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:
Thu–Fri 12–6, Sat 12–5
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
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
Gift vouchers can be purchased in increments of $20 (Australian Dollars) and the total amount can simply be added to by increasing the quantity in your shopping cart. eg. A quantity of 5 gift vouchers will result in an item total of $100 - a $100 gift voucher. Simply click "ADD TO CART" 5 times, or update your quantity in the shopping cart.
If you wish to purchase multiple, separate gift vouchers in one go, please just email us and we can personally prepare and email you a payment request.
Please note: Please select Pick-Up on gift voucher purchse to avoid any postage charges. Accidental postage charges will be refunded right away!
Thank you.
For any questions, please don't hesitate to email: [email protected]
1994 / 2022, English
Softcover (staple-bound), 68 pages, 28 x 21.5 cm
Out of print title / as new
Published by
Kunstverein Toronto / Toronto
$45.00 - In stock -
Long-awaited limited edition re–print of G.B. Jones' legendary 1994 monograph. Only 500 copies – now out–of–print at source!
G.B. Jones (b. 1965, Bowmanville, Canada) is recognized for many accomplishments: for the success of her post-punk band Fifth Column (1981–2002), the widespread influence of the many queer punk zines she co-authored, including J.D.s, Double Bill and Hide, her coining of the term “queercore,”and her prolific work as a “no-budget” filmmaker, scene photographer and visual artist. Her drawing series, “Tom Girls,” originally published in J.D.s, replaced Tom of Finland’s iconic, “hyper-virile studs” with bold, uncompromising leather dykes, co-opting Finland’s objectified, male-on-male erotica and presenting a world of “nasty female role models”—Dodie Bellamy.
In 1994, Feature Inc. + Instituting Contemporary Idea in New York released the monograph G.B. Jones. Edited and designed by Steve Lafreniere, the book compiled Jones’ “Tom Girls” drawings alongside show and film posters, record covers, comics and commissioned writing, including contributions and appearances by Dennis Cooper, Vaginal Davis, Dodie Bellamy, Kevin Killian, Caroline Azar, Johnny Noxzema, and others. As part of a campaign by the Canadian Border Services agency against allegedly pornographic or immoral materials in the 1990s, copies of Jones’ book were seized by the Canada Border Services Agency and barred from entering the country on the charge of depicting “bondage.” Jones was later informed that the seized copies had been burned by Border Control agents.
27 years later, in collaboration with Jones, Kunstverein Toronto is putting G.B. Jones back in circulation in Canada. This re—publication of the book was published to accompany a 2022 exhibition of related drawings, photographs, posters, ephemera and tributes that reflect the reach and influence of Jones’ heterogenous practice, both at the time of the original release of G.B. Jones, and today.
1985, Japanese / English
Softcover (w. obi-strip), 210 pages, 28.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Cultural Publishing / Japan
$160.00 - In stock -
First edition of this truly amazing, rare and unsung Japanese photo-book by Chikashi Tanaka, Japanese hair designer to the stars, published in one edition in 1985. A gorgeous 10 year collection of monochrome photos taken by Tanaka throughout the 1970s and early 1980s of celebrities who were active in the period. "Although photography is clearly stated as a side interest, the photos taken by Tanaka, who was always close to the glamorous as a hair designer, intimately captures the real faces of the stars, which cannot be taken by a professional cameraman." Beautifully and candidly capturing the cool atmosphere of the period and the stars that illuminated it, back-stage, at the hotel, in the nightclub, in between, Tanaka intimately documents friends, the stars of the Japanese (and American, and European) screen and stage, leading actresses, singers, fashion models, fashion designers, actors, and others, including Kaori Momoi, Karen Graham, Brooke Shields, Masako Natsume, Ayumi Ishida, Inès de La Fressange, Ken Takakura, Juliette Gréco, Helmut Berger, Kiwako Taichi, Catherine Deneuve, Akiko Wada, Jerry Hall, Mitsuhiro Matsuda, Moira Swan, Janice Dickinson, Seiko Matsuda, Princess Diana, Kimiko Kasai, Georges Moustaki, Mizue Takada, Hiromi Go, Ayako Wakao, Mikijirō Hira, Kaori Momoi, Yūsuke Suga, Hiromi Satō, Rumiko Koyanagi, Mao Daich, Mari Yoshimura, Keiko Matsuzaka, Jun Inoue, Beverly Johnson, Kimiko Ikegami, Nana Kinomi, Yoshiko Mita, and so many others. Really a beautiful collection to behold, with wonderful design and printing on warm, uncoated stock with a feel much like the early Comme des Garçons books.
Very Good copy with publisher's obi strip. Some light wear to covers and heavier wear, closed tears to uncommon obi.
1998, Japanese
Softcover (w. dust jacket and obi), unpaginated, 20 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Asahi Press / Japan
$100.00 - In stock -
First edition of the fifth publication of Kishin Shinoyama's "Accidents" series of books. Shinoyama established these lovely photo books in the late 1990s as a way to present the consequential photographs that would develop from commercial nude photoshoots with his models. Each book represents a collaboration between the photographer and one model, Accidents 5 "Amazing Girl" presenting a shoot with Japanese actress and writer Luna Nagai (also known as Runa Nagai). Shinoyama had close friendships with many of his regular models, working closely with them throughout their entire careers. The "accidental photographs", unrestricted by the editorial outcome of the icon "pin-up", unfold with an intimacy, tenderness and freedom that carry with it the passing of time between the photographer and model, sometimes over one shoot, at others across ages. Lavishly illustrated throughout in colour and black and white.
Very Good w. VG dust jacket + obi.
1998, Japanese
Softcover (w. dust jacket and obi), unpaginated, 20 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Asahi Press / Japan
$60.00 - Out of stock
First edition of the second publication of Kishin Shinoyama's "Accidents" series of books. Shinoyama established these lovely photo books in the late 1990s as a way to present the consequential photographs that would develop from commercial nude photoshoots with his models. Each book represents a collaboration between the photographer and one model, Accidents 2 "Breezy Day" presenting a shoot with Japanese actress Keiko Oginome. Shinoyama had close friendships with many of his regular models, working closely with them throughout their entire careers. The "accidental photographs", unrestricted by the editorial outcome of the icon "pin-up", unfold with an intimacy, tenderness and freedom that carry with it the passing of time between the photographer and model, sometimes over one shoot, at others across ages. Lavishly illustrated throughout in colour and black and white.
Very Good w. VG dust jacket.
1998, Japanese
Softcover (w. dust jacket), unpaginated, 20 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Asahi Press / Japan
$60.00 - Out of stock
First edition of the first publication of Kishin Shinoyama's "Accidents" series of books. Shinoyama established these lovely photo books in the late 1990s as a way to present the consequential photographs that would develop from commercial nude photoshoots with his models. Each book represents a collaboration between the photographer and one model, Accidents 1 "Waterfruit" presenting a shoot with Japanese actress Kanako Higuchi. Shinoyama had close friendships with many of his regular models, working closely with them throughout their entire careers. The "accidental photographs", unrestricted by the editorial outcome of the icon "pin-up", unfold with an intimacy, tenderness and freedom that carry with it the passing of time between the photographer and model, sometimes over one shoot, at others across ages. Lavishly illustrated throughout in colour and black and white.
Very Good w. VG dust jacket.
2018, English
Hardcover, 256 pages, 27 x 24 cm
1st Edition, Out of print title / as new
Published by
Jonathan Cape / London
$35.00 - Out of stock
A psychedelic, mind-bending graphic novel about virtual reality, our future and the dangers that lie ahead.
Look - anyone who invents something really great has a moment where they think it's going to destroy the world. For the first time in her life, Fin is off the network. A few months ago, she was the inventor of a programme so powerful, so unusual that she was untouchable. Until she wasn't. Meanwhile, people have started disappearing from the streets of the city and the technology she created might be implicated.
Square Eyes is a graphic novel about a future where the boundaries between memory, dreams and the digital world start to blur. It's a kaleidoscopic mystery story which asks- in a city built on digital illusion, who really holds the power? What is weakness? And when is it most dangerous?
As New.
2016, English
Hardcover, 88 pages, 27 x 21.5 cm
1st Edition, Out of print title / as new
Published by
Jonathan Cape / London
$20.00 - Out of stock
An incredibly beautiful graphic novel by a precociously brilliant young Belgian author. The start of a great career.
Hubert is a solitary man who shapes his life by going to museums. He talks to few people and only about museums and art. When his neighbour downstairs, a lonely woman, tries to seduce him, he doesn't understand. He takes photos of the pictures he likes - usually of beautiful women - and paints copies of the paintings at home. There is only one real woman who fascinates him; she lives in the opposite building and he can see her balcony from his window.
One of the most beautiful graphic novels Jonathan Cape has ever published, Hubert marks the beginning of a great career.
As New.
199?, Japanese / English
Vinyl sticker, 15 x 10.5 cm
1st Edition, Out of print title / as new
Published by
? / Japan
$150.00 - In stock -
Very rare, ridiculously adorable Takashi Homma "Beware of Dog" sticker. Likely issued around 1996, the same time as his classic Tokyo Teens postcard book, and roughly the same size, designed with Gugi Akiyama. A perfect collector's item by one of Japan's leading photographers, perfectly emblematic of Homma's influential "Tokyo pop" work of the period. Known in the West through Purple magazine, etc., Homma followed in the spirit of Provoke photographers such as Araki, Moriyama, and Nakahira to create a new photographic expression for Tokyo at the end of the century. Homma's photography would become a great influence on the fashionable 1990's girly photo boom of Hiromix and Yurie Nagashima, etc.
As New, unused.
199?, Japanese / English
Vinyl sticker, 15 x 10.5 cm
1st Edition, Out of print title / as new
Published by
? / Japan
$150.00 - In stock -
Very rare, ridiculously adorable Takashi Homma "Beware of Dog" sticker. Likely issued around 1996, the same time as his classic Tokyo Teens postcard book, and roughly the same size, designed with Gugi Akiyama. A perfect collector's item by one of Japan's leading photographers, perfectly emblematic of Homma's influential "Tokyo pop" work of the period. Known in the West through Purple magazine, etc., Homma followed in the spirit of Provoke photographers such as Araki, Moriyama, and Nakahira to create a new photographic expression for Tokyo at the end of the century. Homma's photography would become a great influence on the fashionable 1990's girly photo boom of Hiromix and Yurie Nagashima, etc.
As New, unused.
1996, Japanese
Softcover, 30 bound postcards, 15.5 x 11.7 cm
1st Edition, Out of print title / as new
Published by
Little More / Tokyo
$480.00 - In stock -
Very rare early book of portraits of Tokyo teenagers by leading Japanese photographer Takashi Homma (b. 1962 in Tokyo, Japan). This special publication features around 30 selected photographs of Homma's iconic and very influential early 1990's photography bound into one volume in the form of thick perforated postcards. These images of Tokyo teens, along with images of their bedrooms and Shibuya / Harajuku street surrounds, are emblematic of Homma's work of the period, known in the West through Purple magazine, etc. Following in the spirit of Provoke photographers such as Araki, Moriyama, and Nakahira, Homma created a new photographic expression for Tokyo at the end of the century. Homma's photography would become a great influence on the fashionable 1990's girly photo boom of Hiromix and Yurie Nagashima, etc.
Fine—As New copy, all postcards still bound, vinyl cover sticker still attached as issued.
1995, Japanese
Softcover, 80 pages, 25 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Little More / Tokyo
$120.00 - Out of stock
Scarce first book by leading Japanese photographer Takashi Homma (b. 1962 in Tokyo, Japan). Babyland, published in 1995, was released in conjunction with an exhibition of the same name at Parco Gallery, Tokyo, launching the career of one of Japan's most influential and acclaimed photographers. The book collects Homma's photographs taken between 1993 and 1995, including his Tokyo Teens series and portraits of Kim Gordon, Mike Kelley and Nan Goldin, amongst others. A beautiful book of Homma's distinctively subdued, atmospheric photography that created a new photographic expression for Tokyo at the end of the century.
Very Good—Near Fine copy, complete with booklet insert and publisher's inlaid promotional materials. Text is a dialogue between Kyoko Okagaki and Homma
1994, English / German
Softcover, 200 pages, 30 x 24 cm
1st Edition, Out of print title / used / good
Published by
Taschen / Cologne
$65.00 - Out of stock
First 1994 English edition of the classic "Fetish Girls" by American fetish photographer, erotica historian, photojournalist, and book editor, Eric Kroll (b. 1946, New York). Fetish Girls is an incredible collection of Kroll's 1980s-1990's erotic photographs, ranking among the absolute classics of fetishistic imagery. Rising from the downtown New York art and fashion scene of the 1970s and 80s, shooting for Elle Magazine, Vogue, The New York Times and Der Spiegel, Kroll published his first book, "Sex Objects" in 1976 with a grant from the New York State Council of the Arts, a book documenting sex workers across America. His best-seller "Fetish Girls" (1994), was an instant classic, full of powerful women and drawing one into a world of bizarre fantasies and sadomasochistic desires while retaining a sense of irony and surreal humour. Many of Kroll's photographs refer to and pay homage to his predecessors Weegee and Bunny Yeager as well as Eric Stanton and John Willie, while being grounded in the conceptual influences of artists such as Man Ray, and Marcel Duchamp. Text in English, German and French. Wonderful introduction by Kroll.
"My therapist says that I take photographs that make people blush because I suffer from 'middle-child' syndrome. She says I want to draw attention to myself because when I was a child I was ignored. She says I want to be heard, so I scream with my photographs. I was concerned she might cure me, so I stopped going to therapy."—Eric Kroll
Good copy, light wear and heavy foxing (spotting) to inside covers and initial blanks. This is the first print of the original full-size book, not to be mistaken for the mini-version or the postcard book.
1982, French
Softcover, 156 pages, 27.5 x 23 cm
Out of print title / used / very good
Published by
Skira / Geneve
$30.00 - In stock -
"I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always with a slight touch of mystery in my paintings." - Balthus
Major monographic survey of the Polish-French painter Balthasar Klossowski de Rola, known as Balthus (1908-2001), known for his refined style of dreamlike, classically-informed, ambiguous paintings of childhood - pubescent girls, bourgeois interiors, and cats. Throughout his career, Balthus rejected the usual conventions of the art world. Heavily illustrated in colour throughout, this prominent study authored by French art historian Jean Leymarie (1919-2006) was first published in 1979 in lavish hardcover. This popular French edition is from 1982.
Balthus (February 29, 1908 – February 18, 2001), was a Polish-French modern artist born in Paris to Polish expatriate parents. His given name was Balthasar Klossowski - his sobriquet "Balthus" was based on his childhood nickname, alternately spelled Baltus, Baltusz, Balthusz or Balthus. His father, Erich Klossowski, was an art historian who wrote a noted monograph on Daumier. His older brother was the philosopher and artist Pierre Klossowski. An unusual figure in the history of twentieth century painting, Balthus both traveled among and drew upon the work of other major artists of his time, while at the same time following a unique individual trajectory. He was mentored by, friends of, and/or even collaborated with seminal creative figures from different eras, including Antonin Artaud, André Breton, and Rainer Maria Rilke, while cultivating his own highly refined style of dreamlike, classically-informed painting. The scenes he usually depicted were very ordinary bourgeois interiors or outdoor settings, which nonetheless managed to reveal the heightened inner states of his subjects as well as the states of mind of those who might be viewing them.
Jean Leymarie (1919-2006) was a French art historian. Born into a peasant family, he pursued his studies in Toulouse then Paris. After the Second World War, he began his museum career. He was curator at Museum of Grenoble from 1950 to 1955, director of the Musée national d'Art moderne from 1968 to 1973 and director of the French Academy in Rome from 1979 to 1985. He taught for a long time at the Swiss universities of Lausanne and Geneva and published several works on the history of art. He remains one of those who imposed 20th-century painting on French national museums.
Very Good copy with light tanning, small knick to top of spine.
2013, English
Hardcover, 96 pages, 25 x 19.66 cm
1st Edition, Out of print title / used / very good
Published by
Flammarion / Paris
$35.00 - In stock -
An intimate portrait of the artist at home, written by a close friend, that reveals Balthus's fascination with felines.
Alain Vircondelet was a close friend of the late Balthus and originally wrote this text in intimate collaboration with the artist. He explains the symbolism within Balthus’s paintings and draws parallels between the sleepy, languishing forms of the girls and cats he painted. Balthus, who referred to himself as the Thirteenth King of Cats, regularly featured the feline form in his art, even as early as age nine, when he recounted the story of his cat Mitsou through forty Indian ink drawings; Rainer Maria Rilke would later write the foreword to the published volume of these drawings. Balthus’s wife Setsuko and their daughter Harumi shared his deep affection for cats and the family’s devotion becomes evident in this volume, which offers behind-the-scenes access into their home, featuring personal photographs, belongings, and reproductions of the artist’s cat paintings.
VG—NF copy.
2013, English
Hardcover (w. dust jacket), 166 pages, 26 x 24 cm
1st Edition, Out of print title / used / fine
Published by
The Metropolitan Museum of Art / New York
$50.00 - In stock -
First edition, first printing of this out-of-print anthology of Balthus’s famously ambiguous paintings, focusing on the early decades of his career from the mid-1930s to the 1950s
Balthus’s lifelong fascination with the dark side of childhood resulted in his most iconic works: canvases depicting girls on the brink of puberty, hovering between innocence and knowledge. In these pictures, the artist mingled intuition into his young sitters’ psyches with overt erotic desire and forbidding austerity.
Balthus’s portraits of a local young Parisienne named Thérèse Blanchard, and his interior scenes featuring Thérèse’s various successors, are among the most powerful depictions of childhood and adolescence in the Western canon. Far from being mere pretty girls in frilly dresses, Balthus’s subjects are self-possessed and self-absorbed individuals, with a palpable but mysterious interior life. Also present in many of the images are cryptic cats – often smiling, sometimes leering, and likely as not standing in for Balthus himself.
Balthus: Cats and Girls focuses on the early decades of his career, from the mid-1930s to the 1950s. Sabine Rewald draws on her extensive (and firsthand) knowledge of the artist, as well as on interviews with the models themselves, to explore the origins and permutations of his obsession with depicting adolescents. She addresses the crucial influence of such key figures as the German poet Rainer Maria Rilke, his mother’s lover, who acted for a time as Balthus’s surrogate father. And she includes the previously unknown voices of the girls, whose recollections provide a unique perspective to some of the most recognizable and potent images of the twentieth century.
"I always feel the desire to look for the extraordinary in ordinary things; to suggest, not to impose, to leave always with a slight touch of mystery in my paintings." - Balthus
Balthus (February 29, 1908 – February 18, 2001), was a Polish-French modern artist born in Paris to Polish expatriate parents. His given name was Balthasar Klossowski - his sobriquet "Balthus" was based on his childhood nickname, alternately spelled Baltus, Baltusz, Balthusz or Balthus. His father, Erich Klossowski, was an art historian who wrote a noted monograph on Daumier. His older brother was the philosopher and artist Pierre Klossowski. An unusual figure in the history of twentieth century painting, Balthus both traveled among and drew upon the work of other major artists of his time, while at the same time following a unique individual trajectory. He was mentored by, friends of, and/or even collaborated with seminal creative figures from different eras, including Antonin Artaud, André Breton, and Rainer Maria Rilke, while cultivating his own highly refined style of dreamlike, classically-informed painting. The scenes he usually depicted were very ordinary bourgeois interiors or outdoor settings, which nonetheless managed to reveal the heightened inner states of his subjects as well as the states of mind of those who might be viewing them.
Very Good—Near Fine.
2018, English / Japanese
Softcover (w. dust jacket in hard slipcase), unpaginated, 31 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Tokyo Kirarasha / Tokyo
$500.00 - In stock -
Rare first 2018 slipcased edition of Japanese corpse photographer Tsurisaki Kiyotaka's THE DEAD.
Since 1994, Japanese photographer, film director, and writer Kiyotaka Tsurisaki has become known for prolifically photographing dead bodies. Countless shocking and gruesome images of the dead fill the pages of this book, which is certainly not for the faint of heart. Many of these people met with violent ends, whether by vehicle crash, homicide, or suicide. Tsurisaki also brings the viewer into morgues and forensics labs, where the macabre work of embalming and autopsy is unapologetically documented. He has travelled to Thailand, Colombia, Mexico, Russia, and Palestine, as well as other lawless or war-torn parts of the world, to photograph human corpses.
Texts in English and Japanese.
Explicit material!
Near Fine–Fine copy in Very Good slipcase with light wear, one corner knock to back that does no effect the book at all. Very well preserved.
1984, Japanese / English
Slipcase, corrugated envelope, 64 looseleaf plates, 29.7 x 21 cm
Stamped and numbered,
1st Edition, Out of print title / used / very good
Published by
B-Sellers / Japan
$350.00 - In stock -
Very rare first stunning printing of Scene of Death, a rare 1984 death photo collection, published by B-Sellers in Japan only, compiled by Noriaki Nakagawa, Hitomi Komukai, and Yoichi Shihata. An elaborate and beautiful print production of the macabre. Housed in an illustrated slipcase within a stamped, button-and-tie-bound corrugated envelope, 64 looseleaf monochrome photographic plates reproduce images from "Atlas der Gerichtsmedizin", an absolutely fascinating collection by Weiman / Prokop, first published in 1963. Atlas der Gerichtsmedizin was originally a serious German scientific reference book for criminal investigators and those in the medical field — a photo scrapbook of thousands of images of graphic human death scenes — suffocation and strangulation, drowning and death by water, death by burning and electrocution, crimes of passion, abuse and neglect, and more. In turn, this visual opus became a bible of reference imagery to a wave of musicians, artists and authors during the industrial avant-garde, from Throbbing Gristle to Paul Buck to Atrax Morgue. This meticulous and unique Japanese offering further influenced many Japanese artists in the 1980s—1990's. Later re-printed in 1994.
Stamped and numbed first printing.
"We believe the scenes of death is, in one sense, the most erotic of human nature. It is at the time of death that man no longer can attempt to control his inner self and therefore the real self appears vividly. Here we have opened the doors to a topic that is usually not only hidden but also shut out of the minds of man. Please share our excitement and take a glance into the world of hidden eroticism"—Scene of Death blurb.
VG—NF copy in VG—NF slipcase, all plates still wrapped in seldom preserved internal obi strip. Some wear/rusting to envelope buttons.
2025, English
Hardcover (w. dust jacket and obi), 184 pages, 30 x 23 cm
Published by
Apartamento / Barcelona
$140.00 - In stock -
Between 1999 and 2006, before fast fashion and social media changed the world forever, Kyoichi Tsuzuki published 87 instalments of his Happy Victims series in the fashion magazine Ryuko Tsushin. In cramped quarters across Tokyo, these anonymous disciples joyously detailed the ritual and the sacrifice of their brand-name obsessions. A Buddhist monk with a Comme des Garçons shopping habit, an Alexander McQueen collector listening to neighbours through paper-thin walls—photographed at home, their collections before them, Kyoichi’s anti-heroes exist in parallel to the fashion universe of fame, fantasy, and glamour. Happy Victims was first published in book form in 2008. Long out of print, this edition follows Apartamento’s reissue of Kyoichi’s earlier seminal work, Tokyo Style. The new hardcover design comes with an updated foreword by the author, Japanese photographer Kyoichi Tsuzuki, and an introduction by Isabella Burley of Climax Books.
While the cover and belly band have been completely reworked, in collaboration with designer Han Gao, the book’s interior maintains a simple, documental format: one happy victim per spread, Kyoichi’s photos supplemented by a short commentary on the individual and his or her daily schedule. Not typically members of the leisure class, the goths, Lolitas, and stringent Margiela fans must also go to work and find time to care for their clothes.
About Kyoichi Tsuzuki
A Tokyo native, Kyoichi Tsuzuki is an award-winning photographer and a former editor at such iconic publications as Popeye and Brutus. He received the 1996 Ihei Kimura Award for his first photography exhibition, Roadside Japan, and has since shown work at the White Cube Gallery, London, MUDAM Luxembourg, Galerie Da-End, and more. Kyoichi is also the author of Tokyo Style, a cult classic reissued by Apartamento in 2024.
About Isabella Burley
Isabella Burley founded Climax Books in London in 2020 as a home for rare editions, adding a New York outpost in 2024. At 17, she started on the shop floor of Dover Street Market with Comme des Garçons, then later served as editor-in-chief for Dazed & Confused from 2015 to 2021. Additional appointments include Helmut Lang and Acne Studios.
2018, English
Softcover, 320 pages, 21.5 x 28.5 cm
Published by
Koenig Books / London
$80.00 - In stock -
The legendary independent London bookstore Better Books on the Charing Cross Road was the hub for Allen Ginsberg, William S. Burroughs, Alexander Trocchi, John Latham, Jeff Nuttall, Bob Cobbing, Barry Miles, Gustav Metzger, and countless others, for their ideas and approaches to art, film, literature, and activism. With its unique range of books, offbeat events, poetry readings, film screenings, and happenings, Better Books became the hot spot of London’s 1960s counter-culture scene.
This book is the first to examine this special historic moment, combining previously unpublished texts, documents, and photographs with the voices of the protagonists who authored this revolution.
With Essays by Rozemin Keshvani and Barry Miles and contributions by Philip Cohen, Stephen Dwoskin, John Hopkins, Graham Keen, Bruce Lacey, Gustav Metzger, Jeff Nuttall, Frank Popper, Criton Tomazos, and Islwyn Watkins.
1992, English
Softcover (french-folds), 144 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
FAE Musee d'Art Contemporaine Pully / Lausanne
$160.00 - In stock -
First 1992 English edition of the legendary Post Human exhibition catalogue, published on the occasion of the touring exhibition curated by Jeffrey Deitch, June 1992—October 1993. Post Human brought together the work of leading young international artists confronting a new artificial “real” world; a new figuration. The participating artists examine the media’s obsession with the “virtual reality” of the body beautiful through works that reveal the neuroses that plague contemporary society. In Deitch's words, this lavishly designed catalogue "explores the implications of genetic engineering, plastic surgery, mind expansion, and other forms of body alteration, to ask whether our society is developing a new model of the human being. It poses the question of whether our society is creating a new kind of post-human person that replaces previous constructions of the self. Images from the new technological and consumer culture and the new, conceptually oriented figurative art of thirty-six young artists will endeavor to give us a glimpse of the coming post-human world."
Featuring the work of Dennis Adams, Janine Antoni, John M Armleder, Stephan Balkenhol, Matthew Barney, Ashley Bickerton, Taro Chiezo, Clegg & Guttmann, Wim Delvoye, Suzan Etkin, Fischli / Weiss, Slyvie Fleury, Robert Gober, Felix Gonzalez-Torres, Damien Hirst, Martin Honert, Mike Kelley, Karen Kilimnik, Martin Kippenberger, Jeff Koons, George Lappas, Annette Lemieux, Christian Marclay, Paul McCarthy, Yasumasa Morimura, Kodai Nakahara, Cady Noland, Daniel Oates, Pruitt & Early, Charles Ray, Thomas Ruff, Cindy Sherman, Kiki Smith, Pia Stadtbäumer, Meyer Vaisman, Jeff Wall.
"Post Human was virtually a manifesto trumpeting a new art for a new breed of human. As Deitch’s text explained in the fragmented mottos that punctuated the billboard-style graphics of Dan Friedman’s catalogue design, “It is becoming routine for people to try to alter their appearance, their behavior, and their consciousness beyond what was once thought possible.” And we go on to read, “With the embrace of artificiality, Realism as we used to know it may no longer be possible.” The glossy color plates spoke volumes, whether the illustrations came from art or from “life.” The catalogue was to become something of a cult item that triggered the imaginations of many younger artists. Here was a permanent anthology of the “posthumanity” that surrounds us not only in galleries but on television, in magazines, even in real life, where the friendly androids among us chatter on about Botox and face-lifts. In the catalogue pages, one could see, for instance, four photos of Jane Fonda in four completely different but equally synthetic guises; Pat Buchanan being made up by a cosmetician for a TV appearance; computer morphs of once- human faces; before-and-after bellies and buttocks; and dead center, a profile view of Michael Jackson, clearly the sun god of this new solar system, who would later be deified by Jeff Koons.
This pure plastic environment, whether peopled by Ivana Trump or Barbie, set the stage for the artists in the show, whose works played perfectly in this parallel universe that was quickly replacing that old-fashioned thing called Nature. The result was a complete reshuffling of the contemporary-art deck, with an international mix of thirty-six artists (singles and pairs) that embraced Thomas Ruff and Jeff Wall, Clegg & Gutmann and Pruitt/Early, Damien Hirst and Cindy Sherman, Matthew Barney and Yasumasa Morimura, Charles Ray and Martin Kippenberger. A new dynasty had installed itself, and this ruling class demanded fitting ancestry."—Robert Rosenblum, Artforum (October 2004)
"Looked at from the point of view of being difficult cultural issues to a broader public than usual, the project Post Human could not have come about at a better time. (…) Deitch’s central thesis—that the voluntary manipulation of the human body through surgery, cosmetics and exercise, combined with recent technologies allowing us to simulate the experience of reality, have produced a culture in which the body no longer serves as a cohesive, organic reference point—fits well in an age in which pop starts, politicians and even artists themselves seem to delight in changing their physical identities to suit their purposes. No longer the domain of privacy and difference, the body has become a public crossroads where the merging of real and artificial, organic and synthetic, and even good and evil, is taking place right before our very (ahem) eyes."—Dan Cameron, Frieze (September–October 1992)
Very Good copy.
2019, English / German
Softcover, 436 pages, 17 x 23.5 cm
Published by
Walther König / Köln
Ludwig Forum / Aachen
$85.00 - In stock -
The Invention of the Neue Wilde aims to put a new perspective on the phenomena of the so-called ‘Neue Wilde’ (new Fauves), which was a term used in Germany for neo-expressionism: a movement which saw the re-emergence of expressive painting in the late 1970s and 1980s. Its most famous protagonists include Martin Kippenberger, Werner Büttner, Salome and Walter Dahn.
Instead of focusing on the production of paintings by those involved – and a corresponding catalogue of these paintings – it is much more interested in the emergence of the painting boom out of potent interplay between artists, gallerists, collectors and art historians. Here the focus is especially on personal backgrounds and the context in which painters worked.
The argument shows that the artistic practices of the ‘Neuen Wilden’ had little to do with a generalised ‘return’ to panel painting and thus to a traditional concept of art. Painting was in fact embedded in an extended network of artistic production, which was particularly characterised by a destabilisation in the division between high and popular culture as well as by various media, genres and collaborative forms of praxis.
Hitherto neglected photographic and documentary material as well as artists’ posters, records, newspapers, video works and artists’ books testify to the artists’ experimental bent on one hand, their proximity to self-organised, subcultural phenomenon, such as the punk or new wave scenes of the 1980s on the other. On this basis, the much-described ‘return’ to painting can be exposed as a hugely simplified narrative, while sketching out a complex image of the situation around 1980.
Artists: Hans Peter Adamski, Peter Bömmels, Werner Büttner, Luciano Castelli, Walter Dahn, Jiÿí Georg Dokoupil, Rainer Fetting, G. L. Gabriel-Thieler, Anne Jud, Martin Kippenberger, Helmut Middendorf, Christa Näher, Hilka Nordhausen, Markus Oehlen, Brigitta Rohrbach, Salomé, Bettina Semmer, Bettina Sefkow, Claudia Skoda, Rolf von Bergmann, Bernd Zimmer, and others.
Includes texts by Thomas Bayrle, Andreas Beitin, Werner Büttner, Diedrich Diederichsen, Catherine Dossin, Brigitte Franzen, Ramona Heinlein, Christian Höller, Katrin Köpper
Published on the occasion of the exhibition, The Invention of the Neue Wilde: Painting and Subculture around 1980 at Ludwig Forum für Internationale Kunst, Aachen (12 October 2018 –10 March 2019).
English and German text.
2013, Japanese
Softcover, 212 pages, 28.2 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Amana / Japan
$150.00 - In stock -
First edition of this wonderful collection of Japanese photographers that captured 1970s Tokyo, now out-of-print. In the world of fine art photography, post-war Japanese photography is continuing to gather attention. Many Japanese photographers were active specifically during the large cultural and political development of the 70s as the country experienced rapid economic growth. At the time, new styles of expression with a strong focus on the individual viewpoint were beginning to develop, which were distinct to the social documentary photography prior to that. This also coincided with the development of photography within the fashion and advertising field, reflecting a period where the works of many unique photographers and styles began to grow. A careful selection of 160 bodies of works by 9 prominent photographers of the time, each individually portraying the excitement and rapid growth which symbolised the era. Taiji Arita, Eikoh Hosie, Daido Moriyama, Masatoshi Naito, Hajime Sawatari, Issei Suda, Yoshihiro Tatsuki, Shuji Terayama, Katsumi Watanabe.
Very Good copy with good dust jacket.