australia's rigid censorship laws. They highlighted issues like feminism, racism, war, drugs, sex, environmentalism, and religion. Phil Pinder's collection shows the range and vitality of the alternative styles of the last fifteen years.
Near Fine copy. Light tanning, handling, otherwise perfectly preserved. Long out-of-print.
1979 / 2004, Japanese
Softcover, 76 pages, 29.7 x 29.7 cm
Out of print title / used / very good
Published by
Treville / Tokyo
Pan-Exotica / Tokyo
$85.00 - In stock -
Japanese edition of the classic 1979 "Giger's Alien", a visually stunning and wonderfully insightful book for any fan of the art of H.R. Giger, Ridley Scott and Dan O'Bannon's Alien film or in the production of science-fiction/horror/special effects in any way. A must.
"Giger's Alien provides a complete record of the months and months of painstaking work that resulted in two hours of terrifying celluloid. Sketches, original paintings, photographs of scenery and the Alien under construction and scenes from the film are linked by Giger's detailed diary of his thoughts and actions at the time".
Very Good copy in VG original dust jacket of this title. 2004 edition.
1996, Japanese
Softcover, 86 pages, 30 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$85.00 - In stock -
First Japanese edition of the official companion book to the 1995 American sci-fi horror film Species (directed by Roger Donaldson and written by Dennis Feldman) and the film's artistic designer H.R. Giger, famous for his creations for the Alien film. This profusely illustrated "Making of" book is packed with reproductions of Giger's incredible conceptual drawings and models as well as photographs of special effects processes, Giger's set-design, animatronics, and creature fabrication, detailing all the work involved in bringing the science fiction creature Sil to the screen. Includes fold-out illustration of the famous "Ghost Train" and much more.
Very Good copy in VG dust jacket.
1984, French
Softcover (french-folds), 84 pages, 30.5 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Pink Star Éditions / Paris
$400.00 - In stock -
Rare, first edition of the extraordinary "Exhibition in Paris" photo book, published in 1984 by Pink Star Éditions, Paris. One woman's nude exhibitionist walk, swim and motorcycle, train, bicycle, ferry and helicopter ride through Paris, enjoying the Cimetière du Père Lachaise, the Tour Eiffel, the Seine, and the attention of many passers-by, all candidly captured by Patrick Magaud. A wonderfully liberated and cheeky collection of nudist photography like no other, printed in lush saturated colours, alongside a small interview with Elle, the star of the book. A sight-seers delight and a photobook like no other. Now very collectible.
Very Good copy.
1983, German
Hardcover (w. dust jacket), 294 pages, 28.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Residenz Verlag / Salzburg
$220.00 - In stock -
Phenomenal 1983 monographic hardcover survey of Austrian artist Walter Pichler's sculptures, paintings and projects, profusely illustrated and designed by Pichler himself, with accompanying text in German by Friedrich Achleitner.
Walter Pichler (1936—2012) was an Austrian sculptor and draughtsman, particularly striking for his almost permanent association of the intrinsic tension between sculpture and architectural space throughout his entire oeuvre. At the forefront of the avant-garde spatial experimentations of the 1960s—1970s, alongside architect Hans Hollein, Pichler pursued a utopian, anti-rationalist and conceptual approach that was highly influential in the Vienna scene, from which groups such as Coop Himme(l)bau and Haus-Rucker-Co emerged. Pichler exhibited at the Museum of Modern Art (MoMA) in New York, and at the Biennale de Paris. In 1968 he participated in the 4th documenta and in 1977 in the 6th documenta, Kassel, Germany. Resolute in the pursuit of his vision, Walter Pichler ignored the pressures of the market, avoided unnecessary public appearances, and spurned the slightest compromise, zealously guarding his independence and confronting the art world with great skepticism. Influenced by the archaic civilizations and a transformative trip to Mexico, he constantly challenged the convictions of the sculptors, architects and designers of his time by continuing to create spiritual architectural objects, spatial installations, drawings of utopian cities by playing with perception, space and by freeing himself from the constraint of construction. This is undoubtedly why he sometimes took several years to build his sculptures, multiplying drawings, plans, preparatory models. From 1972 Pichler lived and worked in seclusion in an old farmhouse in Sankt Martin an der Raab in southern Burgenland, where he erected single buildings for his sculptures. He almost always turned down teaching positions at universities and state awards.
“I could hardly think without drawing.”—W.P.
Very Good copy in VG dust jacket.
2002, English
Softcover (staple-bound + audio cd), 54 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
London Musicians Collective / London
$30.00 - In stock -
Vol 9 No 2 (2002) issue of Resonance magazine, the legendary periodical of contemporary, experimental and improvised music that grew out of Musics (1975—1979) and The London Musicians Collective (LMC), a cultural charity and collective based in London, England, founded in 1975.
This issue features Toshimaru Nakamura, Alvin Lucier, Nicolas Collins, Xentos Fray Bentos, Knut Aufermann, David Lee Myers, Phil Durrant, Michael Prime, Matt Rogalsky and Barry G. Nichols. Plus record & book reviews + obituary of Gareth Williams (This Heat) by Ed Baxter + photographs by Kathrin Brunnert of the 10th Annual LMC Festival, and much much more.
78 minute CD includes music by David Tudor, John Cage, plus all the magazine article contributors (Myers, Aufermann, Nakamura, Collins, Lucier, Prime, Rogalsky, Durrant, Xentos, ECM:323 & TunkSystems)
Very Good copy, light cover wear.
1999, English
Softcover (staple-bound), 54 pages, 30 x 21 cm
1st Edition, Out of print title / used / good
Published by
London Musicians Collective / London
$25.00 - In stock -
Vol 6 No 1 (1997) issue of Resonance magazine, the legendary periodical of contemporary, experimental and improvised music that grew out of Musics (1975—1979) and The London Musicians Collective (LMC), a cultural charity and collective based in London, England, founded in 1975.
This issue guest edited by Tim Hodgkinson (Henry Cow, The Work, et al.) features Butch Morris interviewed by Steve Beresford, lancu Dumitrescu interviewed by Tim Hodgkinson, Heiner Goebbels interviewed by Kersten Glandien, John Zorn interviewed by Howard Mandel, Form is emptiness... Simon H. Fell, Charles Hayward, Tim Hodgkinson and Phil England - with Richard Barrett, Chris Burn, John Butcher, John Bisset, George Lewis interviewed by Lawrence Casserley, Behind Trout Mask by John French, The Great British Record Fair by Edwin Pouncey (Savage Pencil), Improvisation as form by Michael Ratté, Thai classical music, and much much more. Bonus CD missing.
Good—Very Good copy, light cover wear.