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 PM
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
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Fiction / Poetry
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Curatorial
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Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
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Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
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Counterculture
Protest / Revolt
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Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
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.
2019, English / Italian
Softcover, 216 pages, 17 x 24 cm
Published by
Danilo Montanari Editore / Ravenna
$60.00 - In stock -
Luigi Bonotto dedicated himself to keeping the work of the artists of Fluxus and Experimental Poetry alive, and to preserving, cataloguing, and promoting their poetry, music, and work, which was strongly influenced by John Cage and the key concept of his theoretical framework, indeterminacy. Published on the occasion of an exhibition curated by Patrizio Peterlini and Walter Rovere, with the collaboration of Giorgio Maffei, this catalogue delves deeply into this aspect of the Fluxus network. Rife with illustrations, the materials of the collection, as well as the movement and its history, are analysed in scholarly essays by Anna Cestelli Guidi, Alison Knowles, and the curators.
features the work of Henning Christiansen, Wolf Vostell, Eric Andersen, George Brecht, Sylvano Bussotti, John Cage, Giuseppe Chiari, Philip Corner, Esther Ferrer, Juan Hidalgo, Dick Higgins, Robert Filliou, Toshi Ichiyanagi, Joe Jones, Milan Knizak, Takehisa Kosugi, Shigeko Kubota, György Ligeti, George Maciunas, Jackson Mac Low, Walter Marchetti, Charlotte Moorman, Claes Oldenburg, Yoko Ono, Nam June Paik, Ben Patterson, Terry Riley, Mieko Shiomi, Takako Saito, Gianni-Emilio Simonetti, Ben Vautier, Yoshimasa Wada, La Monte Young and others.
Reprint edition.
1977, English
Softcover (staple-bound), 47 pages, 27.7 x 20.5 cm
1st Edition, Out of print title / used / average
Published by
Art Metropole / Toronto
$180.00 - In stock -
Exceptionally rare, excellent reference work on artists' publications issued in 1977 by Art Metropole in Toronto, the first large-scale distributor of artists' books and publications in North America. This valuable catalogue, featuring "European titles, publications, periodicals, records, special editions, videos and films", offers works by European and American artists such as Beuys, Rainer, Polke, Art & Language, Hans Haacke, Terry Riley, Lamonte Young, Marian Zazeela, Douglas Huebler, Broodthaers, Kaprow, Piper, Buren, Reich, Cage, Snow, Darboven, Matta-Clark, Dibbets, Brion Gysin, Simone Forti, General Idea, Claes Oldenburg, Jimmy De Sana, Vito Acconci, Gilbert & George, Robert Filliou, Sol Lewitt, Ehrenberg, Filliou, Fulton, Graham, Rebecca Horn, Mel Bochner, William Burroughs, Ugo La Pietra, Urs Luthi, Hansjörg Mayer, Merz, Robert Cumming, Willats, Al Hansen, Richard Long, Philip Glass, George Brecht, Image Bank, Robert Barry, Nannucci, Donald Judd, Maria Reiche, Dennis Oppenheim, Dieter Rot, Kurt Schwitters, Giorgio Ciam, Daniel Spoerri, Ed Ruscha, Ray Johnson, Philip Corner, Bob Cobbing, Lawrence Weiner, Klaus Rinke, Les Levine, Lea Vergine, Baldessari, Ant Farm, Emmett Williams, Robert Wilson, UFO Group, Vostell, etc. with each item concisely described, and for the books, essential bibliographical information is provided. Publications from Art Metropole, periodicals, records, and videos are also listed for sale, with prices. Cover artwork features Viennese actionist Rudolf Schwarzkogler's Portfolio of the 3rd Action, which is among the selections of European artists' books. Selected b/w illustrations throughout of items listed, and full-page ads for Art Metropole's "FETISH" t-shirt and General Idea's FILE magazine.
Issued privately as a mail-out catalogue, this copy includes the AM ink stamp and Canadian postage stamp on the verso, posted in 1977 to American conceptualist photographer Les Krim, in Buffalo, New York.
Average—Good copy, some chipping to extremities, small closed tear to top-left corner of cover, generally tanned/aged newsprint.
1972, English / Dutch
3 books, softcover, approx 360 photo cards, 13.5 x 17 cm
Ed of 700 copies,
1st Edition, Out of print title / used / very good
Published by
Sonsbeek / Arnhem
$280.00 - Out of stock
Very scarce, incredible Sonsbeek '72 complete 3 volume catalogue set, published in a limited edition of 700 copies by Sonsbeek, Arnhem, 1972. The tripartite catalogue arose from the notes and photos made of an important group exhibition where artists submitted installation or performance pieces, executed during the period November '71 - June '72. Each volume forms an alphabetical index of artist photographic cards (#1 A-H, #2 I-R, #3 S-Z), totalling approx. 360, each with the data of their artwork on the front and photographic documentation on the verso. Very beautifully executed.
Participating artists include Vito Acconci, Bas Jan Ader, Carl Andre, Richard Artschwager, Joseph Beuys, Marinus Boezem, Daniel Buren, Walter de Maria, Jan Dibbets, Ad Dekkers, Ger van Elk, Hans Eykelboom, Barry Flanagan, Hollis Frampton, Dan Graham, Douglas Huebler, Donald Judd, On Kawara, Sol LeWitt, Richard Long, Dennis Oppenheim, Nam June Paik, Panamarenko, Edward Ruscha, Wim T. Schippers, Lawrence Weiner, Tenjo Sajiki, Michael Snow, Kenneth Snelson, Eric Siegel, Paul Sharits, Wim Crouwel, Yokoyama, Claes Oldenburg, Bruce Nauman, Robert Morris, Jack Moore, Yutaka Mutsuzawa, Peter Kubelka, Hans Koetsier, Ken Jacobs, Walter de Maria, Dan Graham, Hanne Darboven, Marinus Boezem.
Very Good copies each, with light wear, spine tanning/creasing, otherwise tight and well preserved.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$280.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
1975, English
Softcover (staple-bound), unpaginated, 21.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Queen Street Magazine / Toronto
$30.00 - In stock -
Queen Street Magazine Vol. 3 No. 1, Issue 7, 8, 9, a 'Multi-media Journal of the Arts' from Canada that covered the experimental and conceptual arts in Toronto's historic Queen Street West neighborhood, which grew into a vibrant arts district in the 1970s. Edited by Angelo Sgabellone, associate edited by Beth Learn, this issue of particular interest for Learn's Language & Structure in North America on Language Art to accompany the first, large, definitive survey of North American Language Art curated by Richard Kostelanetz in Toronto in 1975. This issue gathers many works by North American Language Artists including Bill Bissett, Jackson Mac Low, Robert Barry, Brion Gysin, Mario Diacono, Agnes Denes, Thomas Ockerse, Steve McCaffery, Claes Oldenburg, Ernest & Marion Robson, Garry Gilbert, Larry Miller, Richard Kostelanetz, Hans Jewinski, Joe Rosenblatt, Gerry Shikatani, and more. Plus Mary Janitch, Read '75: Language & Structure in North America, Chuck Stake Enterprizes and the Junk Mail Art Show, The State of Magazine Distribution In Canada, Reinhard Reitzenstein, Learn/Yeats Second Coming Band, Small Magazine Press Scene, and much more.
Good copy with wear.
1972, German / English / French
Vinyl ring-binder (screen printed w. design by E. Ruscha), 650 pages +, 32 x 27 cm
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$500.00 - Out of stock
Scarce copy of the only edition of the most elaborately designed, and lowest circulated Documenta catalogue, conceived by curator Harald Szeemann to accompany the fifth edition of Documenta, a quinquennial contemporary art exhibition held in Kassel, Germany.
Subtitled "100 Days of Inquiry into Reality -- Today's Imagery," curated by the team of Harald Szeemann, Jean-Christophe Ammann and Arnold Bode, Documenta 5 followed a lineage of comprehensive shows documenting conceptually and minimally charged artworks curated by Szeemann including Live in Your Head (Kunsthalle Bern, 1969), and Happenings and Fluxus (Kunstverein, Köln), 1970. The largest, most expensive and most diverse of any exhibition anywhere, Documenta 5 was criticized in 1972 as being “bizarre…vulgar…sadistic” by art critic and essayist Hilton Kramer and “monstrous… overtly deranged” by art historian and art critic Barbara Rose, yet it still resonates today as one of the most important exhibitions in history. Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials, architecture, science fiction, kitsch objects, film, advertising, children's art, etc. in addition to the more anticipated international survey of new painting and sculpture - Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society. This massive tome is housed in the iconic orange vinyl-covered, two-ring binder screen printed with the famous ant design by Edward Ruscha. The binder holds a tabbed index of illustrated artist's pages and associated texts and material, largely in German, but also many in English. All registers are present apart from the usual missing 19-25 which were not directly integrated into the catalogue and had to be ordered by the visitor separately to become their own contribution. This very complete copy also includes the additional 80 page, hole-punched Documenta 5 guide book, with floor plans, complete listing of exhibited artworks, list of exhibitions, bibliography, and many gallery, museum and other related advertisements. More than a catalogue, this publication is a piece of art history in itself.
Includes artists: Vito Acconci, Vincenzo Agnetti, Peter Alexander, John de Andrea, Giovanni Anselmo, Arbeitszeit, Archigram, Chuck Arnoldi, Art & Language, Richard Artschwager, Michael Ashkin, John Baldessari, Robert Barry, Georg Baselitz, Lothar Baumgarten, Robert Bechtle, Gottfried Bechtold, Bernd & Hilla Becher, Joseph Beuys, Karl Oskar Blase, Mel Bochner, Alighiero Boetti, Christian Boltanski, Claudio Bravo, George Brecht, K.P. Brehmer, Marcel Broodthaers, Stanley Brouwn, Günter Brus, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Pier Paolo Calzolari, Luciano Castelli, Christo and Jeanne-Claude, Chuck Close, Tony Conrad, Ron Cooper, Bill Copley, Joseph Cornell, Robert Cottingham, Paul Cotton, Hanne Darboven, Walter De Maria, David Deutsch, Jan Dibbets, Herbert Distel, Gino de Dominicis, Marcel Duchamp, John Dugger, Don Eddy, Franz Eggenschwiler, Ger van Elk, Richard Estes, Luciano Fabro, John C. Fernie, Robert Filliou, Jud Fine, Joel Fisher, Terry Fox, Howard Fried, Hamish Fulton, Franz Gertsch, Gilbert & George, Ralph Goings, Hubert Gojowczyk, Dan Graham, Walter Grasskamp, Nancy Graves, Hans Haacke, Duane Hanson, Guy Harloff, Michael Harvey, Haus-Rucker-Co, Auguste Herbin, Eva Hesse, Rebecca Horn, Jean Olivier Hucleux, Douglas Huebler, Jörg Immendorff, Will Insley, Rolf Iseli, Ken Jacobs, Neil Jenney, Alfred Jensen, Jasper Johns, Joan Jonas, Max G. Kaminski, Howard Kanovitz, Edward Kienholz, Imi Knoebel, Christof Kohlhofer, Jannis Kounellis, Tom Kovachevich, Piotr Kowalski, David Lamelas, Barry Le Va, Jean LeGac, Alfred Leslie, Sol LeWitt, Richard Long, Ingeborg Luscher, Inge Mahn, Robert Mangold, Brice Marden, Agnes Martin, Etienne Martin, Richard McLean, David Medalla, Fernando Melani, Jim Melchert, Mario Merz, Gustav Metzger, Bernd Minnich, Malcolm Morley, Ed Moses, Bruce Nauman, Hermann Nitsch, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Blinky Palermo, Panamarenko, Giulio Paolini, A.R. Penck, Giuseppe Penone, Vettor Pisani, Sigmar Polke, Stephen Posen, Markus Raetz, Arnulf Rainer, Gerhard Richter, Klaus Rinke, Dorothea Rockburne, Peter Roehr, Allen Ruppersberg, Edward Ruscha, Reiner Ruthenbeck, Ulrich Ruckriem, Robert Ryman, John Salt, Salvo, Lucas Samaras, Paul Sarkisian, Jean-Frederic Schnyder, Ben Schonzeit, Werner Schroeter, HA Schult, Rudolf Schwarzkogler, Fritz Schwegler, Richard Serra, Paul Sharits, Allan Shields, Katharina Sieverding, Robert Smithson, Michael Snow, Keith Sonnier, Klaus Staeck, Paul Staiger, Jorge Stever, Robert Strubin, Paul Thek, Wayne Thiebaud, Andre Thomkins, David Tremlett, Richard Tuttle, Ben Vautier, W + B Hein, Franz Erhard Walther, Robert Watts, William Wegman, Lawrence Weiner, John Wesley, H.C. Westermann, William Wiley, Rolf Winnewisser, Tom Wudl, Klaus Wyborny, La Monte Young, Peter Young, Gilberto Zorio.
Catalogue also includes Bob Projansky and Seth Siegelaub's "The Artist's Reserved Rights Transfer and Sale Agreement." This "Agreement form has been drafted by Bob Projansky, a New York lawyer, after my [Siegelaub] extensive discussions and correspondence with over 500 artists, dealers, lawyers, collectors, museum people, critics and other concerned people involved in the day-to-day workings of the international art world. The Agreement has been designed to remedy some generally acknowledged inequities in the art world, particularly artists' lack of control over the use of their work and participation in its economics after they no longer own it. The Agreement for has been written with special awareness of the current ordinary practices and economic realitites of the art world, particularly its private, cash and informal nature, with careful regard for the interests and motives of all concerned. It is expected to be the standard form for the transfer and sale of all contemporary art, and has been made as fair, simple and useful as possible. It can be used either as presented here or slightly altered to fit your specific situation. If the following information does not answer all your questions consult your attorney." -- from Agreement's cover. Copies of the contract are individually included in English, Germany, and French editions.
Very Good, complete (as issued) copy. Very minor wear.
1974, English
Softcover, 216 pages, 21 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$30.00 - Out of stock
Environments and Happenings by painter and poet Adrian Henri, published by Thames & Hudson in 1974, forms one of the first mainstream book surveys to trace the phenomenon of environmental/performative/total living artworks that became prevalent in the 1960s/70s. This historical study is profusely illustrated in colour and b/w with many international works from Fluxus to Zero to Dolle Mina to Nouveau Réalisme to Provo to Gutai to The Situationists and much more. Includes the works of Joseph Beuys, Clarence Schmidt, Ray Johnson, Öyvind Fahlström, Paul Thek, Yves Klein, Allan Kaprow, Hans Haacke, Kurt Schwitters, Marcel Duchamp, Guerllia Art Action Group, Daniel Spoerri, Wolf Vostell, Gustav Metzger, Peter Kuttner, Jackson Pollock, Alison Knowles, Dick Higgins, Robert Morris, Situationist International, Ferdinand Kriwet, Klaus Rinke, Duane Hanson, A-Yo, Meret Oppenheim, Space Structure Workshop, Ferdinand Cheval, Dolle Mina (Mad Mina), Robert Smithson, Jeff Nuttall, Stefan Wewerka, Christo, Dennis Oppenheim, Vladimir Tatlin, Provo, Barry Flanagan, Andy Warhol, Meredith Monk, Atsuko Tanaka, Kazuo Shiraga, Ed Keinholz, Yayoi Kusama, Piero Gilardi, Niki de Saint-Phalle, Jean Tinguely, Claes Oldenburg, Les Levine, James Rosenquist, Red Grooms, Tom Wesselmann, George Segal, Eduardo Paolozzi, and many many more. Includes reproductions of performance scripts, partial chronology, etc.
Very Good copy, previous owner name to front endpaper.
1969 / 2006, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / fine
Published by
Kunsthalle Bern / Bern
$290.00 - Out of stock
One of the great art documents of the 20th century, "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. This is the impeccably re-produced facsimile edition of the exhibition catalogue published in conjunction with an exhibition honouring the legacy of Szeemann in 2006, published by the Kunsthalle Bern, the producers of the original. Strictly limited edition and immediately out-of-print, this most faithful reprint, with the unique die-cut alphabetically tabbed index bound with hardware-fittings, has become as collectible as the 1969 edition.
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
As New with only light creasing to the overhanging edges of the cover edges, otherwise a Fine copy.
1973 / 1997, English
Softcover, 280 pages, 173 x 213 cm
Out of print title / used / good
Published by
University of Chicago Press / Chicago
$70.00 - Out of stock
“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'”—Lucy R. Lippard, Six Years
In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period. Lippard provides a new preface to this 1997 reprint edition.
Includes: Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Joseph Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young
"Essential source book of documentation of the Conceptual Art, Land Art, Earth Art, Arte Povera, Minimal Art, Performance Art, Video Art movements. Documents the activities, day by day, month by month, year by year of artists including Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Josef Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young and others. "The unusual form of this provocative book intentionally reflects the chaotic network of ideas connected with so-called conceptual art or information art or idea art, in America and abroad, from 1966 to 1972. Arranged as a continuous bibliographical chronology, into which is woven a rich collection of original documents - including texts by, and taped discussions with and among, the artists involved - and annotations by Lucy R. Lippard, the book has the informal quality of a lively contemporary forum. Only a minimum of order is imposed; for the most part the reader is left to confront the curious compendium of information on his or her own, to follow changing ideas and artistic developments over the six-year period, to witness the gradual (and controversial) "dematerialization" of the art object." -- publisher's statement."
Good—Very Good copy with general light shelf wear and tanning to spine.
1971, Japanese
Softcover, 120 pages, 29.5 x 22 cm
1st Edition, Out of print title / used / good
Published by
Kajima Institute / Tokyo
$80.00 - In stock -
Scarce May 1971 issue of Japanese monthly journal of urban housing, Toshi-Jutaku, edited by Masahiro Yoshida. This issue with a cover feature on Haus-Rucker-Co, the Viennese group founded in 1967 by Laurids Ortner, Günther Zamp Kelp and Klaus Pinter, later joined by Manfred Ortner. Their work explored the performative potential of architecture through installations and happenings using pneumatic structures or prosthetic devices that altered perceptions of space. Such concerns fit with the utopian architectural experiments of the 1960s by groups such as Superstudio, Archizoom, Ant Farm and Coop Himmelblau. Alongside these groups, Haus-Rucker-Co were exploring on the one hand, the potential of architecture as a form of critique, and on the other the possibility of creating designs for technically mediated experimental environments and utopian cities. Includes a fold-out chronology of their projects. The other incredible feature being "Decoration, Urban Decoration & Do-It-Yourself", tracing histories of self-organisation and expression in the form of urban decoration, from William Morris, Art Nouveau and sub-cities to Drop City, road-side attractions, pop interiors and building facades, murals, the city as a dress-up doll, playgrounds, and a wonderful photographic diagram pull-out feature on Tokyo's Ameyoko Shopping Street. Also included articles on Osaka's Senri New Town living environment project, Palawan Hill people's tree houses, architect Atsushi Ueda, toilet design and much more. Published and printed in Japan, Toshi-Jutaku was an important, heavily researched resource of international architecture and urban planning, each issue rich with in-depth articles, technical studies, plans, elevations, profiles, interviews, and much more, spanning the most innovative historical and contemporary developments in the field. Japanese text, only occasional English.
Good copy, light age, wear.
1966, English
Hardcover (Burlap covered boards), 342 pages, 32 x 31cm
1st Edition, Out of print title / used / very good
Published by
Harry N. Abrams / New York
$400.00 - Out of stock
Rare first 1966 burlap-bound edition of this seminal work by Allan Kaprow documenting the milieu of performance art and happenings in the early-mid 1960s. Published by H. N. Abrams, Assemblage, Environments & Happenings is a legendary photo-artist-book by “one of the grand antiheroes of contemporary art”, produced in way we would never see today. Wrapped in a heavy, debossed and screen-printed raw burlap hardcover, this massive and visually stunning volume features incredible typography, commentary and lay-out by Kaprow himself, accompanying countless photogravures (photos taken by Oldenburg, Robert McElroy, Peter Moore and others) featuring the work of artists (and non-artists) such as Claes Oldenburg, Tetsumi Kudo, Jean Tinguely, Clarence Schmidt, Jean-Jacques Lebel, Wolf Vostell, George Brecht, Kenneth Dewey, Milan Knizak, Jackson Pollock, Robert Whitman, Red Grooms, George Segal, Yayoi Kusama, Jim Dine, Robert Rauschenberg, Allan Kaprow, together with images of works by the Japanese Gutai Group (Murakami Saburo, Shozo Shimamoto, Kazuo Shiraga, Atsuko Tanaka, et al) and many more.
Allan Kaprow, “an artist who coined the term ‘happenings’ in the late 1950s and whose anti-art works contributed to radical changes in the course of late 20th-century art,” was a leading member-with artists George Segal, Jim Dine and Claes Oldenberg-of a group whose performance works were signally influenced by John Cage’s “reliance on chance as an organizing, or disorganizing element in art. Like Cage, Kaprow used a combination of choice and accident as a way of creating nonverbal, quasi-theatrical situations in which performers functioned as kinetic objects, the role of the single artist-genius was de-emphasized, audience members became creative participants and no-clear distinction was made between everyday actions and ritual…” (New York Times).
"Step Right In"
Very Good copy, spotless with tight-As New binding, perfectly preserved.
2022, English
Softcover, 368 pages, 15 x 23.5 cm
Published by
Primary Information / New York
$66.00 - Out of stock
A Something Else Reader is a previously-unpublished anthology edited by Dick Higgins in 1972 to celebrate Something Else Press, the publishing house he founded in 1963 to showcase Fluxus and other experimental artistic and literary forms. The publication features selections from Claes Oldenburg’s Store Days, John Cage’s Notations, An Anthology of Concrete Poetry, Breakthrough Fictioneers, Jackson Mac Low’s Stanzas for Iris Lezak, Gertrude Stein’s Matisse Picasso and Gertrude Stein, Bern Porter’s I’ve Left, Wolf Vostell’s Dé-coll/age Happenings, Al Hansen’s A Primer of Happenings & Time/Space Art, and other projects for the page by Robert Filliou, Alison Knowles, Nam June Paik, Philip Corner, Daniel Spoerri, André Thomkins, and Richard Meltzer, among others. An annotated checklist assembled by Hugh Fox and Higgins’s unpublished introduction are also included.
Perhaps no other publisher in the 60s influenced artists’ books more than Something Else Press. Higgins had a firm vision that radical art could be housed in book form and distributed throughout the world and he worked endlessly to cultivate new works that challenged conventional notions of both contemporary art and books. While other presses created extraordinary publications, none were able to achieve the breadth of titles and artists like Higgins, who successfully ran Something Else Press until 1974 in a manner that resembled a more traditional paperback publisher. Oddly, Higgins hadn’t intended to publish A Something Else Reader himself. Instead, in 1972, he assembled the table of contents and an introduction into a proposal that he then pitched to Random House. They eventually rejected the title and encouraged Higgins to publish it, but before he could do that, Something Else Press went out of business, and the dreams of the anthology evaporated. From there, the proposal went into Higgins’s archive, where it was found by scholar and curator Alice Centamore, who compiled the works and assembled A Something Else Reader.
Eleanor Antin, George Brecht, Pol Bury, Augusto de Campos, Clark Coolidge, Philip Corner, William Brisbane Dick, Robert Filliou, Albert M. Fine, Ian Hamilton Finlay, Hugh Fox, Buckminster Fuller, Eugen Gomringer, Brion Gysin, Richard Hamilton, Al Hansen, Jan J. Herman, Dick Higgins, Åke Hodell, Ray Johnson, Allan Kaprow, Kitasono Katue, Bengt af Klintberg, Alison Knowles, Richard Kostelanetz, Ruth Krauss, Jackson Mac Low, Robert K. Macadam, Toby MacLennan, Hansjörg Mayer, Charles McIlvaine, Richard Meltzer, Manfred Mohr, Claes Oldenburg, Pauline Oliveros, Nam June Paik, Benjamin Patterson, Charles Platt, Bern Porter, Dieter Roth, Aram Saroyan, Tomas Schmit, Carolee Schneemann, Mary Ellen Solt, Daniel Spoerri, Gertrude Stein, André Thomkins, Wolf Vostell, and Emmett Williams are all included in A Something Else Reader.
Dick Higgins was an American artist, composer, theorist, poet, and publisher, as well as a co-founder of Fluxus. After attending Yale and Columbia Universities and receiving a BA in English, he graduated from the Manhattan School of Printing. He studied music composition with Henry Cowell, attended John Cage’s course in experimental music at The New School, and participated in the inaugural Fluxus activities in Europe from Fall 1962 to Summer 1963. He founded Something Else Press in 1963 and in 1972, he founded Unpublished Editions (later renamed Published Editions). Over the course of his life, Higgins wrote and edited forty-seven books.
2022, English
Softcover, 344 pages, 26.8 x 35.5 cm
Published by
Skira / Milan
$110.00 $90.00 - In stock -
Charting the three momentous years in which New York became the global capital of art.
The radical cultural transformations that occurred in New York in the three years between January 1962 and December 1964 ramified across the world. In addition to a whole host of creative innovations across disciplines, the period also saw a shift in the center of artistic gravity from Europe to the United States and the rise of a new leadership in the arts—curators, gallerists and other impresarios.
Modeled on the scale and format of Life magazine (one of the most widely read publications of the era), this lavishly illustrated oversized paperback traces a detailed itinerary of artists and curators, experimental exhibitions and museums, as well as historical and political events that transformed society during this explosive moment. From the New Realists exhibition at Sidney Janis Gallery in 1962 to Robert Rauschenberg's unexpected win of the International Grand Prize in Painting at the 1964 Venice Biennale, every groundbreaking event from this incredible three-year period is documented.
Organized chronologically, the book is teeming with images of artworks and archival photographs, and artist interviews conducted by the late great curator Germano Celant.
Artists include: Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson and Andy Warhol.
Conceived by Germano Celant. Edited with text by Sam Sackeroff, Lerman-Neubauer Associate Curator at the Jewish Museum. Preface by Claudia Gould, Helen Goldsmith Menschel Director at the Jewish Museum. Introduction by Michael Rock. Interviews by Germano Celant with Christo and Jim Dine. Text by Claudia Gould, Michael Rock, Sam Sackeroff, Emily Bauman, Ninotchka D. Bennahum, Jennifer G. Buonocore-Nedrelow, Olivia Casa, Laura Conconi, J. English Cook, Maria Corti, Michaëla de Lacaze Mohrmann, Joshua B. Guild, Liz Hirsch, Hiroko Ikegami, Susan Murray, Kristina Parsons, Benjamin Serby, Jennifer Sichel, Robert Slifkin.
1969, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Bern / Bern
$600.00 - Out of stock
One of the great art documents of the 20th century, the original printing of the legendary catalogue for "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. Very rare original 1969 edition!
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
Light wear and marking to folder covers, internal rubbing from metal plate, previous owners name and "69" to top of inside cover, otherwise very good copy throughout, complete.
1969, English / German
Flexible plastic covers, screw-bound in acrylic spine, multiple stocks throughout, approx 500 pages, 28 x 15 cm
3rd enlarged edition,
Out of print title / used / very good
Published by
Ludwig Museum / Cologne
$300.00 - Out of stock
The extraordinary, definitive 1960s art exhibition catalogue, in it's 3rd expanded and corrected edition, designed by Wolf Vostell for the Ludwig collection in Cologne in 1969. A work of art itself, "Kunst der sechziger Jahre" perfectly embodies the materiality of the pop-era in book form. Housed in thick blind-stamped clear soft plastic covers bound in a hard acrylic plexiglass spine with stainless steel screws, this remarkable book opens with an introductory text and lexicon in German and English, printed on styrofoam pages and graph stock, with contributions by Gert von der Osten, Peter Ludwig, Horst Keller, and Evelyn Weiss. Featuring 92 artists, all part of the private collection of Peter Ludwig, each artist is presented with a portrait on transparent acetate followed by a selection of glossy offset-printed colour artworks tipped-in (often concertina fold-out!) on thick raw kraft paper pages. This enlarged 3rd edition features over 200 objects in total, a vast expansion on the first editions.
Featuring the greats of European-American Pop, Nouveau Réalisme, Fluxus, Art Informel, Abstraction, Minimalism and more, this mighty tome includes the work of Josef Albers, Carl Andre, Horst Antes, Shusaku Arakawa, Allan D'Arcangelo, Arman, Richard Artschwager, Jo Baer, Larry Bell, Miguel Berrocal, Joseph Beuys, Peter Blake, Gernot Bubenik, Anthony Caro, John Chamberlain, Dan Christensen, Alex Colville, Carlos Cruz-Diez, Ronald Davis, Jim Dine, Jean Dubuffet, Richard Estes, Oyvind Fahlstrom, Dan Flavin, Lucio Fontana, Domenico Gnoli, Bruno Goller, Robert Graham, Nancy Stevenson Graves, Gunter Haese, Richard Hamilton, Hans Hartung, Erwin Heerich, Eva Hesse, David Hockney, Robert Indiana, Jasper Johns, Allen Jones, Donald Judd, Howard Kantovitz, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Konrad Klapheck, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Linder, Morris Louis, Heinz Mack, Piero Manzoni, Marisol, Malcolm Morley, Robert Morris, Bruce Nauman, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzi, Pablo Picasso, Michelangelo Pistoletto, Robert Rauschenberg, Martial Raysse, Gerhard Richter, Jean-Paul Riopelle, James Rosenquist, Niki de Saint Phalle, Nicolas Schoffer, Bernhard Schultze, George Segal, Richard Serra, Keith Sonnier, Pierre Soulages, Daniel Spoerri, Lawrence Stafford, Lewis Stein, Frank Stella, Antoni Tapies, Paul Thek, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Cy Twombly, Gunther Uecker, Ursula (Schultze-Bluhm), Victor Vasarely, Wolf Vostell, Franz Erhard Walther, Andy Warhol, Tom Wesselmann, Wols (Wolfgang Schulze).
A Very Good copy of this fragile and collectible catalogue. The usual bowing to pages, some general ageing, with a split to the lower back of plastic spine where the screw hole is, yet all still intact, nothing missing. Complete copy.
2019, English
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
Ed. of 2500,
Published by
Primary Information / New York
$65.00 - Out of stock
Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
1970, Dutch
Hardcover, unpaginated, 27.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Nederlandse Stichting Openbaar Kunstbezit / Netherlands
$45.00 - Out of stock
Published in 1970 by Dutch art historian and critic Carel Blotkamp (b. 1945), Na de beeldenstorm: drie opstellen over recente beeldende kunst (3 essays on recent visual art) surveys developments in art at the height of one of the most innovative periods in art history, the 1960s. Blotkamp traces the influence of historical avant gardes (Mondrian, Kandinsky, Malevich, Duchamp...) into new abstraction, hard-edge, Color Field, Minimalism, Pop, Op Art, Nouveau Réalisme, Fluxus, Art Povera, Land Art, et al. Illustrated throughout in colour and black and white with fine examples of work by Barnett Newman, Josef Albers, Lucio Fontana, Robert Rauschenberg, Daan Van Golden, Richard Serra, Kenneth Nolan, Morris Louis, Jo Baer, Frank Stella, Bruce Nauman, Claes Oldenburg, Jim Dine, Walter de Maria, Yves Klein, Robert Morris, Bridget Riley, Jasper Johns, Lawrence Weiner, Jan Dibbets, Armando, Panamarenko, Joseph Beuys, Sol LeWitt, Ellsworth Kelly, Larry Poons, Barry Flanagan, JCJ Vanderheyden, Robert Indiana, Roy Lichtenstein, Martial Raysse, Richard Long, Wim T. Schippers, Marcel Duchamp, Michael Heizer, Ger van Elk, Mario Merz, Carl Andre, Pieter Engels, Andy Warhol, Edward Rushca, Jesús Rafael Soto, Peter Struycken, and many more...
Very Good copy without dust jacket (as issued), light tanning/wear to glossy, foiled boards.
2012, English
Hardcover, 304 pages, 216 x 254 mm
Published by
The MIT Press / Massachusetts
$79.00 - Out of stock
Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book.
“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized.’” — Lucy R. Lippard, Six Years
In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard’s celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book.
The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard’s own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices.
With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard’s curatorial experiment full circle.
Edited by Catherine Morris and Vincent Bonin
Published on the occasion of the exhibition The Six Years' Project: Lucy R. Lippard and the Emergence of Conceptual Art, September 14, 2012-February 3, 2013, organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center at the Brooklyn Museum, and the independent scholar Vincent Bonin.
2020, English
Hardcover (w. dust jacket), 296 pages, 19.1 x 26 cm
Published by
Princeton University Press / New York
National Gallery of Art / Washington
$69.00 - Out of stock
How artists created an aesthetic of "positive barbarism" in a world devastated by World War II, the Holocaust, and the atomic bomb.
In Brutal Aesthetics, leading art historian Hal Foster explores how postwar artists and writers searched for a new foundation of culture after the massive devastation of World War II, the Holocaust, and the atomic bomb. Inspired by the notion that modernist art can teach us how to survive a civilization become barbaric, Foster examines the various ways that key figures from the early 1940s to the early 1960s sought to develop a "brutal aesthetics" adequate to the destruction around them.
With a focus on the philosopher Georges Bataille, the painters Jean Dubuffet and Asger Jorn, and the sculptors Eduardo Paolozzi and Claes Oldenburg, Foster investigates a manifold move to strip art down, or to reveal it as already bare, in order to begin again. What does Bataille seek in the prehistoric cave paintings of Lascaux? How does Dubuffet imagine an art brut, an art unscathed by culture? Why does Jorn populate his paintings with "human animals"? What does Paolozzi see in his monstrous figures assembled from industrial debris? And why does Oldenburg remake everyday products from urban scrap?
A study of artistic practices made desperate by a world in crisis, Brutal Aesthetics is an intriguing account of a difficult era in twentieth-century culture, one that has important implications for our own.
Published in association with the National Gallery of Art, Washington, DC.
1973, German
Softcover, 138 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Wallraf-Richartz-Museum / Cologne
$40.00 - Out of stock
Lovely catalogue published by Wallraf-Richartz-Museum, Köln, in 1973 to document the museums extensive collection of international contemporary sculpture. Profusely illustrated in black and white with the works of Jean Arp, Paul Thek, Nancy Graves, John Chamberlain, Larry Bell, Carl Andre, Christo, Eva Hesse, Joachim Bandau, Jacques Lipchitz, Louise Nevelson, Joseph Cornell, Jean Dubuffet, Germaine Richier, Schöffer, Bernard Schultze, Carlos Cruz-Diez, Ursula (Schultze-Bluhm), John Tweed, Franz Erhard Walther, Hanns Gasser, Merdardo Rosso, Joseph Beuys, Günter Haese, Roy Lichtenstein, Richard Serra, Keith Sonnier, Jesús Rafael Soto, Richard Tuttle, Helmut Moos, Bruce Nauman, Ansgar Nierhoff, Jim Dine, Gary Indiana, Karl Zeno Rudolf Schadow, Julio Le Parc, Robert Rauschenberg, Man Ray, G. F. Ris, George Segal, Nicolas Schöffer, Anthony Caro, Eduardo Paolozzi, Jean Tinguely, Arnaldo Pomodoro, Arman, Claes Oldenburg, Marisol Escobar, Niki Saint-Phalle, Daniel Spoerri, Günther Uecker, Heinz Mack, Wolf Vostell, Miguel Ortiz Berrocal, Pol Bury, Erwin Heerich, Horst-Egon Kalinowski, Brigitte Meier-Denninghoff, Johann Gottfried Schadow, Honoré Daumier, Gasser, Adolf von Hildebrand, Max Klinger, Rosso, Aristide Maillol, Tweed, Julio González, Pablo Picasso, Henri Laurens, and many more... Texts in German.
Very Good copy.
2019, English
Softcover, 272 pages, 17 x 24 cm
Published by
Valiz / Amsterdam
$58.00 - Out of stock
Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not object-based, creates challenges in exhibiting or re-exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonization.
The aim of the book is not to offer clear-cut practical solutions, but to raise awareness of the issue and the different ways of dealing with it within the traditional curatorial field. It is relevant for students of art and culture (particularly in museum and curatorial studies), art and museum professionals, and everyone interested in the art of the 1960s and 1970s.
Nathalie Zonnenberg is an art historian and curator. She holds a PhD in Art History from Vrije Universiteit, Amsterdam (NL). Zonnenberg regularly writes on contemporary art, and she lectures at the post-graduate Curatorial Studies programme at KASK/the Royal Academy of Fine Arts in Ghent (BE).
2015, English
Hardcover, 200 pages, 13 x 20 cm
Published by
Primary Information / New York
$52.00 - Out of stock
Primary Information reprint of the seminal book, Fantastic Architecture, first published in 1969 by Droste Verlag in German (with the title Pop Architektur) and later in 1970 by Something Else Press as Fantastic Architecture. Edited by Dick Higgins and Wolf Vostell, this artist’s book/anthology explores the boundaries between pop art and architecture through writings and projects by key artists and thinkers of the 1960s and earlier—from John Cage and Buckminster Fuller to Kurt Schwitters and Joseph Beuys. It will retain the book’s unique design, specifically its Mylar inserts, which add unique depth and elaborate the publication’s content.
Contributors to this publication are Ay-O, Joseph Beuys, Erich Buchholz, Pol Bury, John Cage, Philip Corner, Jan Dibbets, Robert Filliou, Buckminster Fuller, Geoffrey Hendricks, Richard Hamilton, Raoul Hausmann, Michael Heizer, Jan Jacob Herman, Bici Hendricks, Dick Higgins, K.H. Hoedicke, Hans Hollein, Douglas Huebler, Milan Knizak, Alison Knowles, Addi Koepcke, Franz Mon, Claes Oldenburg, Dennis Oppenheim, GerhardRühm, Diter Rot, Carolee Schneemann, Kurt Schwitters, Daniel Spoerri, Frances Starr, Jean Tinguely, Ben Vautier, Wolf Vostell, Lawrence Weiner, Stefan Wewerka.
2010, English
Softcover, 110 pages, 27 x 21.5 cm
Out of print title / used / fine
Published by
Baden-Baden Kunsthalle / Germany
$65.00 - Out of stock
For more than 70 years Janette Laverriére has designed furniture and mirrored objects, which have managed to attain museal status in France. The starting point for this now out-of-print book is the wardrobe she designed for an actress in 1947, an early example of her exploration of the possibilities of and tension between the functional object and the independent artwork.
In works and installation photos, "Entre Deux Actes Loge De Comédienne" documents the works of artists who have intensively participated in the fundamental discourse on the terms art and design, applied art and use in exemplary room installations. Alongside Laverriére's historical and radical installations are contributions from Tobias Rehberger, Richard Artschwager, Nairy Baghramian, Marc Camille Chaimowicz, Cosima von Bonin, Fischli and Weiss, Claes Oldenburg, Meuser, Martin Kippenberger, Carlo Mollino, and Franz West. All works illustrated in detail throughout.
The catalog is scientifically devoted to one of the most exciting phenomena in art / architecture / design of the 20th century in image and text (English and German).
1971, English
Softcover, 210 pages, 23 x 25 cm
1st UK Edition, Out of print title / used / good
Published by
Mathews Miller Dunbar / London
$70.00 - Out of stock
First English edition from 1971, Udo Kultermann's "Art-Events and Happenings", published by Mathews Miller Dunbar of London, translated by John William Gabriel. A deep reflection on an important part of Art's development throughout the 1960s - the turn to action through performance and conceptual art - surveying happenings, protests, theatre, ritual, land art and much more, and featuring a vast collection of black and white photographic illustrations of the work of Allan Kaprow, Ann Halprin, Yvonne Rainer, Merce Cunningham, Otto Mühl, Oyvind Fahlstrom, Piero Gilardi, Charlotte Moorman, Franz Erhard Walther, Joseph Beuys, Tetsumi Kudo, Lygia Clark, Carolee Schneemann, Stan Brakhage, John Cage, Hermann Nitsch, Günther Brus, Dennis Oppenheim, Jean-Jacques Lebel, Andy Warhol, Jan Dibbets, Carl Andre, Barry La Va, Rafael Ferrer, Marinus Boezum, Nam June Paik, Wolf Vostell, Milan Knizak, Jackson Pollock, Saburo Murakami, Atsuko Tanaka, Claes Oldenburg, Piero Manzoni, Peter Hutchinson, Christo, Robert Morris, and many more.
Very good copy (some tanning, previous owners name to first page)