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
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1997, English
Hardcover (w. dust jacket), 830 pages
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$80.00 - Out of stock
First English edition of this monumental 830 page book for documenta X, the last documenta of the twentieth century and the first directed by a woman, the French curator Catherine David, brings together the work of more than 100 of the world's foremost thinkers, writers, and artists in an extraordinary anthology of seminal texts and images of, on, and about the development of Western cultural and critical theory since 1945.
The book "seeks to indicate a political context for the interpretation of artistic activities at the close of the twentieth century, through a montage of images and documents from the immediate post-war period to the present. The range of material treated here is not encyclopaedic; it represents a polemical attempt to isolate specific strands of artistic production and political endeavour which can be taken as references in the contemporary debate over the evolution of our societies. Drawing from distinct yet interrelated territorial and linguistic domains, the book singles out complex cultural responses to the unifying processes of global modernity."—from the book jacket.
A comprehensive work in itself, rich with enmeshed texts and illustrations of artworks, film stills, historical documents throughout in colour and in black and white.
Writers include: Theodor W. Adorno, Maurice Blanchot, Pier Paolo Pasolini, Paul Celan, Amílcar Cabral, Masao Miyoshi, Hannah Arendt, Michel Foucault, Gilles Deleuze, Félix Guattari, Jacques Rancière, Tadao Sato, Youssef Ishaghpour, Josef Beuys, Samuel Beckett, Albert Camus, Rainer Werner Fassbinder, Rem Koolhaas, Sandra Álvarez de Toledo, Witold Gombrowicz, Herve Joubert-Laurencin, Jean-François Chevrier, Marguerite Duras, Edward Said, Henri Alleg, Pierre Vidal-Naquet, Uwe Johnson, Jerzy Grotowski, James Clifford, Primo Levi, Pierre Clastres, Andrea Branzi, Fabrizio Gallanti, Gérard Chaliand, Stig Björkman, Daniel Defert, Saskia Sassen, Catherine David, Benjamin Buchloh, Paul Virilio, Serge Daney, Étienne Balibar, Nadia Tazi, and many others.....
Artists include : Archigram, Martin Kippenberger, Archizoom Associati, Art & Language, Hans Haacke, Oyvind Fahlström, Samuel Beckett, Franz West, Andrea Zittel, Heimo Zobernig, Nancy Spero, Jean-Luc Godard, Marcel Broodthaers, Lygia Clark, Jörg Herold, Fischli & Weiss, Dan Graham, Robert Adams, Peter Friedl, Paweł Althamer, Liam Gillick, Mike Kelley & Tony Oursler & Diedrich Diederichsen, Stan Douglas, Harun Farocki, Ed van der Elsken, Walker Evans, Aldo van Eyck, Heiner Goebbels, William Kentridge, Ulrike Grossarth, Richard Hamilton, Vito Acconci, Raymond Hains, Pier Paolo Pasolini, Siobhán Hapaska, Ecke Bonk, Carsten Höller & Rosemarie Trockel, Carl Michael von Hausswolff, Lois Weinberger, Hélio Oiticica, Gabriel Orozco, Olaf Nicolai, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Marc Pataut, Gordon Matta-Clark, Christian Philipp Müller, Matt Mullican, Antoni Muntadas, Jean-Luc Moulène, Reinhard Mucha, Álvaro Siza, Toyo Ito, John C. Portman Jr., Paulo Mendes da Rocha, Mariella Mosler, Josef Beuys, Steve McQueen, Chris Marker, Lothar Baumgarten, Jean Dubuffet, Kerry James Marshall, Maria Lassnig, Rem Koolhaas, Joachim Koester, Suzanne Lafont, Sigalit Landau, Helen Levitt, Garry Winogrand, Brassaï, Le Corbusier, Antonin Artaud, and so many more...
Very Good coy, light wear. Good dust jacket with some creasing and edge wear.
2012, English
Softcover, 12 pages, 210 x 150 mm
Published by
Neon Parc / Melbourne
$10.00 $4.00 - In stock -
Catalogue published to accompany the exhibition Josh Smith, Franz West, at Neon Park, Melbourne, July 4 - August 4, 2012. Illustrated throughout with paintings and collages by both artists, and West's Meta-Memphis lamp edition. Catalogue essay by Emily Cormack.
2010, English
Softcover, 110 pages, 27 x 21.5 cm
Out of print title / used / fine
Published by
Baden-Baden Kunsthalle / Germany
$65.00 - Out of stock
For more than 70 years Janette Laverriére has designed furniture and mirrored objects, which have managed to attain museal status in France. The starting point for this now out-of-print book is the wardrobe she designed for an actress in 1947, an early example of her exploration of the possibilities of and tension between the functional object and the independent artwork.
In works and installation photos, "Entre Deux Actes Loge De Comédienne" documents the works of artists who have intensively participated in the fundamental discourse on the terms art and design, applied art and use in exemplary room installations. Alongside Laverriére's historical and radical installations are contributions from Tobias Rehberger, Richard Artschwager, Nairy Baghramian, Marc Camille Chaimowicz, Cosima von Bonin, Fischli and Weiss, Claes Oldenburg, Meuser, Martin Kippenberger, Carlo Mollino, and Franz West. All works illustrated in detail throughout.
The catalog is scientifically devoted to one of the most exciting phenomena in art / architecture / design of the 20th century in image and text (English and German).
2019, English
Hardcover, 200 pages, 15.2 x 21.6 cm
Published by
Hauser & Wirth / Zurich
$82.00 $35.00 - Out of stock
In the 1980s, Ursula Hauser began quietly building what’s become one of the world’s most impressive private collections of modern and contemporary art—acquiring works from visionary artists such as Louise Bourgeois, Carol Rama, Alina Szapocznikow, Franz West, Eva Hesse, Francis Picabia, Lee Lozano, and many others—and in 1992, she co-founded one of today’s most important galleries, Hauser & Wirth. This book presents the first-ever extensive and intimate account of her life and art collection.
To define the works found in Ursula’s collection is a matter of identity, one that is fused to her personal trajectory—from her early years in eastern Switzerland, where she was born in 1939, to becoming a mother, helming her father’s intrepid electronics business, and starting an art gallery with her daughter and son-in-law. Family has always been the steady axis around which Ursula’s life orbits; for her, the artists she collects belong to that same magnetic locus. To understand Ursula Hauser’s collection is to know the collector and chart the course of late twentieth-century and early twenty-first-century art.
Edited by Laura Bechter and Michaela Unterdörfer
2018, English / German
Softcover, 176 pages, 21.5 x 27 cm
Published by
Mumok / Vienna
Walther König / Köln
$49.00 - Out of stock
Gaby and Wilhelm Schürmann do not see their collection as just private property or a prestige object, but rather as an item of cultural value that needs exchange with the public. Their collection has been constantly growing since the late 1970s, and it provides an incomparable view of the development of contemporary art from the 1980s onward. This is a progressive statement on behalf of contemporary art that is anchored in social issues and sees itself as a form of communication. The rationale behind the collection, which is held in Herzogenrath near Aachen and in Berlin, is both creative and productive, and the two collectors’ practice can be described as a particularly free-spirited form of cultural production. The act of collecting is realized less in the processes of keeping and completing artworks and is instead understood mainly as an invitation to participate in the public production of connections. This very pragmatic and hands-on approach is manifested in sensual and unconventional gestures of presenting, including the principle of “comparative seeing.” In this sense, the Class Reunion exhibition, the title of which refers to a 2008 installation of the same name by Berlin artist Nairy Baghramian, will unravel an exciting, humorous, and surprising dialogue between the diverse artistic positions in the collection, establishing unexpected points of contact. One focus in this is on Viennese influences on this international collection and its networks.
This book has been published to document the collection on the occasion of an exhibition curated by Wilhelm Schürmann at Mumok, Vienna, June 23, 2018 - November 11, 2018.
Edited by Karola Kraus and illustrated throughout in colour, with accompanying texts and full collection catalogue.
Participating artists:
Nairy Baghramian, Silvia Bächli, Monika Baer, John Baldessari/Meg Cranston, Francesco Barocco, Jennifer Bornstein, Nicola Brunnhuber, Ernst Caramelle, Kate Davis, Heinrich Dunst, Marina Faust, Morgan Fisher, Jef Geys, Ralph Gibson, Julian Göthe, Trixi Groiss, Gerhard Gronefeld, Julia Haller, Rachel Harrison, Lone Haugaard Madsen, Georg Herold, Nicolas Jasmin, Raimer Jochims, Mike Kelley, , Martin Kippenberger, Silke Otto Knapp, Alwin Lay, Brandon Lattu, Michael Light, Sonia Leimer, Anita Leisz, Jochen Lempert, Zoe Leonard, Chris Martin, Park McArthur, Paul McCarthy, Meuser, Lisette Model, Oswald Oberhuber, Albert Oehlen, Anna Oppermann, Anna Ostoya, Jens Preusse, Rebecca Quaytman, Susanne Paesler, Laurie Parsons, Stephen Prina, Deborah Remington, Lin May Saeed, Pentti Sammallahti, Stefan Sandner, Arlene Shechet, Sigune Siévi, Michael Simpson, Michael E. Smith, Lewis Stein, Jana Sterbark, Esther Stocker, Walter Swennen, Alice Tippit, Joëlle Tuerlinckx, Nora Turato, Anne-Mie Van Kerckhoven, Miriam Visaczki, Franz West, Tristan Wilczek, Christopher Williams, Heimo Zobernig
2018, English
Softcover, 288 pages, 22.5 x 15 cm
Published by
Walther König / Köln
$59.00 - Out of stock
Influential Austrian artist, Franz West (1947-2012) had been writing texts, notes, remarks and aphorisms non-stop since 1977.
He attached these texts to his sculptures, continuing the sculptural expression linguistically without illustrating or explaining.
In places the titles, epithets and texts can raise awareness of the sculpture’s form, in others they can drive the viewer mad or fascinate like the cryptograms of a lingual alchemist.
Texts accompany Franz West’s complete oeuvre. Thus far, more than 200 have been created and they are published here in their entirety for the first time in a newly edited form, as facsimiles and in transcriptions.
1989, German
Softcover, 289 pages, 32 x 24 cm
1st Edition, Out of print title / used / good
Published by
Christians / Hamburg
$48.00 - Out of stock
Large catalogue published on the occasion of the exhibition "Einleuchten: Will, Vorstel und Simul in HH." curated by Harald Szeemann, 11 November 1989 to 18 February 1990, Hamburg.
Profusely illustrated in full-colour and b&w with biographies on all exhibiting artists, alongside texts by Harald Szeemann, Heinz Liesbrock, Christoph Schenker, and Stephan Schmidt-Wulffen
Artists include : Carl Andre, Giovanni Anselme, Donald Baechler, Georg Baselitz, Joseph Beuys, Christian Botanski, Daniel Buren, Lawrence Carroll, Hanne Darboven, Thierry De Gordier, David Deutsch, Martin Disler, Jiri Georg Dokoupil, Etienne-Martin, Dan Flavin, Günther Förg, Isa Genzken, Robert Gober, Thomas Grünleid, Tishan Hsu, Donald Judd, On Kawara, Ellsworth Kelly, Harald Klingelhöller, Wollgang Laib, Cary S. Leibowitz, Sol LeWitt, Richard Long, Ingeborg Lüscher, Gerhard Merz, Mario Merz, Marisa Merz, Reinhard Mucha, Bruce Nauman, Max Neuhaus, Cady Noland, Holt Quentel, David Rabinowitch, Royden Rabinowitch, Ulrich Rückriem, Robert Ryman, Richard Serra, Keith Sonnier, Serge Spitzer, Niele Toroni, Rosemarie Trockel, Richard Tuttle, Cy Twombly, Jan Vercruysse, Michel Verjux, Didier Vermeiren, Bill Viola, Mark Wallinger, Lawrence Weiner, Franz West, Rachel Whiteread, Jerry Zeniuk, Otto Zitko
Very good copy with some bumping to top right corner.
1992, German / English
Hardcover (in original slipcase), Vol. 1 : 255 pages; Vol. 2 : 310 pages; Vol. 3 : 619 pages, 18.5 x 27 cm
1st Edition, Out of print title / used / good
Published by
Hatje Cantz / Berlin
$120.00 - Out of stock
Hardcover edition, three volume exhibition catalogue published in conjunction with Documenta IX, Kassel, Germany, June 13 - September 9, 1992.
Documenta 9 is remembered as one of the most popular of all documenta exhibitions, thanks not least of all to the influence of its artistic director, the charismatic Belgian curator Jan Hoet. Hoet wanted to make the human being and our sensual, perceptual, agonized corporeality, which had been progressively displaced by the digitized, virtual world, the focus of attention at his exhibition. “From body to body to bodies” was the meaningful, poetic motto of documenta 9. Hoet described his curatorial mission in the following words: “At a time in which the human race is confronted more than ever with such dangers as AIDS and multinational wars, nuclear catastrophes, and global climate disasters, at a time in which threats are growing increasingly abstract and the fears more and more diffuse, I see reflection on the physical conditions of life as an appropriate answer.”
Texts by Jan Hoet, Denys Zacharopoulos, Bart de Baere, Pier Luigi Tazzi, Claudia Herstatt, Joyce Carol Oates, Jacques Roubaud, Cornelius Castoriadis, Heiner Müller, Paul Robbrecht, Hilde Daem.
Artists include Marina Abramovic, Absalon, Richard Artschwager, Francis Bacon, Marco Bagnoli, Nicos Baikas, Miroslaw Balka, Matthew Barney, Jerry Barr, Lothar Baumgarten, Jean-Pierre Bertrand, Joseph Beuys, Michael Biberstein, Guillaume Bijl, Dara Birnbaum, Jonathan Borofsky, Louise Bourgeois, Herbert Brandl, Ricardo Brey, Tony Brown, Marie José Burki, Jean-Marc Bustamante, Michael Buthe, Pedro Cabrita Reis, Waltercio Caldas, Pier Paolo Calzolari, Ernst Caramelle, Lawrence Carroll, Saint Clair Cemin, Tomasz Ciecierski, Tony Clark, James Coleman, Tony Conrad, Patrick Corillon, Damian, Richard Deacon, Thierry De Cordier, Silvie Defraoui & Chérif Defraoui, Raoul De Keyser, Wim Delvoye, Braco Dimitrijevic, Eugenio Dittborn, Helmut Dorner, Stan Douglas, Marlene Dumas, Jimmie Durham, Mo Edoga, Jan Fabre, Luciano Fabro, Belu-Simion Fainaru, Peter Fend, Rose Finn-Kelcey, FLATZ, Fortuyn/O'Brien, Günther Förg, Erik A.Frandsen, Michel François, Vera Frenkel, Katsura Funakoshi, Isa Genzken, Gaylen Gerber, Robert Gober, Dan Graham, Rodney Graham, Angela Grauerholz, Michael Gross, George Hadjimichalis, David Hammons, Georg Herold, Gary Hill, Peter Hopkins, Rebecca Horn, Geoffrey James, Olav Christopher Jenssen, Tim Johnson, Andrej N. Joukov, Ilya Kabakov, Anish Kapoor, Kazuo Katase, Tadashi Kawamata, Mike Kelley, Ellsworth Kelly, Bhupen Khakhar, Per Kirkeby, Harald Klingelhöller, Kurt Kocherscheidt, Peter Kogler, Vladimir Kokolia, Joseph Kosuth, Mariusz Kruk, Guillermo Kuitca, Suzanne Lafont, Jonathan Lasker, Jac Leirner, Zoe Leonard, Eugène Leroy, Via Lewandowsky, Bernd Lohaus, Ingeborg Lüscher, Attila Richard Lukacs, James Lutes, Marcel Maeyer, Brice Marden, Cildo Meireles, Ulrich Meister, Thom Merrick, Gerhard Merz, Mario Merz, Marisa Merz, Meuser, Jürgen Meyer, Liliana Moro, Reinhard Mucha, Matt Mullican, Juan Muñoz, Christa Näher, Hidetoshi Nagasawa, Bruce Nauman, Max Neuhaus, Pekka Nevalainen, Nic Nicosia, Moshe Ninio, Jussi Niva, Cady Noland, Manuel Ocampo, Jean-Michel Othoniel, Tony Oursler, Panamarenko, Giulio Paolini, A. R. Penck, Michelangelo Pistoletto, Hermann Pitz, Stephen Prina, Richard Prince, Martin Puryear, Royden Rabinowitch, Rober Racine, Philip Rantzer, Charles Ray, Martial Raysse, readymades belong to everyone, José Resende, Gerhard Richter, Ulf Rollof, Erika Rothenberg, Susan Rothenberg, Ulrich Rückriem, Thomas Ruff, Stephan Runge, Edward Ruscha, Reiner Ruthenbeck, Remo Salvadori, Joe Scanlan, Eran Schaerf, Adrian Schiess, Thomas Schütte, Helmut Schweizer, Maria Serebriakova, Mariella Simoni, Susana Solano, Ousmane Sow, Ettore Spalletti, Haim Steinbach, Pat Steir, Wolfgang Strack, Thomas Struth, János Sugár, Yuji Takeoka, Robert Therrien, Frederic Matys Thursz, Niele Toroni, Thanassis Totsikas, Addo Lodovico Trinci, Mitja Tušek, Luc Tuymans, Micha Ullman, Juan Uslé, Bill Viola, Henk Visch, James Welling, Franz West, Rachel Whiteread, Christopher Wool, KeunByung Yook, Heimo Zobernig, Gilberto Zorio, and Constantin Zvezdochotov.
Very Good condition volumes in hardcover (much less common edition than usual softcover), preserved in their original illustrated slipcase (with common repaired splitting and bumping damage).
1998, German
Hardcover, 366 pages, 22.5 x 31 cm
1st German edition, Out of print title / used / very good,
Published by
Hatje Cantz / Berlin
$70.00 - Out of stock
The long out-of-print heavyweight "Out of Actions" book (First German hardcover edition) that was published to accompany the spectacular 1998 Paul Schimmel-curated travelling exhibition. "Out of Actions" surveyed the broad international history and influence of post-war Performance Art, and the objects that exist today as its documentation. It features significant texts by Schimmel, Kristine Stiles, Guy Brett, Hubert Klocker, Shinichiro Osaki, Leslie King-Hammond and Lowery Stokes Sims, and Keiko Okamura.
This important and heavily researched document is lavishly illustrated throughout in colour and black and white, capturing the work and actions of the artists featured in the exhibition and essays: Marina Abramovic, Marina Abramovic and Ulay, Vito Acconci, Genpei Akasegawa, Laurie Anderson, Eleanor Antin, Rasheed Arseen, Mowry Baden, Artur Barrio, Joseph Beuys, Mark Boyle and Joan Hills, George Brecht, Stuart Brisley, Robert Delford Brown, Gunter Brus, Chris Burden, James Lee Byars, John Cage, Marc Camille Chaimowicz, Lygia Clark, Pinchas Cohen Gan, Collective Action Group, Houston Conwill, Paul Cotton, COUM Transmissions, Guy de Cointet, Jim Dine, John Duncan, Felipe Ehrenberg, Roberto Evangelista, Valie Export, Robert Filliou, Rose Finn-Kelcey, Sherman Fleming, Lucio Fontana, Terry Fox, Howard Fried, Gideon Gechtman, Gilbert & George, Alberto Greco, Ion Grigorescu, Victor Grippo, Red Grooms, Guerrilla Art Action Group, David Hammons, Al Hansen, Maren Hassinger, Lynn Hershman, Dick Higgins, Tatsumi Hijikata, Susan Hiller, Rebecca Horn, Tehching Hsieh, Joan Jonas, Kim Jones, Michel Journiac, Akira Kanayama, Tadeusz Kantor, Allan Kaprow, Mike Kelley, Juergen Klauke, Yves Klein, Milan Knizak, Alison Knowles, Komar & Melamid, Jannis Kounellis, Shigeko Kubota, Tetsumi Kudo, Yayoi Kusama, Leslie Labowitz, Suzanne Lacy, John Latham, Jean-Jacques Lebel, Lea Lublin, George Maciunas, Leopoldo Maier, Piero Manzoni, Tom Marioni, Georges Mathieu, Gordon Matta-Clark, Paul McCarthy, Bruce McLean, David Medalla, Cildo Meireles, Ana Mendieta, Gustav Metzger, Marta Minujin, Jan Micoch, Linda Montano, Robert Morris, Otto Muehl, Saburo Murakami, Natsuyuki Nakanishi, Bruce Nauman, Paul Neagu, Senga Nengudi, Joshua Neustein, Hermann Nitsch, Helio Oiticica, Claes Oldenburg, Yoko Ono, Orlan, Raphael Montanez Ortiz, Lorenzo Pace, Nam June Paik, Gina Pane, Lygia Pape, Giuseppe Pinot Gallizio, Adrian Piper, Michelangelo Pistoletto, Jackson Pollock, William Pope L., Robert Rauschenberg, Carlyle Reedy, Klaus Rinke, Ulrike Rosenbach, Dieter Roth, Zorka Saglova, Niki de Saint Phalle, Alfons Schilling, Tomas Schmit, Carolee Schneemann, Rudolf Schwarzkogler, Bonnie Sherk, Shozo Shimamoto, Ushio Shinohara, Kazuo Shiraga, Barbara T. Smith, Daniel Spoerri, Petr Stembera, Wolfgang Stoerchle, Jiro Takamatsu, Atsuko Tanaka, Mark Thompson, Jean Tinguely, Rasa Todosijevic, Kerry Trengove, Ulay, Ben Vautier, Wolf Vostell, Franz Erhard Walther, Peter Weibel, Franz West, Hannah Wilke, Emmett Williams, and Zaj.
Scarce first German edition, published by Hatje Cantz.
2016, English
Hardcover, 240 pages, 26.5 x 20 cm
Published by
Hatje Cantz / Berlin
Kunstmuseum Basel / Basel
$82.00 - Out of stock
What new paths have sculptors opened up since the end of World War II? Based on late works by Constantin Brancusi and Alberto Giacometti, this comprehensive volume illustrates the exciting and multifaceted developments in this dynamic art form. The long list of the first-class artists presented ranges from Pablo Picasso, Henry Moore, and Jean Tinguely to Franz West, Damien Hirst and Monika Sosnowska. Sculpture on the Move demonstrates how the classic notion of form and sculpture was set in motion, became more abstract, came closer to the ordinary everyday object, dissolved spatial or conceptual boundaries, and even reconstituted itself, returning to figurative traditions. On the basis of selected works from the Kunstmuseum Basel and from international museums and private collections, the book opens up a dense, extremely rich world of contrasts. Featured artists include Absalon, Carl Andre, Jean Arp, Max Bill, Louise Bourgeois, Constantin Brancusi, Alexander Calder, John Chamberlain, Eduardo Chillida, Peter Fischli und David Weiss, Katharina Fritsch, Alberto Giacometti, Robert Gober, Duane Hanson, Eva Hesse, Damien Hirst, Donald Judd, Mike Kelley, Jeff Koons, Mario Merz, Henry Moore, Bruce Nauman, Claes Oldenburg, Gabriel Orozco, Pablo Picasso, Charles Ray, Richard Serra, Monika Sosnowska, David Smith, Jean Tinguely, Oscar Tuazon, Danh Vo and Franz West.
2014, English
Softcover, 64 pages, 21 cm x 14. 8 cm
Published by
Staatliche Kunsthalle / Baden Baden
Walther König / Köln
$24.00 - Out of stock
In 1993 Hans Ulrich Obrist organised an unannounced exhibition with works by 70 artists in the 12 square metres of a hotel room in Paris. He also lived in the room for the duration of the exhibition.
Artists in the original exhibition included Ed Ruscha, Franz West, Maurizio Cattelan, Hans-Peter Feldmann, Gilbert & George, Isa Genzken, Douglas Gordon, Sarah Lucas, Gerhard Richter and many others.
With this publication Hans Ulrich Obrist takes the reader on an imaginary tour through his legendary exhibition, illustrated with numerous photographs by Pierre Leguillon and others. Original written communications between Obrist and the artists as well as a site plan indicating where the works were installed, enhance the documentation.
Published on the occasion of the exhibition Room Service: On the Hotel in the Arts and Artists in the Hotel at Staatliche Kunsthalle Baden-Baden, 22 March – 22 June 2014.
2013, English
Hardcover (cloth-bound), 172 pages, 20 × 25 cm
Published by
Standard Books / Oslo
$54.00 - Out of stock
This cloth-bound volume documents the first seven years (2005-2012) of STANDARD (OSLO), a contemporary art gallery in Norway, at their first location of Hegdehaugsveien 3. During which time work was exhibited by Matias Faldbakken, Kim Hiorthøy, Michaela Meise, Johanna Billing, Claire Fontaine, David Lieske, Cory Arcangel, Martin Boyce, Gardar Eide Einarsson, Tauba Auerbach, Torbjørn Rødland, Josh Smith, Marius Engh, Emily Wardill, Franz West, Sister Corita Kent, Edvard Munch, Franz West, Alex Hubbard, Hans-Peter Feldmann, Oscar Tuazon, Raymond Pettibon, Lucy McKenzie, Olaf Breuning, Roe Ethridge, Uwe Henneken, Ricky Swallow, Richard Prince, Adam McEwen, Camilla Løw, Jutta Koether, Dan Rees, Fredrik Værslev, and many more.
2011, English/French
Softcover, 272 pages, 13 x 19 cm
Published by
Sternberg Press / Berlin
$36.00 - Out of stock
“To gain that which is worth having, it may be necessary to lose everything else.”
—Bernadette Devlin
Put together in the wings of the “Dystopia” exhibition at the CAPC musée d'art contemporain de Bordeaux, acting as a resonance chamber, this illustrated novel raises the issue of possible futures in the form of a critical fiction, and involves the outposts of the novel to come. About New Dystopia, the city in which the novel’s protagonists live, the narrator states: “As an American … one only came to New Dystopia City to become an artist. That only there was it a way of life.” According to von Schlegell, we are living in that new metropolis. He states, “Dystopia is today.”
After Venusia (2005) and Mercury Station (2009), both published by Semiotext(e), New Dystopia is Mark von Schlegell’s third novel.
Artists: Wallace Berman, Cosima von Bonin, Brian Calvin, Tony Carter, Marc Camille Chaimowicz, Peter Coffin, Simon Denny, Andreas Dobler, Roe Ethridge, Keith Farquhar, Hans-Peter Feldmann, Aurélien Froment, Cyprien Gaillard, Isa Genzken, Dan Graham, Robert Grosvenor, Sebastian Hammwöhner, Roger Hiorns, Ull Hohn, Des Hughes, Peter Hutchinson, Eugene Isabey, Sergej Jensen, On Kawara, Michael Krebber, Jesus Mari Lazkano, Rita McBride, John Miller, Pathetic Sympathy Seekers, Manfred Pernice, Stephen G. Rhodes, Glen Rubsamen, Sterling Ruby, Julia Scher, Frances Scholz, Michael Scott, Markus Selg, Reena Spaulings, Michael Stevenson, Tommy Støckel, Josef Strau, Blair Thurman, Mathieu Tonetti, Oscar Tuazon, Franz West, Jordan Wolfson
Co-published with CAPC musée d'art contemporain de Bordeaux