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:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
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
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
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.
1968, English
Softcover, 448 pages, 20 x 13.5 cm
1st Edition, Out of print title / used / average
$30.00 - Out of stock
Battock's definitive 1968 collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance, published by E. P. Dutton & Co. Inc., New York.
A collection of twenty-eight seminal essays by both critics and artists across over 400 pages, analyzing all aspects of Minimal Art at it's height in the late 1960s. Includes Lawrence Alloway (Systemic Painting), Mel Bochner (Serial Art, Systems, Solipsism), David Bourdon (The Razed Sites of Carl Andre), Nicolas Calas (Subject Matter in the Work of Barnett Newman), Bruce Glaser (Questions to Frank Stella and Donald Judd), Lucy R. Lippard (Eros Presumptive), John Perreault (Minimal Abstracts), Irving Sandler (Gesture and Non-Gesture in Recent Sculpture), Peter Hutchinson (Mannerism in the Abstract0, Willoughby Sharp (Luminism and Kineticism), Elayne Varian (Schemata 7), Richard Wollheim (Minimal Art), and texts by Martial Raysse, Michael Fried, Clement Greenberg, Dan Flavin, Robert Smithson, and more.
Heavily illustrated throughout with 170 photographs featuring the work of Sol LeWitt, Lee Bontecou, Donald Judd, Hanne Darboven, Carl Andre, Claes Oldenburg, Yves Klein, Jasper Johns, Robert Rauschenberg, John Chamberlain, Agnes Martin, Christo, Barnett Newman, Ellsworth Kelly, Edward Kienholz, Anne Truitt, Joseph Kosuth, Piet Mondrian, Richard Anuszkiewicz, Marcel Duchamp, Chryssa, Anthony Caro, Dan Flavin, Robert Smithson, Frank Stella, Robert Barry, Larry Bell, Carlo Belloli, William Anastasi, Richard Artschwager, Ronald Balden, John Cage, Walter De Maria, Stephen Antonakos, Walter Darby Bannard, Allan D'Arcangelo, Stuart Davis, Mark di Suvero, Helen Frankenthaler, Jim Dine, Al Held, Dan Graham, Robert Grosvenor, Hans Haacke, Ralph Humphrey, Eva Hesse, Douglas Huebler, Will Insley, Patricia Johanson, Allan Kaprow, Roy Lichtenstein, Morris Louis, Robert Mangold, Brice Marden, Yvonne Rainer, Julio Le Parc, David Smith, Richard Tuttle, Tony Smith, Keith Sonnier, James Raphael Soto, Clyfford Still, Les Levine, Victor Vasarely, Ad Reinhardt, John McCracken, Robert Morris, Kenneth Noland, Robert Whitman, Jules Olitski, Milton Resnick, Michelangelo Pistoletto, Jackson Pollock, Larry Poons, Jack Youngerman, George Rickey, Dorothea Rockburne, James Rosenquist, Edward Ruscha, Jan van Eyck, Andy Warhol, Tom Wesselmann, and many others.
Good with general wear and previous owner underlining / notation. Ex-library.
1969, English
Softcover, 240 pages, 21 x 22 cm
1st US Edition, Out of print title / used / very good
Published by
Praeger Publishers Inc. / New York
$200.00 - Out of stock
First US printing of "Art Povera", the now legendary critical/photographic book by Germano Celant (Italian art historian, critic and curator) documenting the so-called "Art Povera / Arte Povera" movement (meaning "poor art", coined by Celant in 1967) and published by Praeger, New York in 1969 and printed in Italy. A must!
Includes profiles of major artists of the movement, including a short text followed by pages of full-page photographs for each artist.
Artists featured: Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.
"This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. ... This book produces a collection of already old material. ... In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That."
Very good, well-preserved copy. Only light tanning.
2013, English
Softcover (two-volumes in plastic jacket), 116 pages, 21.6 x 24.7 cm
Published by
Yale University Press / New Haven
$48.00 - Out of stock
The landmark Jewish Museum exhibition Primary Structures offered the first presentation of Minimalist sculptures in the United States, in 1966. The accompanying catalogue by Kynaston McShine became a key resource on artists such as Donald Judd, Carl Andre, Dan Flavin, and Sol LeWitt, who were virtually unknown at the time. Other Primary Structures is a long-overdue reintroduction of this classic, out-of-print text. This two-volume set includes a replica of the original catalogue, plus a new companion volume by Jens Hoffmann that offers a global survey of early Minimalist sculpture during the 1960s and 1970s, featuring important sculptors from Asia, Africa, Latin America, and Eastern Europe, and complementing the earlier catalogue's focus on American and British artists. Beautifully designed, this publication comes enclosed in a clear jacket that pays homage to the original catalogue's iconic cover. Other Primary Structures is invaluable for the study of modern art history and provides an authoritative survey of Minimalist sculpture in the 1960s.
Artists:
Carl Andre, Lyman Kipp, Tim Scott, Richard Van Buren, Isaac Witkin, Tony DeLap, Tom Doyle, Richard Artschwager, Michael Bolus, Paul Frazier, Douglas Huebler, John McCracken, Peter Phillips, Anne Truitt, Ronald Bladen, Robert Grosvenor, Donald Judd, Robert Morris, Larry Bell, Walter de Maria, Sol LeWitt, Daniel Gorski, David Gray, David Hall, Phillip King, John McCracken, Peter Pinchbeck, Michael Todd, Derrick Woodham, Rasheed Araeen, Sérgio Camargo, Willys de Castro, Saloua Raouda Choucair, Lygia Clark, Noemí Escandell, Gego, Stanislav Kolíbal, Edward Krasiński, David Lamelas, David Medalla, Hélio Oiticica, Lygia Pape, Alejandro Puente, Norberto Puzzolo, Branko Vlahović, Oscar Bony, Benni Efrat, Yoshida Katsurō, Stanislav Kolíbal, Susumu Koshimiz, Ivan Kožarić, David Lamelas, Amir Nour, Juan Pablo Renzi, Nobuo Sekine, Antonieta Sosa, Kishio Suga, Jirō Takamatsu, Lee Ufan
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1980, English
Softcover, 128 pages, 28 x 21.5 cm
Out of print title / used*,
Published by
Cornell Paperbacks / London
Phaidon / London
$38.00 $15.00 - Out of stock
"Edward Lucie-Smith, a critic and historian of art who is deeply immersed in the works and trends of the seventies here provides the first general survey of the decade. In a volume alive with visual images that are often surprising and sometimes disturbing, he analyzes the development both of old forms and of new ones, and provides a coherent framework for the general reader."
Contents: The Popular Arts; Post Pop and Mandarin Taste; Abstract Painting; Illusionary Art; Figurative Painting; Fetish Art and Happenings; Political Art; Art as Environment and Architecture; High-Tech and the Third World, plus a biographical list of the artists featured and a "further reading" list.
Includes the work of: Stephen Willats, Lawrence Weiner, Brice Marden, Robert Mapplethorpe, Vito Acconci, Jo Baer, Joseph Beuys, Lynda Benglis, Bob Law, Philip King, Alan Kessler, On Kawara, Douglas Huebler, John Kacere, Richard Long, Robert Mangold, Philip Guston, Hans Haacke, Nancy Grossman, Robert Grosvenor, Nancy Graves, Walter de Maria, U-Fan, Claude Viallet, Nancy Spero, Peter Saul, Robert Ryman, James Rosenquist, Joel Shapiro, Sylvia Sleigh, Robert Stackhouse, Paul Thek, Giulio Paolini, Nam June Paik, Bruce Nauman, Roman Opalka, Dennis Oppenheim, Tony Cragg, Judy Chicago, Larry Bell, Daniel Buren, Chuck Close, and many more.
2015, English
Softcover (w. clear plastic dust-jacket), 372 pages, 21 x 28 cm
Published by
De Appel / Amsterdam
Roma / Amsterdam
Stedelijk Museum / Amsterdam
$70.00 - Out of stock
Originally published by Siegelaub/Wendler in 1968. Republished in December 2015 on the occasion of the exhibition Seth Siegelaub: Beyond Conceptual Art at the Stedelijk Museum Amsterdam.
This exhibition in book form was originally published and organised to show work outside of the gallery setting by American curator and art dealer Seth Siegelaub. The book presents several artists (Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol Lewitt, Robert Morris, Lawrence Weiner) associated with Siegelaub’s curatorial practice, and applies unconventional modes for the exhibition and distribution of art. Siegelaub asked each participating artist to create 25 pages of work that responded to the photocopy format, which was new at the time. A pivotal exhibition for conceptual art in the 1960s, it has now been republished in a second edition through a collaboration by Roma Publications, Stedelijk Museum Amsterdam, De Appel arts centre, and Egress Foundation.
2016, English
Softcover, 388 pages, 10.5 x 18 cm
Published by
Spector Books / Leipzig
$50.00 - Out of stock
Edited by Anselm Franke, Stephanie Hankey, Marek Tuszynski
Beyond contemporary disclosures about mass surveillance by intelligence services, the promises inherent in “big data” determine discourses about future innovations and systems of classification in government and industry, which aim to increasingly transform political and systemic questions into those of technological management. The promises of participation and “digital democracy” stand in contrast to new forms of cybernetic control and modulation of social behaviour on an unprecedented scale. The countless sensors of ubiquitous digital and technological infrastructures have united the state, industry, body and technology into ever more complex “nervous systems.” This nervousness is revealed in particular where relationships of power and participation come to the fore, namely in the “social question.” The publication, which appears in conjunction with the exhibition Nervous Systems (Haus der Kulturen der Walt, Berlin, February-April 2016), assembles a combination of contemporary art – complemented by contributions by experts, theorists and researchers, presenting contextualized historical documents, artefacts and further objects.
Worldwide Tactical Tech has supported thousands of activists to creatively employ information and communication in their work towards social and political change.
Contributions and works by Vito Acconci, Timo Arnall, Mari Bastashevski, Grégoire Chamayou, Emma Charles, Mike Crane, Arthur Eisenson, Harun Farocki, Charles Gaines, Melanie Gilligan, Goldin+Senneby, Avery F. Gordon, Laurent Grasso, Orit Halpern, Lawrence Abu Hamdan, Ben Hayes, Douglas Huebler, Tung-Hui Hu, On Kawara, Korpys/Löffler, Lawrence Liang, Noortje Marres, !Mediengruppe Bitnik, Henrik Olesen, Matteo Pasquinelli, Julien Prévieux, Jon Rafman, Miljohn Ruperto, RYBN.ORG, Dierk Schmidt, Nishant Shah, Eyal Sivan & Audrey Maurion, Deborah Stratman, Alex Verhaest, Gwenola Wagon & Stéphane Degoutin, Stephen Willats, Mushon Zer-Aviv, Jacob Appelbaum & Ai Weiwei, Aram Bartholl, Tega Brain & Surya Mattu, James Bridle, Julian Oliver & Danja Vasiliev, Veridiana Zurita, Open Data City, Peng! Collective, Privacy International, Share Lab, Malte Spitz, and others.
2011, English
Softcover, 84 pages, 22.5 x 22.5 cm
Edition of 1000,
Published by
Cabinet Gallery / London
Christophe Daviet-Thery / Paris
$55.00 - Out of stock
From the earliest days in 1968 when the bulletin appeared Under the title of "Architectural Research" the Small statement printed on the bottom of the front page rings out with the spirit of its time : "art & project plans to bring you together with the ideas of artists, architects and technicians to discover an intelligent form for your living and working space. Art & project invites you to participate in its exhibitions which will explore ways in which art, architecture and technology can combine with you own ideas."
From Daniel Buren's transparent bulletin to Sol Lewitt's beautiful bulletin folded into 48 small squares, from Bas Jan Ader's final bulletin mailed during his last work in which he died to Gilbert & George's fragile double portrait, these issues are a unique moving international artwork that stands apart from anything else in this period in its breath of artists included and quality of original work involved. It is increasingly included in exhibitions concerned with Conceptual Art and its influences. The complete set is of prime interest to major private collectors and museums and libraries concerned with the artists involved with the bulletins. These 156 issues encapsulate an era.
Published in conjunction with the exhibition held at Cabinet Gallery, London, October 17 - December 23, 2011; & Christophe Daviet-Thery Livres et éditions d'artistes, Paris, October 27 - December 23, 2011.
Text by Clive Phillpot.
Interview between Adriaan van Ravesteijn and Tin Geerts.
Edited by Louise Riley-Smith.
Designed by Jérome Saint-Loubert Bié.
Documents the 156 Art & Project Bulletins published between 1968 and 1989 produced by artists: Charlotte Posenenske, CCC / Jan Slothouber / William Graatsma, Gruppe X, Willy Orskov, Paul Schuitema, Aldo van den Nieuwelaar, Ad Dekkers, Gianfredo Camesi, Ed Sommer, Stanley Brouwn, Jan Dibbets, Bernd Lohaus, Lawrence Weiner, Rainer Giese, W. Knoebel, Joseph Kosuth, Peter Struycken, Robert Barry, Sol LeWitt, Ger van Elk, Gilbert & George, Yutaka Matsuzawa, Douglas Huebler, Keith Arnatt, Daniel Buren, Emmy van Leersum, Gijs Bakker, Hideto Yamazaki, Mel Bochner, Hanne Darboven, Boezem, Ian Wilson, John Baldessari, Bas Jan Ader, David Askevold, Willem Breuker, William Leavitt, Alighiero Boetti, Marcel Broodthaers, Naomi Spector, Robert Ryman, Carl Andre, Ulrich Rückriem, Stephen Rosenthal, Martin Maloney, Richard Long, Roy Colmer, David Tremlett, Stephen Antonakos, Alan Charlton, Carel Visser, Barry Flanagan, Allen Ruppersberg, Francesco Clemente, Hamish Fulton, Daan van Golden, Mimmo Paladino, Sandro Chia, Jaap Berghuis, Andrew Lord, Nicholas Pope, Salvo, Bruce McLean, Toon Verhoef, Enzo Cucchi, Joris Geurts, Emo Verkerk, Narcisse Tordoir, Tomas Rajlich, Adam Colton, Tony Cragg, Jan Commandeur, David Robilliard, Zadok Ben-David, Didier Vermeiren, Leo Vroegindeweji, Han Schuil, Ab van Hanegem.
2013, English
460 individual cards in wrapper, 15.25 × 10.15 cm
Published by
New Documents / New York
$38.00 - Out of stock
Between 1969 and 1974, the influential curator Lucy Lippard (born 1937) curated four decisive Conceptual art exhibitions, and in doing so reinvented the exhibition catalogue. 4,492,040 is a facsimile reprint of the extremely scarce and hugely important catalogues produced for these hugely important “numbers shows” - 557,087 (the Seattle Art Museum), 955,000 (the Vancouver Art Gallery), 7,500 (the California Institute of Art) and 2,972,453 (the Centro de Arte y Comunicación). Titled after the populations of the cities in which the shows were held, each catalogue was an envelope of loose note cards containing statements, documentation and conceptual works by each artist, to be rearranged, filed or discarded at will. If Lippard described Conceptual art as the dematerialization of the art object, these catalogues effectively announced the dematerialization of the art exhibition. (One reviewer claimed Lippard had been the artist, and that her medium had been other artists.) 4,492,040 includes such iconic figures as Vito Acconci, Carl Andre, Siah Armajani, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Daniel Buren, Rosemarie Castoro, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Eleanor Antin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, On Kawara, Edward Kienholz Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N.E. Thing Co., Bruce Nauman, Adrian Piper, Allen Ruppersberg, Ed Ruscha, Richard Serra, Robert Smithson, Jeff Wall and Lawrence Weiner.
2007, English / German
Softcover, 48 pages (57 col. Ills.), 220 x 270 mm
Published by
Walther König / Köln
$35.00 - Out of stock
Exhibition catalogue published in conjunction with show held at the Kunstverein Braunschweig, Germany, December 2, 2006 - February 18, 2007.
Features:Allen Ruppersberg, Bas Jan Ader, Bruce Nauman, Chris Burden, Christopher Williams, Douglas Huebler, Ed Ruscha, John Baldessari, Larry Johnson, Maria Nordman, Michael Asher, Mike Kelley, Paul McCarthy, Raymond Pettibon, Stephen Prina, William Leavitt...