World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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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.
1994, English
Softcover, 32 pages, 15 x 21 cm
1st Edition, Out of print title / as new
Published by
Sarah Cottier / Sydney
$65.00 - Out of stock
This great early publication from Sydney's Sarah Cottier Gallery compiles photographic documentation of the gallery program from the year 1994. The publication includes solo exhibitions by Hany Armanious, Matthys Gerber, John Nixon, Mikala Dwyer, A.D.S. Donaldson, Kerrie Poliness, Sylvie Fleury.
As New copy light age.
1999, English
Softcover, 60 pages, 27.1 x 23.4 cm
1st Edition, Out of print title / used / fine
Published by
Moet & Chandon Australian Art Foundation / Australia
$120.00 - In stock -
Wonderful early artist's book published in 1999 on the work of Australian sculptor Hany Armanious by Möet & Chandon Australian Art Foundation. Printed in France on textured heavy stock, this handsome volume documents works spanning 7-8 years of Hany's work, including sculptures, painting, installation, accompanied by captions and texts written by the artist to "walk" the reader through the works. As it should be. We think the best book on Armanious' work ever published, and now very rare to come by.
Hany Armanious (b. 1962 in Ismailia, Egypt. Lives and works Sydney, New South Wales) is a sculptor whose work is predominantly concerned with the magical properties of the casting process. Many of his works deal with the alchemical transformation of one object into another via what the artist has described as the ‘cult of casting’. Hany was a key figure in Sydney’s grunge scene of the early 1990s, and in 2011 was Australia’s representative at the Venice Biennale. His practice often deliberately skirts the fine line separating ‘something’ from ‘nothing’. While his works – as ‘things’ consciously, even meticulously, produced – are obviously never nothing, many nonetheless toy with notions of value and its contemporary ambiguities.
Near Fine copy.
2022, English
Softcover (
w. screen printed PVC dust jacket), 60 + 44 pages, 18 x 25.5 cm
Published by
Drill Hall Gallery / Canberra
$35.00 - In stock -
Catalogue published on the occasion of the exhibition Out of Place, curated by Oscar Capezio. Features the work of Hany Armanious, Boyle Family, Bonita Bub, Janet Burchill and Jennifer McCamley, Fiona Connor, Thomas Demand, Dale Harding, Anna Kristensen, Igor and Svetlana Kopystiansky, and Jasper Jordan-Lang.
"Reflecting on our increasingly precarious notions of place and belonging, this exhibition examines ways in which contemporary artworks embody, transpose and reconfigure a sense of locality in a globalised world. Through dislocated fragments and figures, re-materialised objects and textures, stains and other obscure impressions, artists in this exhibition [...] map specific relationships of adjacency and imbalance, tracking the uneven conditions that assemble and define distances, to highlight the powerful dissonance between site and identity, place and authority."
Texts by Oscar Capezio, Helen Ennis, Tom Melick, and Terence Maloon.
Designed by Small Tasks.
Edition of 200.
1996, English
Softcover, 136 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Artspace / Sydney
$60.00 - Out of stock
First edition of this now very scarce volume of collected texts from Australian art critic and professor Rex Butler that resulted from five lectures by the author at Artspace Sydney in 1995: 'The 80s in Retrospect', 'Art & Text in the '90s', 'The Critics', 'The Object, Again' and 'On Michael Fried's Literary 'Impressionism'.
Very Good copy with dedicated / inscription from Rex on inside front cover.
1991, English
Softcover, 168 pages
1st Edition, Out of print title / used / average
Published by
Art Gallery of New South Wales / Sydney
$25.00 $10.00 - Out of stock
Catalogue published on the occasion of the AUSTRALIAN PERSPECTA 1991, curated by Victoria Lynn, held at the Art Gallery of New South Wales, 7 August — 15 September, 1991. The biennial 'Australian Perspecta' presents the unprecented opportunity to experience and evaluate the intriguing breadth of contemporary Australian art. This exhibition was the sixth in a series which began in 1981. Profusely illustrated throughout with texts by Victoria Lynn, Nicholas Zurbrugg, Linda Wallac, and artist profiles for all participating artists : Brad Allen-Waters, Craige Andrae, Hany Armanious, Robyn Backen, Adam Boyd, Irene Briant, Peter Callas, Kevin Draper, John Gilles and The Sydney Front, Richard Goodwin, Fiona Gunn, Fiona Hall, Gail Hastings, Virginia Hilyard, Joyce Hinterding, Stephen Holland, David Jensz, Mathew Jones, Queenie Kemarre, Lucky Kngwarreye, Maria Kozic, Juliet Lea, Jon McCormack, Bette Mifsud, Wendy Mills, Simeon Nelson, Bronwyn Oliver, Lin Onus, Bill Petyarre, Ani Purhonen, Carole Roberts, Luke Roberts, Ashley Scott, Michael Snape, Laurens Tan, Jennifer Turpin, Deborah Vaughan, Paddy Fordham Wainburranga, David Watt, Barbara Wulff.
Ex-library copy, with plastic covering and associated markings.
2017, English
Softcover, 117 pages, 17 x 23cm
Ed. of 600,
Published by
MUMA / Victoria
$20.00 - In stock -
Catalogue published to accompany the exhibition "Future Eaters", curated by Charlotte Day at MUMA (Monash University Museum of Art), 22 July - 23 September, 2017.
The exhibition explored artists' approaches to three-dimensional form and materiality in the age of systems rather than artefacts, software rather than hardware, and associated processes of virtual transmission. The exhibition asked: how is sculpture evolving and responding to our increasingly technologised existence?
Artists: Hany Armanious (AUS); Benjamin Armstrong (AUS); Damiano Bertoli (AUS); Nina Cannell (SWE); Marley Dawson (AUS); Aleksandra Domanović (SVN); Hannah Donnelly (AUS); Alex Dordoy (GBR); Lewis Fidock & Joshua Petherick (AUS); Mira Gojak (AUS); Guan Xiao (CHN), Yngve Holen (NOR); Alex Israel (USA); Magali Reus (NLD); Anna Uddenberg (SWE); Anicka Yi (KOR)
Texts: Charlotte Day, Damiano Bertoli, Tara McDowell, Gail Priest, Hannah Donnelly
2020, English
Softcover, 150 pages, 21 x 29.7
Ed. of 100,
Published by
Endless Lonely Planet / Melbourne
$25.00 - In stock -
Melbourne Artist Facilitated Biennial publication by Melbourne artist Christopher LG Hill is both the ninth issue of his ongoing publishing imprint Endless Lonely Planet, and a major survey art book marking the end of his 12 year artist facilitated biennale project, spanning 2008-2020.
"Multiple sites and moments, artist facilitated biennials extending on structures and limitations set by Signs of life: Melbourne International Biennial 1999. Abstracting and bringing new meaning to the form of a biennial as a more casual and independent entity, the project has seen many participants and collaborators over the last 12 years. This book hopes to document some of these moments, but more so to be a catalyst for different modes and models that it may inspire." — publisher
Includes extensive photographic documentation of The (self initiated, Artist funded) second (fourth) Y2K Melbourne Biennial of Art (& Design), TCB art inc., 2008; The First & Final Y3K Second (third) Inaugural Melbourne Biennial of International Arts, Y3K, 2011 (curated by Joshua Petherick, James Deutsher, and Christopher L G Hill); Third/Fourth Melbourne Biennial, Margaret Lawrence Gallery, 2013; 4th/5th Melbourne Artist Facilitated Biennial, TarraWarra Museum of Art, 2016 (as part of TarraWarra Biennial 2016: Endless Circulation curated by Victoria Lynn and Helen Hughes/Discipline); 5th/6th final Melbourne Artist Facilitated Biennial, Dec 2018 -Dec 2020 (co-facilitated by Virginia Overell and Christopher L G Hill in their apartment/ the ex-Telecom building that was the site of the Melbourne International Biennial 1999)
Includes the work of ACW, Liz Allen, Animal Charm, Dan Arps, Sean Bailey, Liv Barrett, Matthew Brown, Ruth Buchannan, Jon Campbell, Jane Caught, Xin Cheng, Fiona Connor, Ying Lan Dann, James Deutsher, Daniel du Bern, Ida Ekblad, ffiXXed, Pat Foster & Jen Berean, Justin K Fuller, Matt Griffin, Ardi Gunawan, Hao Guo, Bianca Hester, Christopher L G Hill, Matt Hinkley, Helen Johnson, Lisa Kelly, Devin Kenny, Taree Mackenzie, Simon McGlinn, Rob Mckenzie, Nick Mangan, Scott Mitchell, Tahi Moore, Kate Newby, Geoff Newton, John Nixon, OSW, Alexander Ouchtomsky, Damon Packard, Spiros Panigriakis, Sean Peoples/ Cheese Peoples, Joshua Petherick, Kain Picken, Janneke Raaphorst, Nick Selenitsch, Christopher Schueler & Matthew Hopkins, Gregory P Sharp, Kate Smith, Sriwhana Spong, Dylan Statham, Masato Takasaka, Ben Tankard, Simon Taylor, Alex Vivian, Annie Wu, Hany Armanious, Andreas Banderas, Mikala Dwyer, Katherine Huang, Tobias Kaspar, Piotr Łakomy, Taree Mackenzie, Tahi Moore, Michael O’Connell, Ester Partegas, Natalie Rognsoy, John Spiteri, Dan Arps, Sean Bailey, Olivia Barrett, Matthew Benjamin, Jon Campbell, Trevelyan Clay, Fiona Connor and Michala Paludan, James Deutsher, DoubleFly, George Egerton-Warburton, Endless Lonely Planet, ffiXXed, Alicia Frankovich, Justin K Fuller, Marco Fusinato, Greatest Hits, Ardi Gunawan, Hao Guo, Christopher L G Hill, Matt Hinkley, David Homewood, Matthew Hopkins, Lou Hubbard, Renee Jaeger, Helen Johnson, Kenneth Biennale (curated by Kenny Pittock and Amy May Stuart: Chris Clarke, Christo Crocker, Christina Hayes, Chris L G Hill, Christine Pittock, Christopher Sciuto), Legendary Hearts (Kieran Hegarty and Andrew Cowie), S.T. Lore, Patrick Lundberg, Carrie McGrath, Rob McKenzie, Taree McKenzie, Nick Mangan, Gian Manik, Kate Meakin, Adelle Mills, Tahi Moore, Kate Newby, Elizabeth Newman, Virginia Overell, Sean Peoples, Joshua Petherick, Kain Picken, Lisa Radford and Sam George, Nick Selenitsch, Kate Smith, Studio Masatotectures, Sydney (Esther Edquist), Masato Takasaka and Madeline Kidd, Ben Tankard, Alex Vivian, Nicki Wynnychuk, y3k, Lauren Burrow, Counterfeitnessfirst, James Deutsher, Laurel Doody, George Egerton-Warburton, ELP3 Vine, Endless Lonely Planet, Lewis Fidock, Aurelia Guo, Christopher L G Hill, Lou Hubbard, Lucina Lane, Kate Meakin, Tahi Moore, Elizabeth Newman, Liam Osborne, Virginia Overell, Joshua Petherick, Lisa Radford, Zac Segbedzi, Nick Selenitsch, Nicholas Tammens, Alex Vivian, Rudi Williams, Gavin Bell, Jarrah de Kuijer and Simon McGlinn, Candida ((Gian Manik and Ricarda Bigolin) in collaboration with Agnieszka Chabros, Samuel Heatley and Jaala Jensen), Xin Cheng, Fiona Connor, Renee Cosgrave, Christo Crocker, Ying Lan Dann, Endless Lonely Planet, Richard Frater, Aurelia Guo, HB Peace, Hoggle, Lou Hubbard, Olivia Koh, Spencer Lai, Laurel Doody Library Supply, Patrick Lundberg, Kate Meakin, Olivia O’Donnell, Jason Willers, and more...
More info at http://www.christopherlghill.com
2007, English
Softcover, 96 pages
Published by
IMA / Brisbane
City Gallery / Wellington
$15.00 - Out of stock
For the last twenty years Hany Armanious has been a key figure in Australian art. His formally diverse work is marked by its conflation of opposing values. He draws on images and objects from a divergent pool, morphing and overlaying styles and vocabularies to build playful, evocative and unexpected new configurations. This accumulative short-circuiting of history, influence and association is intentionally far-fetched and often comical. His work draws our attention to the prevalent imperative to seek connection, to notice sameness, to rationalise points of confluence through often bogus means. This book is a new monograph on Armanious’ work produced by City Gallery Wellington in partnership with IMA, Brisbane.
1996 / 2004, English
Softcover, 315 pages, 21 x 25cm
Published by
IMA / Brisbane
$45.00 - Out of stock
The classic anthology, What Is Appropriation?: An Anthology of Writings on Australian Art in the 1980s & 1990s, on contemporary Australian art. It was first published in 1996 and a second edition was issued in 2014.
It was probably Ad Reinhardt, though it could have been Sherrie Levine or even Andy Warhol, who remarked that you only know you are doing something original when everybody else is doing it. This book explores this and other paradoxes raised by the practice of appropriation the quotation and use of other artists’ work that became widespread in the 1980s. Why was the practice so uniquely popular in Australia? What did it say about the relationship of Australian art to the art of other countries; about white art to Aboriginal art; and about contemporary art to the art of the past? How and why does appropriation fundamentally challenge habitual ways of looking at pictures and thinking about art? The essays and pictures in this book provide answers to these questions, but always in the knowledge that the enigma of appropriation remains.
2014, English
Hardcover, 432 Pages, 198 x 269 cm
Published by
Formist / Sydney
Sarah Cottier / Sydney
$65.00 $40.00 - Out of stock
The history of Sarah Cottier Gallery’s first twenty years in a comprehensive reference volume.
An example of one of Australia’s most influential contemporary art galleries.
Twenty years, two hundred exhibitions, four venues, nearly one hundred artists. Ever since its arrival in 1994, Sarah Cottier Gallery has been one of Australia’s most courageous contemporary art galleries. The artists represented in this time, including John Armleder, Sydney Ball, Marco Fusinato, Matthys Gerber, John Nixon, Mike Parr, Koji Ryui and Gemma Smith, represent some of the hottest talent in contemporary art.
20/200 celebrates the first twenty years of the gallery and its artists in a pictorial format that illustrates the breadth of the twenty year experience. The book includes images of every one of the gallery’s two hundred exhibitions and includes the work of almost one hundred artists. The volume is hardcover bound with a timeless rounded spine and features a holographic foil on the the front cover. The individual works and specific highlights inevitably surrender to the vast, hypnotic rhythm of the volume’s breadth – as in the fairy tale conundrum of the dancing princesses, each is more beautiful than the last.
Includes the work of A.D.S. Donaldson, Martin Creed, Kerrie Poliness, Melinda Harper, Julian Dashper, John Armleder, Sydney Ball, Mikala Dwyer, Hany Armanious, Marco Fusinato, Matthys Gerber, John Nixon, Mike Parr, Koji Ryui, Mikala Dwyer, Hany Armanious, Matt Hinkley, Huseyin Sami, Robert Pulie, Julia Gorman, Simon Denny, Anne-Marie May, Gemma Smith, John Spiteri, Katherina Grosse, Mary Teague, Olivier Mosset, and many more!
Texts by Nicholas Chambers, Jason Marcou, Julie Fragar, Anna Waldmann, Amanda Rowell, Alan Cholodenko, Mark Titmarsh and Christopher Hanrahan.
2016, English
Softcover, 158 pages, 21 x 29 cm
Published by
Pataphysics Books / Melbourne
$20.00 - In stock -
Fantastic new issue from Melbourne's Pataphysics Magazine!
The "MIRAGE ISSUE" features:
Brook Andrew - Systems of Allowance
Hany Armanious - Light
Del Kathryn Barton - The Stars Eat Your Body
Marcus Bergner - Four Designs
Stephen Bram - Collages
Claude Cahun - Aveux non Avenus
Mark Cohen - Interview and Photographs
Fiona Connor - Wall Section (home)
Mikala Dwyer - Saint Jude’s Leftovers
Hans Eijkelboom - In the Newspaper
Ivars Gravlejs - Interview and Photographs
Janina Green - Be Home Before Dark
Eliza Hutchison - Photographs
David Noonan - Collages
Ron Padgett - Man to Man
Barrington Vincent Sherman - Tenebrae Visibiles
Michael Williams - Photographs
Konrad Winkler - Julie
2016, English
Softcover, 36 pages, 21 x 29.7 cm
Published by
Sydney / Sydney
$30.00 - In stock -
Published by Sydney on the occasion of an offsite exhibition held at Redleaf pool on Sydney harbour, 2016. Curated by Conor O'Shea featuring work by Martyn Reynolds, Hany Armanious, Quintessa Matranga, Sofia Leiby, Travess Smalley, Sydney Shen, Adriana Ramić, Hilarie Mais, Viktor Timofeev.
1994, English
Softcover (stapled), 12 pages (colour ill.), 21 x 14.8 cm
1st Edition, Out of print title / Used*,
Published by
David Pestorius / Brisbane
$160.00 - Out of stock
This catalogue was printed on the occasion of the exhibition
Hany Armanious "Selflok"
20th May - 11th June 1994
David Pestorius gallery, Brisbane
1993, English
Softcover (staple bound), 20 pages (5 colour ill.), 15 x 10.5 cm
Out of print title / Used*,
Published by
BARBERism / Sydney
$60.00 - Out of stock
This catalogue accompanied the work of Hany Armanious included in Aperto, 45th International Exhibition of Art, Venice Biennale, 1993
2013, English
Softcover, 128 pages, 17 x 21 cm
Published by
MUMA / Victoria
$20.00 - Out of stock
Publication to accompany the exhibition "Reinventing The Wheel: The Readymade Century", 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.
Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.
Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-fordism and other concerns, particularly among contemporary Australian artists.
Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.
Artists:
Carl Andre, Hany Armanious, Nairy Baghramian, Ian Burn, John Cage, Christo & Jeanne-Claude, Tony Cragg, Michael Craig-Martin, Martin Creed, Aleks Danko, Julian Dashper, Simon Denny, Marcel Duchamp, Sylvie Fleury, Ceal Floyer, Claire Fontaine, Gilbert & George, Félix González-Torres, Agatha Gothe-Snape, Greatest Hits, Matthew Griffin, Richard Hamilton, David Hammons, Matt Hinkley, Lou Hubbard, Barry Humphries, Jeff Koons, Joseph Kosuth, Louise Lawler, Klara Lidén, Andrew Liversidge, James Lynch, Robert MacPherson, Rob McKenzie, Callum Morton, John Nixon, Meret Oppenheim, Joshua Petherick, Kain Picken, Rosslynd Piggott, Man Ray, Scott Redford, Stuart Ringholt, Peter Saville, Charlie Sofo, Haim Steinbach, Ricky Swallow, Masato Takasaka, Peter Tyndall, Alex Vivian, Danh Vo, Andy Warhol, and Heimo Zobernig.
Curatorial team:
Max Delany (former MUMA director), Charlotte Day, Francis E. Parker, and Patrice Sharkey.With texts by Rex Butler, Charlotte Day, Francis Parker, Patrice Sharkey, and a never before published text by Thierry de Duve.
2013, English
Loose-leaf collection of Y3K ephemera (folded A3 exhibition posters, plus A4 inserts), 21 x 29.7 cm
Edition of 100,
Published by
Y3K / Melbourne
$25.00 - Out of stock
Y3K was a two-year (2009-2011) proposition initiated by James Deutsher and Christopher L G Hill, a gallery practice as-an-extension-of an art practice and-in-support-of a wider art and design community in Melbourne and Internationally.
Over two-years Y3K exhibited World Food Books, BLESS, Christopher L.G. Hill, Emmeleine deMooij, Jota Castro, Kinga Kielczynska, Melanie Bonaj, fabrics interseason, ffiXXed, Heinz Peter Knes, James Deutsher, Matt Hinkley, Olivia Barrett, Pat Foster, Jen Berean, Rob McKenzie, SIBLING, Slow and Steady Wins the Race, Jon Campbell, LOST Projects, Alex Vivian, Daniel du Bern, Nick Selenitsch, Kain Picken, Next Wave, A Constructed World, Joshua Petherick, Helen Johnson, Bianca Hester, Misha Hollenbach, David Griggs, Sam Kiyoumarsi, Robert Langenegger, Nick Mangan, Matt Griffin, Masato Takasaka, Fiona Connor, Tahi Moore, Ida Ekblad, Art Centre Ongoing, Kit Lee, Kate Newby, Sriwhana Spong, Dylan Statham, Simon Taylor, Sophia Mitchell, Rowan Mcnaught, MM Yu. Ilia Farah Rosli, Marco Fusinato, TATE Modern, Marie Gaultier, Anna Hess, Veronica Kent, Jarrod Rawlins, Keith Al-Hasani, Ruby Lowe, Justin Clemens, Daniel Munn, Simon Denny, Dan Arps, Andrew Barber, Structural Integrity, Marco Fusinato, Rose Nolan, Dan Bell, Kate Smith, Ardi Gunawan, Nikos Pantazopoulos, Ben Tankard, Steve Kado, Virginia Overell, Mateo Tannatt, Sean Peoples, Inri Cristo, Tara Rawlins, Chateau 2F, Oscar Yanez, Hany Armanious, Ash Kilmartin, Elizabeth Gower, Lizzy Newman, Nina Sers, Maria Kozic, Ellen Pittman, Juan Davila, Janet Burchill, Jennifer McCarthy, Constanze Zikos, Hao Guo, Pow Martinez, Carissa Rodriguez, Tobias Kaspar, Piotr Łakomy, Natalie Rognsøy, Katherine Huang, Taree McKenzie, Ester Partegas, Mikala Dwyer and John Spiteri and more.
Each exhibition was accompanied by an A3 double sided unique limited edition poster designed by the artists and gallerists. These posters now form the basis for the Y3K publication.
Included in this publication, and on the occasion of it's launch to the public two years after the cessation of the Y3K gallery space, is an accompanying text from
Fayen D’Evie.
The Y3K publication is a limited edition of 100, and is available from World Food Books.
2013, English
Softcover(w. loose leaf inserts), 244 pages (colour & b/w ill.), 30 x 23 cm
Ed. of 1000,
Published by
Discipline / Melbourne
$30.00 - Out of stock
Discipline is a Melbourne-based journal of contemporary art. It has a focus on artist pages by, and longer, research-based essays on Australian artists.
No. 3 (Winter 2013)
Edited by Nicholas Croggon and Helen Hughes and guest edited section by Raimundas Malasauskas.
Features essays by Adrian Martin on film, art and the support-surface; Anusha Kenny on Anastasia Klose; David Homewood on Dale Hickey’s cups; David Wlazlo on Ian Burn; Helen Johnson on Hany Armanious’s new sculpture for the MCA; Huw Hallam on Nikos Papasteriadis’s book Culture and Cosmopolitanism (2012); Jan Bryant on TJ Clark and the contemporary; Justin Clemens on contemporary art-as-minimal domination; Lauren Bliss on A Constructed World and Speech and What Archive; Lisa Radford on Geoff Newton; Maggie Finch on Simryn Gill; interview with Mattin by Joel Stern and Andrew McLellan; Quentin Sprague on Nyapanyapa Yunupingu’s Light Painting; Rex Butler on John Nixon: A Communist Artist; Terry Smith in response to Nikos Papastergiadis’s review of his two books What is Contemporary Art? (2009) and Contemporary Art: World Currents (2011), published in Discipline 2 (2012); and the third and final instalment of ST Lore’s serialised novel.
It also includes artist pages by: Alex Vivian, Alicia Frankovich, Brook Andrew, Claire Lambe, Dan Arps, Gabriella Mangano and Silvana Mangano, Harriet Morgan, Justin Andrews, Kate Smith, Lauren Berkowitz, The Mulka Project, Narelle Jubelin and Jacky Redgate, Nathan Gray, Nick Selenitsch, Patrick Pound, Rob McLeish, and Zoe Croggon.
And a guest-edited supplement by Raimundas Malasauskas, curator of the Lithuanian Pavilion at the 2013 Venice Biennale.
Designed by Annie Wu and Ziga Testen.
2012, English
Hardcover, perfect-bound, 47 pages (22 colour ill.), 200 x 170 mm
Published by
Monash University Museum of Art / Melbourne
$15.00 - Out of stock
Artist's book developed for MUMA to accompany Hany Armanious: The Golden Thread, the Australian premiere of works shown at the 54th Venice Biennale in 2011, presented alongside a suite of new works
Design by Hany Armanious and Yanni Florence
2009, English
Softcover, 12 over-sized pages (colour ill.), offset, 300 x 420 mm
Edition of 500,
Published by
Sandwich Artists Management LLC / New York
$10.00 $5.00 - In stock -
Sandwich is a new tabloid-sized critical art journal founded by Rob Mckenzie and designed by Joshua Petherick, as an extension of Rob's former SLAVE publishing.
Issue no. 1 includes interviews with/discussions on/contributions by Ester Partegas, David Pestorius, Willy Wonka Inc., Joint Hassles, Gambia Castle, Bless, Lukas Duwenhogger, Hany Armonious, Jack Goldstein, Gwyn Porter, Isabella Bortolozzi, Mladen Stilinovic, Janet Burchill and Jennifer McCamley, Julian Goethe, Luis Macias, The Suburban, Eva Svenning, Oreet Ashery, Texte Zur Kunst, Jacques Lacan, Michael Snachez, Lizzy Newman, and more... !!
2011, English / Italian
Hardcover, 152 pages (colour and b/w ill.), 250 x 290 mm
$30.00 - Out of stock
First published by the Australia Council for the Arts on the occasion of the exhibition Hany Armanious "The Golden Thread", for the Australian Pavilion at the 54th International Art Exhibition, la Biennale di Venezia (The Venice Biennale) 4 June – 27 November 2011.
Heavily illustrated with full colour photographs, plus texts from curator Anne Ellegood, Michael Ned Holte, Alexander Dumbadze, Adam Jasper and Rachel Kushner.
2008, English
Softcover, 24 pages (13 colour ills), offset, 150 × 105 mm
Published by
Michael Lett / Auckland
$10.00 - In stock -
Catalogue for the 2008 exhibition Noli Me Legere at Michale Lett in Auckland. Features work by Ava Seymour, Emily Wardill, Hany Armanious, Simon Denny, Jim Allen, and Wolfgang Tillmans.
Essays by Jan Bryant and Sarah Hopkinson.
Design by Kelvin Soh.
2005, English
Coverless gummed spine, 90 pages / 45 leaves (41 illustrations - b/w, duotone), 148 × 105 mm
Published by
Michael Lett / Auckland
$25.00 - Out of stock
Wonderful pocket book published around Hany Armanious' "Turns In Arabba" work.
Text by Jason Markou.