World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1986, English
Softcover (staple-bound), unpaginated, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
The Australian International Video Festival / NSW
$60.00 - In stock -
Issued on the occasion of The Australian Video Festival 1986, Video/Culture showcases a selection new video art from experimental computer animation to industrial music video by Severed Heads, Warren Burt, Jenny Crone, Kerry Dobson, Jacki Elliot, George Evatt, Peter Fox, Peter Giles, John Gillies, Sally Pryor, Richard Guthrie, Steven Jones, Kamira Camera Club, Andra Keay, Carl Looper, Meaningful Eye Contact (Foetus/JG Thirlwell), Julian Morgan, Debra Beattie, Musical Films, Anna Namuren, Margo Nash, Robert O'Hearn, Bob Plasto, Lois Randall, Ashley Scott, Wayne Tindall, Cathy Vogan, Linda Wallace, Rowan Woods. Illustrated throughout with video stills for all entries, accompanied by video specs and description. Introduction by Brian Langer, who was the Artistic Director of the Australian International Video Festival in the late 80's—1992 and Executive Director of Electronic Media Arts Ltd from 1990 to 1992. Rare item, no listings anywhere.
Very Good copy, light wear to glossy covers.
1996, English
Softcover (staple-bound), unpaginated, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
ACMA / Brisbane
$18.00 - In stock -
Attendee publication produced to accompany a concert series as part of ACMA (Australian Computer Music Association) Conference, July 12—14, 1996, QUT Academy of The Arts and Queensland Conservatorium of Music, Griffith University, Brisbane. A important fixture in Australia's new music scene of composition and sound art, with guest composers from all over the world, ACMA Conference '96 featured the work of Ros Bandt, Warren Burt, Gordon Monro, Celso Aguiar, Riccardo Dapelo, Lelio Camilleri, Tim Kreger, Anthony Hood, Panos Couros, John Emsley, Rodolphe Blois, Rajmil Fischman, John Rimmer, Martín Alejandro Fumarola, and many others. Information on all performed pieces, artist's texts, diagrams, bios, etc.
VG.
1992, English
Softcover (loose-leaf w. paperclip), unpaginated, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Mercurial Editions
Elwood
$55.00 - In stock -
Rare first edition of Australian text artist and performer Berni Janssen's 1992 work, Mangon, published by Mercurial Editions in Elwood, Melbourne, a private press "specialising in publishing new work which explores, poetic form, imaginal philosophy and psychology and non realist approaches to art and image." Edition of only 250 copies, hand-bound with a single large paper-clip. In 1992, the publication was launched with speaking voice and found object sounds in collaboration with experimental composer Warren Burt.
"One of Australia’s treasures, berni janssen, a pioneering sound poet, is fully focused on the auditory as a means of experiencing the world. The voice of berni is loud and clear. She takes us with her into the auditory world as it is changing and asks us to reconsider "the strange echo chamber we live in."—Dr Ros Bandt, International Environmental Sound Artist
Berni Janssen is a text artist who works with words in all their forms, printed, spoken, performed. She has a collaborative multidisciplinary practice spanning over thirty-five years, working with composers, performers, visual artists and community members to make word inspired art. She is renowned for her evocative and captivating performances. Her publications include Possessives and Plurals (Fillia Press. 1985); Xstatic (Post Neo. 1988); mangon (Mercurial Editions. 1992) and Lake & Vale (PressPress. 2010). Poems have been published in magazines including Cordite, Heat, Meanjin, Overland, Extra and performed on radio and at festivals around the world. She lives in Dja Dja Wurrung Country in the Central Highlands of Victoria.
Good copy with rusted paper-clip, rubbing to frot cover, wear to extremities.
2000, English
Softcover (staple bound), unpaginated, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Polartis / Victoria
$30.00 - In stock -
Rare Visual Poetry / Mail Art zine issued in 2000 by Australian poet Pete Spence, featuring texual collage/poetry works spanning many french-fold photocopied pages by Warren Burt (Australia), Ben Vautier (France), Dave Baptise Chirot (USA), Cornelis Vleeskens (Australia), Javant Biarujia (Australia), Betty Danon (Italy), Hugo Pontes (Brazil), Neil M. Hennessy (Canada), Pete Spence (Australia), David Dellafiora (Australia), Hans Braumuller (Chile/Germany), Clemente Padin (Uruguay), Phillip Sipp (Australia), Tim Gaze (Australia), Cornelis Vleeskens (Holland/Australia), Karl Kempton (USA), J. Ricart (Spain), Lajos Kassak (Hungary), and others.
Based in Kyneton, Victoria, Pete Spence (b. 1946) has been internationally active in Mail Art, Visual Poetry, Experimental Film, and Lyric Verse throughout the 1980s—2000s, founding Post Neo Publications in 1984 to publish works by Luc Fierens, Hannah Weiner, Berni Janssen, Alex Selenitsch, and others. His own first book, FIVE Poems, was published in 1986 by Nosukomo. For over four decades he has been quietly pursuing his own direction in this multiplicity of art forms but in particular in his witty, idiosyncratic, entertaining poetry.
Good—VG copy, rusting to staples.
1981, English
Softcover (staple bound w. brochure), 64 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Creative Space / Chippendale
$45.00 - In stock -
Including the Video Plus Group and the 'Sydney Artists Video and Sound Tape, 1979—1980' performances (Laughing Hands, David Chesworth, → ↑ → (Tsk Tsk Tsk), Warren Burt, Chris Wyatt, Eva Karczag, Robert Randall, and Frank Bendinelli) this rare catalogue published on the occasion of the Studio Access Project, an expansive Sydney-wide event during the 1981 Festival of Sydney and a solution to the desperate situation in the arts competing with industry, commerce and residential expansion in the inner city. "If the city is to remain a lively centre for the arts, room must be found for the artist to work." The first show of its kind in Australia, the project, organised by the volunteer-run Creative Space and Art Network attacked the problem by surveying the needs of artists in Sydney, revealing no less than 400 artists from a multitude of disciplines in urgent need of space, then identifying and investigating unused spaces for studios and presentations. "The redevelopment process is continuous and it leaves many buildings empty for long periods of time. In England and America artists have been found to be the perfect in between tenants for these type of properties."
"The Studio Access Project which this catalogue documents, was initiated to introduce the public to some of the artists in Sydney who are working in studios. It is hoped that in this way some idea of the process and not just the product can be communicated resulting in a greater understanding of artist space needs as well as providing the artists themselves with an exhibiting opportunity."
Sadly nothing has changed. If anything it's exceptionally worse, but this document is an important insight into the battle of Australian cultural initiatives to push back against the rampant redevelopment squeeze in this country and reclaim property waste.
With a map of the city and schedules of concerts and exhibitions, the book profiles all of the artists and utilising the many disparate buildings (shop fronts, garages, basements, warehouses...) profusely illustrated with their artworks, graphics, and biographies.
Includes Creative Space brochure inserted.
Very Good with some creasing to top of inserted brochure.
2017, English
Softcover, 174 pages, 24 x 17 cm
Published by
Griffith University / Brisbane
$30.00 - Out of stock
Catalogue for Red Green Blue: A History of Australian Video Art, a major three part exhibition at the Griffith University Art Museum, 2017, mapping a thematic history of video art in Australia from the 1970s until the present. The exhibition brought together more than 60 works, highlighting the many possibilities offered by the medium, in terms of form, content and interaction with other disciplines. Artworks drawn from archives, artist holdings and the Griffith University Art Collection shows a historical journey that is also a celebration of the ongoing dynamism and depth of Australian video art practice. Features texts by curator Matthew Perkins, as well as Angela Goddard, Bree Richards, Daniel Palmer; interviews with artists Peter Kennedy, Bonita Ely, Soda_Jerk, Lyndal Jones, David Rosetzky, Michael Glasheen, Michaela Gleave. Also features the work of Destiny Deacon and Virginia Fraser, VNS Matrix, Susan Norrie, Hannah Brontë, James Lynch, Masato Takasaka, Warren Burt, Tracey Moffatt, Jill Orr, Dale Frank, Mike Parr, and many more.
1990, English
Softcover (staple-bound), 88 pages, 23.5 x 33.5 cm
1st Edition, Out of print title / used / good
Published by
Tension / South Yarra
$30.00 - Out of stock
TENSION 19 (SPECIAL EDITION : FROM LEANTIME TO DREAMTIME - A CHRONICLE OF AUSTRALIAN ART 1980-1989) packs a concise year-by-year look-back at the exhibitions, artists, galleries, concerts, performances, publications, clubs, politics, influences that shaped Australian Art in the 1980s, compiled "in one week". Features contributions from writers Catherine Lumby, Charles Green, Chris McAuliffe, and Francis Pound (looking at NZ Art) and features the work of far too many artists to mention.
TENSION (1983-1990) was one of the central "popular" culture arts periodicals to come out of Melbourne in the 1980s, emerging from the ashes of Virgin Press. Independently published and edited by critic Ashley Crawford, Tension magazine lasted for 25 bi-monthly issues dedicated to Art, Music, Fashion, Theatre, Film, Photography, across reviews, interviews, reports, critical essays and artist pages. Now an important document of culture in Australia, and especially Melbourne in the 1980s, issues featured the writing and contributions of Paul Taylor, McKenzie Wark, Mike Parr, John Nixon, Catharine Lumby, Philip Brophy, Adrian Martin, Ashley Crawford, Peter Tyndall, Jean Baudrillard, Timothy Leary, Gerard Malanga, Keith Haring, Gerald Murnane, and many more. In 1985 Crawford, with John Buckley, staged an exhibition issue of the magazine, 'Visual Tension', at ACCA featuring the work of Howard Arkley, Marianne Baillieu, Peter Booth, Paul Boston, Peter Cripps, Richard Dunn, Maria Kozic, John Lethbridge, Geoff Lowe, Linda Marrinon, John Matthews, John Nixon, Stieg Persson, Robert Rooney, Gareth Sansom, Vivienne Shark LeWitt, Imants Tillers, Peter Tyndall, Jenny Watson, John Young.