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:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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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.
2022, English
480 pages, 480 pages, 25.4 x 17.7 cm
Published by
Feral House / Los Angeles
$60.00 - Out of stock
Expand your aural and sensory experiences with Extreme Music. An exploration of tomorrow’s sounds (and silences) today.
Michael Tau had spent years obsessed by the extremes of musical expression. Extreme Music: Silence to Noise and Everything In Between is the culmination of decades of research into the sounds (and silences) that comprise the outer limits and conceptual expressions that stretch the definition of music.
Tau defines and categorizes these recorded sounds into sections that allow fans and newcomers to explore the fascinating world of musicians who defy convention. He explores a wide range of extremes including volume, speed, and vulgarity to packaging, recording methods, unplayable media, outdated technologies, and digital pioneers. He asks and answers the questions: Are all sounds music? Is silence music? Is a plate of rotting food once cataloged, packaged and sold by a distributor qualify as music?
Extreme Music includes over 100 interviews with makers and musicians as Tau uses his background in psychiatry to help readers understand what motivates people to create and listen to non-mainstream music. As a fan of multiple avant-garde musical genres, Tau uncovers the pleasures (and sometimes pain and frustration) found at the outré fringes of music.
Extreme Music is the ideal guide for curious seekers, die-hard fans, and cultural investigators. Features images and curated links to samples of music.
2022, English
Softcover, 240 pages, 13 x 17 cm
Published by
Masala Noir / Paris
$45.00 - Out of stock
A visual compilation of death metal vinyl, cassette and fanzine graphics from 1980 to 2010 compiled by Masala Noir.
Limited edition.
Cover illustration by Félix Ernoult
2012, English
Softcover, 96 pages, 21.8 x 28.7 cm
Published by
Walther König / Köln
$115.00 - Out of stock
Rare English edition of this 1992 monograph on American artist Mike Kelley.
Harald Falckenberg, one of the most important collectors of Mike Kelley's works, gives in his essay a detailed overview over the various periods in the development of this artist. In detail Falckenberg investigates the influences of the art-market on Kelley's production and the reasons for the suicide of the artist in January, 2012. Beside documentary photographs of important exhibitions of Mike Kelley between 1982 and 2011, and reproductions of seminal works from various periods the book offers numerous stills from the legendary videos by and/or with Mike Kelley, like Banana Man (1983), Heidi (1992) in collaboration with Paul McCarthy, EVOL (1984) by Tony Oursler, Sir Drone (1989) by Raymond Pettibon.
1980, French
Hardcover cloth-bound slipcase, 13 plates + text insert, 42.2 x 30.9 cm
Signed,
1st Edition, Out of print title / used / very good
Published by
Galerie Bijan Aalam / Paris
Editions Natiris / Paris
$550.00 - Out of stock
"An artist with a secret, terrible and painful gaze, Ruppert's work boldly plunges us into the darkest abysses of our souls, to the depths of our unconfessed sexuality, into these cursed areas that we refuse with a self-protective horror instilled by the taboos of society."
Extremely rare, signed and numbered cloth-bound portfolio by German artist Sibylle Ruppert (1942—2011), published in 1980 by Galerie Bijan Aalam / Editions Natiris, Paris, published in an edition of 1300. With a preface by Alain Robbe-Grillet, this magnificent portfolio illustrating Lautréamont's Les Chants de Maldoror (1868) presents 13 litho-printed loose-leaf plates in colour and monochrome, exquisitely reproducing Ruppert's artworks in striking large-format. The leading plate folds-out to a double-size spread. Accompanied by a selection of passages by Comte de Lautréamont (Isidore Lucien Ducasse) to whom this title is dedicated and from which these illustrations are inspired. Numbered and signed by the artist in the colophon. A complete copy of this major published work of this incredible artist.
"The opening pages of Georges Bataille’s 1928 novella, Story of the Eye, recount a violent three-way sex scene on the edge of a cliff. As the libidinal frenzy nears its peak, rain starts to fall, introducing mud and dirt into the already visceral cocktail of piss, cum, and other bodily fluids in free flow. If this literary vignette had a visual equivalent, it might well be the Sisyphean compositions of Sibylle Ruppert, in which hybrid limbs, flesh, machinery, and the natural elements all commingle and fuse into one another without beginning or end, obliterating any notion of bodily integrity. Bataille, the Marquis de Sade, and Comte de Lautréamont make up the unholy trinity who nourished Ruppert’s dark fantasies. The violent explosiveness of eroticism, desire, pain, destruction, and resurgence so dear to those authors is channeled in Ruppert's works"—Anya Harrison
Sibylle Ruppert (1942, Frankfurt—2011, Paris) created a radical oeuvre of paintings, drawings and collages throughout the 1960s—1980s in a brutal aesthetic of dark surrealism, mixing death and sexuality in a swirling dislocation, a frenetic tearing shared by aggregates of tangled bodies such as the morbid and obscene writings of Marquis de Sade, Comte de Lautréamont, both which she illustrated, or that of Georges Bataille. Ruppert was born during an air raid on September 8th, 1942, the first night of massive bombing of Frankfurt during World War II. At age of 10 she had a religious enlightenment and she insisted on becoming a nun. Discouraged by her parents, in 1959, at the age of 17, Sibylle was instead admitted to the Städelschule in Frankfurt to study art. Shortly after, she left for Paris, where she enrolled in a ballet school and became a successful dancer. During a visit to New York with her friend H.R. Giger, Ruppert decided to give up her dancing career, returned to Germany and became a full-time artist and to teach at her father's drawing school. In 1976 she moved back to Paris and exhibited her large format charcoal drawings, inspired by the writings of de Sade, Lautréamont and Georges Bataille, and her collages and paintings at the Gallery Bijan Aalam. French intellectuals and great minds like Alain Robbe-Grillet, Pierre Restany, Henri Michaux and Gert Schiff were fascinated by her work and tried to interpret her infernal world. When the gallery closed in 1982, she returned to teaching and she started giving art classes in prisons, mental hospitals and drug addiction rehabilitation centers. Sibylle Ruppert died in 2011, withdrawn from any social and public life.
"Here offered to the revulsed senses, the secret shames of anatomy: torn orifices, spilled entrails, secretions, losses. A sharp point, I said. Yes, the sticky and the sharp seem, now, to generate each other in a circle, the fine knife of torture to belong to the same monster as the ignominious flesh which is cut (unbunched), the sexes are invert, insidiously, and invaginate the murder weapon[...]"—A. Robbe-Grillet
Very Good copy with some light wear and tanning to spine of hardcase.
1992, English
Softcover, leporello fold-out double-sided card, 15.5 x 11.5 cm (15.5 x 34.5 cm unfolded)
1st Edition, Out of print title / used / fine
Published by
Feature Inc. / New York
$90.00 - Out of stock
Very rare show card/fold-out catalogue published on the occasion of the duel exhibition of drawings by Tom of Finland (1920—1991) and G.B. Jones (b. 1965) at Feature, New York, July 10 — August 9, 1991. Titled "Tom of Finland — Drawings and Sketches" and "G.B. Jones — Tom-Girl Drawings", the exhibition, in commemoration of Touko Valio Laaksonen (Tom of Finland) who passed away the same year, is previewed in this lovely little double-sided leporello fold-out catalogue, with three works from each artist, and cover work by Tom of Finland, along with work and exhibition information.
Touko Valio Laaksonen (8 May 1920 – 7 November 1991), best known by his pseudonym Tom of Finland, was a Finnish artist known for his stylized highly masculine homoerotic fetish art, and his influence on late twentieth century gay culture. He has been called the "most influential creator of gay pornographic images" by cultural historian Joseph W. Slade. Over the course of four decades, he produced some 3500 illustrations.
G.B. Jones (b. 1965) is a Canadian artist, filmmaker, and founding member of Canadian queer punk band Fifth Column (K Records/Outpunk/Kill Rock Stars/et al). She published legendary queercore fanzine J.D.s (Juvenile Delinquents) with fellow queer filmmaker Bruce LaBruce, which regularly featured her iconic Tom Girl drawings. According to novelist Dodie Bellamy, G.B. Jones' drawing "co-opts the male-on-male objectifying gaze of gay erotica and converts it to a female-on-female gaze." Depicting autonomous women through fantasies of bikers, punks and degenerates in the style of and situations similar to those drawn by Tom of Finland, her Tom Girls are "unapologetic, thrillingly anti-assimilationist."
Fine copy, beautifully preserved.
2022, English
Softcover, 20.2 x 25 cm
Published by
Galerie Neu / Berlin
$69.00 - Out of stock
Published on the occasion of Manfred Pernice’s exhibition accrochage, at Galerie Neu, Berlin 29 April—5 June, 2021, this new publication edited by Galerie Neu and designed by Manuel Raeder surveys Pernice’s practice across the past 15 years.
Since the early 1990s, Berlin-based artist Manfred Pernice has created sculptural vessels with scales, materials, and aesthetics derived from the worlds of architecture, shipping cargo, and mass packaging—these works serve as complex, open-ended meditations on the increased segmentation, containment, and, to use Pernice’s term, “canning” of objects and space. His seemingly slapdash sculptures are often juxtaposed with sketches, maquettes, photographs, text and, more recently, video to create systems of meaning.
1987, English
Softcover, 414 pages, 22.6 x 14.8 cm
1st Edition, Out of print title / used / good
Published by
Columbia University Press / New York
$35.00 - Out of stock
First edition from 1989 of Kristeva's Tales of Love, wherein her analysis deals with the role of narcissism and idealization in the formation of a love object. She accounts for the role of the death drive by coining the term "love/hate."
Assuming the voices of psychoanalyst, scholar, and postmodern polimicist, Kristeva discusses both the conflicts and commonalities among the Greek, Christian, Romantic and contemporary discourses on love, desire, and self... the analytical work is punctuated throughout by the personal, so that intelligently moving thoughts on motherhood aptly intervene. Kristeva makes a very strong case for the claim that the goal of analysis is not a truth in, but a dynamic rebirth of, the analysand via language.—Choice
From the Back Cover :
In 'Tales of Love' Julia Kristeva pursues her exploration of the basic emotions that affect the human psyche. The processes are similar to those followed in 'Powers of Horror'. She begins with a statement from personal experience and follows it with a critical examination of the psychoanalytic position with respect to the matter at hand.
Julia Kristeva (b. 1941) is a Bulgarian-French philosopher, literary critic, semiotician, psychoanalyst, feminist, and, most recently, novelist, who has lived in France since the mid-1960s. She has taught at Columbia University, and is now a professor emerita at Université Paris Cité.
Good copy, cover wear, marginalia in erasable light lead pencil.
Good copy, wear to cover edges, erasable light lead pencil marginalia.
1985, English
Hardcover (w. slipcase), unpaginated, 22 x 16 cm
Out of print title / used / very good
Published by
Parlor / Tokyo
$190.00 - Out of stock
1985 edition of Japanese illustrator Ken Katayama's masterpiece artbook, Beautiful Days, originally issued in this same hardcover, slipcased form in 1969 in a limited edition. Beautiful Days is the most crystallised embodiment of one of the most unique artistic visions of fantasy illustration one could ever find, and the first collection ever published by the artist, when, after discovering the erotic works on the fringe of Surrealism he gave up becoming a painter and gave himself over to the obscene impulses of drawing. "There, so to speak, masturbation became a picture. Until then, I never thought that masturbation could become a painting"—excerpt from Ken Katayama's 1985 postscript. Katayama's magnificently, obsessive graphite-rendered world-making is, like those of Lewis Carroll before him, made up almost entirely of children; children in states of blank-faced entrancement, possession and naked abandon; groping, lost and frozen in a psychosexual schoolhood theatre. Unlike anything else, aspects of Katayama's bewildering sadomasochistic fairytale visions recall the tales of de Sade, Balthus, Hans Bellmer, Carroll's Alice, the architectural dreamscapes of Delvaux or the Metaphysical painters and even fellow Japanese artist Yoshifumi Hayashi — a haunted landscape of eroticised adolescent memories with recurring motifs of free flowing urination and defecation, violently strewn newspapers, urinals, and apparitions of cat-people. Nothing like it! The work even inspired an experimental film of boyhood memories directed by the provocative film-maker Nakamura Masanobu in 1970.
"If you
keep your hands in your pockets
in your pocket
what are you hiding
that's how I got it
darkness in my pocket, days of dust
I opened the old album and showed
beautiful days other days"
Virtually unknown outside his native Japan, Katayama (b. 1940, Tokyo) studied at the Musahino Art University and in the 1960s and 1970s begin contributing illustrations to underground art and literary magazines such as Black Notebook, Featured Story and fetish magazines such as SM Select, amongst many others. He published art books such as Angel Hour, Lost Child's Top, Match Taker, The Cat in Boots, and many more, and went on to become a successful children's story book illustrator, publishing many works throughout the 1980s—90s.
Fine copy, beautifully preserved in Very Good slipcase.
1975, English
Hardcover (w. dust jacket), 168 pages, 24 x 25 cm
1st Edition, Out of print title / used / good
Published by
Overlook Press / New York
$180.00 - Out of stock
First edition of this rare and most comprehensive first English-language monograph on the work of Italian artist Domenico Gnoli, published by Overlook Press, New York, in 1975. Profusely illustrated throughout in colour and b/w with Gnoli's paintings, focusing on the period of his last and most mature work from 1954 to 1969. Luigi Carluccio's incisive text presents Gnoli's life and an evaluation of his work. Includes biography, exhibition history and catalogue of Gnoli's works.
Domenico Gnoli (1933–1970) is a unique and difficult figure to place. He died young, at 36, and lived fast, hanging with a glamorous crowd and marrying twice. He began as a stage designer in Rome, for which he was well received. He was also a successful illustrator, spending the better part of his life in New York City, illustrating for magazines such as Sports Illustrated, and Fortune, where he found favour with art director Leo Lionni in the 1960s. He was also a painter. His paintings exhibited internationally, characteristically zooming in on some crisp fragment of a domestic interior or sartorial flourish: a perfectly made bed, with a serenely patterned spread, or the top of a man’s head, hair meticulously parted. "Gnoli’s paintings are neither Pop nor Surrealist, though they have trace elements of both within them. Their realism is clear enough, and traditional, but the too-closeness of Gnoli’s gaze gives one the sense that abstraction is eating reality up from within."
Very Good copy with some light wear / ageing to plastic coating of dust jacket.
1972, Japanese
Softcover, 34 pages, 20 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Hanashi-no-Tokushu / Tokyo
$140.00 - In stock -
First edition of Japanese photographer Yoshihiro Tachiki's photo book "Erotica Larotica", published in 1972. This book is one of the early masterpieces of Tatsuki — a unique collaboration between the Austrian painter Dina Larot (b. Maria Elisabeth Lebzelten in 1942), a student of Kokoschka best-known for her paintings and drawings of "women" in Austria, and photographer Yoshihiro Tatsuki, best known for his photography of "women" in Japan. It consists of playful portraits and nudes of Lalo herself and her friends lavishly dressed and undressed photographed by Tachiki in Vienna, paired with SM-lesbian erotic drawings and paintings by Larot throughout, plus a few photographs from a Crazy Horse show in Paris in the mix.
Tatsuki was born into a family that operated an photographic portrait studio. While at Tokyo junior College of Photography, he exhibited photographs of his family at the Fuji Photo Salon. After graduation, he began working as a photographer at Ad Center under the art direction of graphic designer Seiichi Horiuchi. Tatsuki’s name entered the limelight when he was just 26 years old with the publication of "A Fallen Angel", an astonishing 56 pages feature of his photographs shots for Camera Mainichi. Since starting as a freelance photographer in 1969, he has worked on the front lines of the advertising, magazine, publishing, and motion picture industries. He has published a number of celebrated photo books on female subjects and is best-known for works such as GIRL, EVES, Private (Mariko Kaga), Aoi Toki, My America, and Portrait of Family.
Very Good copy with publisher's obi-strip and dust-jacket. Light cover wear and pinch to spine, one page with crease to top corner.
1991, English
Softcover, 148 pages, 11.4 x 17.8 cm
Published by
Semiotext(e) / Los Angeles
The MIT Press / Massachusetts
$35.00 - Out of stock
You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'...
Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer—which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be "not only youth-threatening but also dangerous to adults," and subsequently banned.
Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended—but then, there are worse things in life than being offended. Such as the things that Acker writes about...
2023, English
Softcover, 232 pages, 11.4 x 17.8 cm
Published by
Semiotext(e) / Los Angeles
The MIT Press / Massachusetts
$34.00 - Out of stock
On the internet's transformation from communication tool to computational infrastructure.
The internet is no more. If it still exists, it does so only as a residual technology, still effective in the present but less intelligible as such. After nearly two decades and a couple of financial crises, it has become the almost imperceptible background of today's Corporate Platform Complex (CPC)--a pervasive planetary technological infrastructure that meshes communication with computation.
In the essays collected in this book, written mostly between the mid-2000s and the late 2010s, Tiziana Terranova bears witness to this monstrous transformation. Mobilizing theories of cognitive capitalism, neo-monadology, and sympathetic cooperation, considering ideas such as the attention economy and its psychopathologies, and evoking the relation between algorithmic automation and the Common, she provides real-time takes on the mutations that have changed the technological, cultural, and economic ethos of the Internet. Mostly conceived, elaborated, and discussed in collective activist spaces, After the Internet is neither apocalyptic lamentation nor melancholic "rise and fall" story of betrayed great expectations. On the contrary, it looks within the folds of the recent past to unfold the potential futurities that the post-digital computational present still entails.
2022, English
Softcover, 208 pages, 20.3 x 12.7 cm
Published by
Sweat Drenched Press / US
$24.00 - Out of stock
Kenji Siratori's texts are time-machines accelerating the reader into futural enclaves where eternity is always behind us. Like the mad time of Quentin Meillassoux the future is always now, a dimension of epistemic creation rather than some vector of a passive equation. Do not confuse it with the old constructivist agendas, this is a time-machine situated neither in nor out of time but rather in the in-between. Welcome to Alice's grand adventure... the black mirror of reality was never so fun as it is now."—Steven Craig Hickman
"In Kenji Siratori’s Paracelsus, the text itself is a regenerating dead thing cutting into itself to release the chaos of the astral dimensions. It says, "i am a corpse i can start your decentralised thing organ death is dramatic schizophrenia as necromancy." this is the alchemical art in the skin of a demonic grimoire to infect you with the magical alphabet, turning you inside out - to glimpse the solar anus. A truly unique startling work."—Tom Bland, author of Camp Fear
Kenji Siratori is a Japanese avant-garde artist who has style that not only breaks with tradition, it severs all cords. His first novel Blood Electric (Creation Books) was acclaimed by David Bowie and Dennis Cooper. And he collaborated with David Toop and Andrew Liles as sound artist. His first art book Witzelsucht is embracing the image mayhem of the digital age, his relentless painting is nonsensical and extreme, avant-garde and confused, with precedence given to twisted imagery, pace and experimentation. With unparalleled stylistic terrorism, he unleashes his art attack. An unprovoked assault on the senses. Enter his dark dream-world, both whimsical and baleful.
2005, English
Softcover, 216 pages, 15.2 x 22.9 cm
Published by
Semiotext(e) / Los Angeles
$40.00 - Out of stock
Set in post-9/11 New York City, Reena Spaulings was written by a large collective of writers and artists that bills itself as The Bernadette Corporation. Like most contemporary fiction, Reena Spaulings is about a female twenty-something. Reena is discovered while working as a museum guard and becomes a rich international supermodel. Meanwhile, a bout of terrible weather seizes New York, leaving in its wake a strange form of civil disobedience that stirs its citizens to mount a musical song-and-dance riot called “Battle on Broadway.” Fashioned in the old Hollywood manner by a legion of professional and amateur writers striving to achieve the ultimate blockbuster, the musical ends up being about a nobody who could be anybody becoming a somebody for everybody. The result is generic and perfect—not unlike Reena Spaulings itself, whose many authors create a story in which New York itself strives to become the ultimate collective experiment in which the only thing shared is the lack of uniqueness.
The artist-collective Bernadette Corporation was founded in a night club in 1994. In the beginning the group organized spontaneous, purposeless events in public space. In 1995 they morphed into a fashion label, then a self-publishing company that from 1999 to 2001 published an art magazine called Made in USA. Bernadette Corporation has also produced films, including Hell Frozen Over (2000), and Get Rid of Yourself (2003), as well as exhibits at art galleries and museums throughout the world.
2023, English
Softcover, 140 pages, 19.76 x 12.46 cm
Published by
Polity / US
$29.00 - In stock -
Modern history is a history of aesthetizations – and every aesthetization raises a claim of protection. We aestheticize and want to protect almost everything, including Earth, oceans, the atmosphere, rare animal species and exotic plants. Humans are no exception. They also present themselves as objects of contemplation that deserve admiration and care. For some time, artists and intellectuals struggled for the sovereign right to present themselves to society in their own way – to become self-created works of art. Today everybody has not only a right but also an obligation to practice self-design. We are responsible for the way we present ourselves to others – and we cannot get rid of this aesthetic responsibility.
However, we are not able to produce our own bodies. Before we begin to practice self-design, we find ourselves already designed by the gaze of others. That is why the practice of self-design mostly takes a critical and confrontational turn. We want to bring others to see us in the way we want to be seen – not only during our earthly life but also after our death. This is a complicated struggle, and the aim of this book is to describe and analyze it.
“Boris Groys’s Becoming an Artwork is distinguished by its originality, intelligence, economy, and vividness. Anyone can understand his arguments, which is why he has become the key art theorist of our time.”
Matthew Jesse Jackson, The University of Chicago
1992, Japanese
Hardcover (w. dust jacket), 226 pages, 19.5 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Fusosha / Tokyo
$120.00 - Out of stock
Scarce, first edition of this wonderful 1991 Araki hardcover photo album, published in 1992. From cover to cover this book is entirely comprised of Araki's photographs taken (mostly) in the year 1991, "From the days of monochrome to the days of color." Filled with an abundance of Araki's favourite subjects - his cat Chiro, flowers, women, girls, nudes, still-lifes, Japanese city details, and important for the inclusion of the "winter trip", taken in January 1990, the last story with his late wife Yoko Araki. A lovely collection in his "photo-maniac" period, where Araki used the art name Shakyojin (or photo-maniac) in imitation of Gakyojin (obsessive, or maniac, artist), used by the ukiyo-e artist Katsushika Hokusai. In April 1992, a photo exhibition of Araki's "Photo Maniac's Diary" saw 8 positive films seized by the Metropolitan Police Department and the Public Prosecutor's Office for showing genitals. Araki was fined for obscenity.
Very Good copy with Very Good dust jacket.
1993, Japanese
Hardcover (w. dust jacket), 194 pages,14 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Fusosha / Tokyo
$120.00 - In stock -
Scarce, first edition of this wonderful 1992 Araki photo album. "For this photographic record, Araki uses the art name Shakyojin (or photo-maniac) in imitation of Gakyojin (obsessive, or maniac, artist), used by the ukiyo-e artist Katsushika Hokusai."- Kotaro Iizawa. From cover to cover this book is entirely comprised of Araki's photographs taken in the year 1992, presented chronologically and in rich colour. It begins and ends with portraits of Araki's beloved cat Chiro, and filled with an abundance of Araki's favourite subjects - women, nudes, flowers, still-lifes, Japanese city details and more Chiro. Filmmaker Jim Jarmusch even makes an appearance. A lovely collection.
Very Good copy in Good dust jacket. Few fox spots to blank end papers.
2022, English
Softcover, 144 pages, 20.3 x 12.7 cm
Published by
Apocalypse Party / Philadelphia
$30.00 - Out of stock
“It could actually be told in ten words. That is what makes it so awful.”—Maurice Blanchot, Death Sentence.
“All of this seems irrelevant next to that one sentence.”—Bret Easton Ellis, Less than Zero.
“Thanks for writing! Til Deth.”—Dave Mustaine, Megadeth.
NO LIFE ‘TIL LITERATURE
Paul Curran was born in England, grew up in Australia, and lives in Japan. As a teenager, he played drums in heavy metal and alternative bands before switching to guitar as a founding member of Gravel Samwidge. His previous book is Left Hand. Other recent writing has appeared on SELFFUCK and in the Infinity Land Press Anthology. He’s currently writing a book about the Setagaya Murders.
2020, English
Softcover, 382 pages, 20 x 12.5 cm
Published by
Apocalypse Party / Philadelphia
$38.00 - Out of stock
"Like smoke off a collision between Dennis Cooper’s George Miles Cycle and Beyond The Black Rainbow, absorbing the energy of mind control, reincarnation, parallel universes, altered states, school shootings, obsession, suicidal ideation, and so much else, B.R. Yeager’s multi-valent voicing of drugged up, occult youth reveals fresh tunnels into the gray space between the body and the spirit, the living and the dead, providing a well-aimed shot in the arm for the world of conceptual contemporary horror."
—Blake Butler, author of Three Hundred Million
“Ever wonder where teenage children go at night? Perhaps it’s best not knowing the answer. There’s something amiss in Kinsfield, a drab, boring city much like your own, except for the teenage suicide epidemic, stagnant, ineffectual parents, cultish behavior that borders on psychosis, and strings, strings everywhere. B.R. Yeager’s Negative Space is a hypnotic collage of message boards, memes, and ruined bodies twisting at the end of a rope. Most modern novels have lost all concept of magic. B.R. Yeager’s Negative Space is a stunning refutation of the quotidian.”
—James Nulick, author of Haunted Girlfriend & Valencia
2023, English
Softcover, 212 pages, 19.8 x 12.9 cm
Published by
Silver Press / London
$35.00 - Out of stock
This title brings together for the first time celebrated author Ursula K. Le Guin’s writings on feminism and gender. Witness to the twentieth century’s rebellions and upheavals, including women’s liberation, the civil rights movement and anti-war and environmental activism, Le Guin continued to fight for social and environmental justice throughout her life. The book shows the development of Le Guin’s expansive, multilayered and deeply radical feminist consciousness.
Famous for her experiments in imagining society where gender is irrelevant in novels such as The Left Hand of Darkness, Le Guin’s feminism kept ahead of the times to reimagine gender in a non-essentialising way. Her feminism developed from its roots in her ecological, anti-war and anti-nuclear activism, to her self-education about racism and her writing about ageing.
2018, English
Softcover (w. dust jacket), 72 pages, 12 x 19 cm
Published by
Sternberg Press / Berlin
$40.00 - Out of stock
Why has there been so much interest in “surplus value” in recent years? In “The Outside Can’t Go Outside”, artist Merlin Carpenter considers how this term has been inserted into contemporary art theory following the financial crisis of 2007/8. The book focuses on the idea that the value of art is located in unpaid mental, educational, and communicational labor that is gradually accrued and then exploited according to the logic of Marx’s central thesis on exploitation. This much-hyped view is rejected in favor of a more rigorous Marxist interpretation of the nature of surplus value, and its role in a systematic law of value.
Carpenter counterposes value to what exists outside of it—a dream, an imaginary, what he describes as a “trance” or the location of revolutionary thought and desires. The outside, however, is not proposed as a physical location, but as an outside inside the body that functions as a line of control within. Moreover, the author suggests that the new revolutionary subjects might be the new groups that form in order to push against control networks, in a reordering of class struggles.
Institut für Kunstkritik Series, edited by Isabelle Graw and Daniel Birnbaum
Design by Surface
2016, English / Dutch
Softcover (staple-bound with acetate cover), 40 pages, 23 x 30 cm
Ed. of 250,
Published by
Kunstverein / Amsterdam
$34.00 - Out of stock
Hans de Vries concentrated on the study and registration of processes and appearances that occur in and are created by nature. De Vries was a close observer, an onlooker, an eyewitness, whose aim was to discern and document the relationship between man and his natural environment. His practice has been referred to as “micro-emotive art”, a term coined by the Italian artist Piero Gilardi. ‘Hans de Vries Works 1968–1975’ is De Vries’s first exhibition since he stopped producing art at end of the 1970s. It is a retrospective of all the publications and book-related works including parallel articles and essays about his practice.
2022, English / Italian
Softcover, 416 pages, 22 x 32 cm
Published by
MACRO (Museum of Contemporary Art of Rome) / Rome
Mousse Publishing / Milan
Mousse
Archivio Cinzia Ruggeri / Milan
$115.00 $90.00 - In stock -
“Cinzia Ruggeri’s clothes refuse to be just clothes. They are better understood as genre-defying explorations of the human body.”—Financial Times
Finally! Long overdue — the first, comprehensive monographic overview of Cinzia Ruggeri's career to date.
Artist and fashion designer Cinzia Ruggeri (1942–2019) made her artistic research a tool for inquiry into the functional and semantic properties of the object and the architectural and social dimension of the body, according to an original and nonconformist perspective enriched by irony and oneirism.
Cinzia Says… is the first major survey of artist and fashion designer Cinzia Ruggeri (1942–2019), a unique figure of Italian postmodernism who moved freely across disciplines. From clothing and accessories to furniture and lighting—as well as sculptural installations often including these objects—Ruggeri created worlds that were continually imaginative, provocative, elegant and unpredictable. Ruggeri founded her own fashion line in 1977 and immediately became known for her use of architecture and geometry, such as the ziggurat and representations of the shape of Italy. During her lifetime she also worked and collaborated with Brian Eno, Occhiomagico, Alessandro Mendini, Casa Vogue, Maison Carven and Studio Alchimia. This catalog offers the widest and most complete overview of Ruggeri’s career to date, thanks to in-depth research conducted by MACRO (Museum of Contemporary Art of Rome) in collaboration with the Archivio Cinzia Ruggeri in Milan.
Published by Mousse with MACRO – Museum of Contemporary Art of Rome, this book is constructed as a broad, expanded chronology offering documents, photographs, accounts, and essays that bring to light a story left in the shadows for too long, and a legacy to look to now.
Published on the occasion of the eponymous exhibition at MACRO, Rome, in 2022.
Cinzia Ruggeri (1942–2019) was an Italian fashion designer and artist associated with the Memphis Group and Studio Alchimia, known for her postmodern work incorporating technology into surreal garments, combining fashion with sculpture, performance, and architecture.
Edited by Luca Lo Pinto
Texts by Mariuccia Casadio, Elena Fava, Maria Luisa Frisa, Corrado Levi, Luca Lo Pinto, Valeria Magli, Giancarlo Maiocchi, Sarah McCrory, Marco Poma & Andrea Giannotti, Mauro Sabbione, Davide Stucchi & Anna Franceschini, Jeppe Ugelvig.
1991, English / German / French
Softcover, 160 pages, 23 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$90.00 - In stock -
In 'Ten Years After' (1991) publishers Angelika Muthesius and Benedikt Taschen published the first major retrospective monographic study of the work of their friend, the artist Martin Kippenberger. Alongside the numerous texts (all in English, German and French), this book is profusely illustrated in colour throughout with Kippenberger's paintings, sculptures, drawings, editions, publications, posters, installations and public/social life. Includes an extensive biography, bibliography and list of exhibitions.
Long out of print.
Martin Kippenberger (25 February 1953 – 7 March 1997) was a German artist known for his extremely prolific output in a wide range of styles and media, superfiction as well as his provocative, jocular and hard-drinking public persona. Kippenberger was "widely regarded as one of the most talented German artists of his generation," according to Roberta Smith of the New York Times. He was at the center of a generation of German enfants terribles including Albert Oehlen, Markus Oehlen, Werner Büttner, Georg Herold, Dieter Göls, and Günther Förg.
Very Good copy.