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.
2017, English
Softcover, 112 pages, 21 x 29.7 cm
Published by
David Pestorius / Brisbane
Sternberg Press / Berlin
$69.00 $2.00 - Out of stock
CityCat Project 2006–2016 is the record of an extraordinary collaboration between American artist Dave Hullfish Bailey and senior Aboriginal writer and activist Sam Watson. The collaboration is structured around Maiwar Performance, in which the CityCat ferries that ply the Brisbane River (Maiwar) execute unannounced maneuvers near a site of significance to the Aboriginal people who lived on the lands around Brisbane before British colonization in the early nineteenth century.
After its first iteration in 2006, Watson designated the event a “Dreaming,” which meant that it should be periodically repeated. The performance has since been restaged in 2009, 2012, and 2016, with Watson seeing it as an important act of Indigenous empowerment: a way of restoring agency to the local Aboriginal people in bringing their past alive and allowing them to think that the future has not been definitively determined.
Parallel to this recurring event is an evolving body of works in diverse media. At its core is Bailey’s lateral research-based process, which combines a highly reflexive approach to language with granular descriptions of material and cultural systems. The call-and-response collaboration between Watson and Bailey and the many irreducibilities within it, generates an articulation of place that is playfully extrapolative, yet politically and intellectually resistant.
This publication includes an introduction by its editor, Rex Butler, and an essay and detailed timeline by CityCat Project curator, David Pestorius, which covers the activities of Bailey and Watson both before and throughout their work together. In addition, art historian Sally Butler reflects upon Watson’s literary production, while curator Michele Helmrich sheds light on the local historical context that significantly informs the collaboration.
Edited by Rex Butler
Texts by Rex Butler, David Pestorius, Sally Butler, Michele Helmrich
Graphic concept by Heimo Zobernig
Design by Michael Phillips
Copublished with Australian Fine Arts/David Pestorius, Brisbane
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.
1998, English
Softcover, 28 pages, 21 x 28 cm
1st Edition, Out of print title / as new
Published by
The Renaissance Society / Chicago
$45.00 - Out of stock
Catalogue published on the occasion of Heimo Zobernig's solo exhibition at Renaissance Society in 1996. Austrian Heimo Zobernig's work intervenes, rearranges, recontextualizes, and down-right makes fun of the architecture of museum/gallery spaces so as to demystify its illusory potential and reinscribe it with self-referentiality. Zobernig is among several significant contemporary artists such as Michael Asher, General Idea, and Daniel Buren who have made it their mission to critique sites of modern art.
In Zobernig's 1996 installation, the gallery walls from the Society's preceding exhibition were laid flat on the floor-a neat-handed figure/ground reversal turning support into sculpture. In another provocative turn, Zobernig brought the outside in to this altered gallery space via video - he had himself filmed cavorting around the Renaissance Society hallway naked in front of walls that were painted video back-drop blue; this image was then super-imposed on footage shot while driving around Chicago. This informative and engaging book, designed by Zobernig, serves as a valuable pictorial document, and an insightful critical analysis of this important work. Walker's essay speaks to the challenge Zobernig's art poses for art history and the implications of that challenge for the future of art. In addition, the catalog features a transcript of the panel discussion: Planned Obsolescence, in which a group of critics, curators and architectural historians gathered to discuss how Zobernig's practice differs from, or further informs, practices that have made an art out of calling for an end of art.
2016, English
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by
Prestel / Munich
$120.00 - Out of stock
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, Guyton/Walker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
2011, English
Softcover with dustjacket, 98 pages, 12 x 19 cm
Published by
Sternberg Press / Berlin
$28.00 - Out of stock
Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch (Eds.)
Texts by Ina Blom, Oliver Brokel, Caroline Busta, Stefan Deines, Hal Foster, Stefanie Heraeus, Jutta Koether, Magdalena Nieslony, Michael Sanchez
Many contemporary artworks evoke the human figure: consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig, or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This book brings together contributions from the eponymous conference, all of which seek to speculate on the reasons as to why, since the turn of the millennium, we have encountered so many artworks that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi’s theory of semiocapitalism—a power technology that aims squarely at our human resources. The participants of this conference were asked to offer possible explanations for this wide acceptance of anthropomorphism—could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
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
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).
2016, English
Softcover, 432 pages, 21 x 29.7 cm
Published by
Walther König / Köln
$83.00 - Out of stock
Catalogue Raisonne of Heimo Zobernig's vast history of Books & Posters: 1980-2015, including reproduction and detailed information on 114 books, and 117 bosters, alongside texts by Diana Baldon, Moritz Küng. An essential aspect of Zobernig's work and a must-have heavy archive document for any fan.
Published by Verlag Der Buchhandlung Walther Konig.
Heavy book may require additional postage.
2016, English
Softcover, 272 pages, 22 x 29.3 cm
Published by
Kaleidoscope Press / Milan
$20.00 - Out of stock
Kaleidoscope #27 (Summer 2016) is issue is a key to enter the world of Los Angeles-based artist Sterling Ruby, exclusively playing the double role of subject and guest editor. Conceived as a viral, aggressive takeover of the magazine’s architecture, content and design, this hyper-vertical survey is the result of an intense dialogue with the artist and his studio, comprised of 160+ pages on his exuberant work and vision.
Ruby’s cover portrait is drawn from an extensive series shot by photographer Max Farago at the artist’s massive industrial studio space in LA. Inside, the Sterling Ruby Takeover decodes the artist's grammar through an intimate conversation with artist Piero Golia and newly commissioned writings by Alex Gartenfeld, Donatien Grau, Aram Moshayedi, Ross Simonini, Paul Schimmel and Catherine Taft; while his network of influences is explored through a series of guest features dedicated to his peers, heroes and collaborators, including Huma Bhabha (by Massimiliano Gioni), Cassils (by Francesca Gavin), Mike Davis (by Sterling Ruby), John Divola (by Alexander Shulan), Cyprien Gaillard (by Natalia Valencia Arango), Ron Nagle (by Sterling Ruby), Nancy Rubins (by Sterling Ruby), Raf Simons (by Alessio Ascari) and Melanie Schiff (by Sarah Workneh). All of this content is punctuated by stunning visual contributions especially created by Ruby for the magazine’s pages, comprising an unseen presentation of his Work Wear modeled by the entire studio team.
Born in 1972 on an American air force base in Germany, raised in rural Pennsylvania, trained in Chicago, Ruby moved to LA to finish his education, became Mike Kelley’s teaching assistant and quickly one of the city’s quintessential artists. Now 44, he runs a megastudio with a staff of over twenty under the big black sun. Complex to label in his unapologetic combination of compulsion and strategy, bigness and poetry, handcraft and seriality, darkness and psychedelia, hard and soft, Ruby is one of the most unique and controversial voices on the art scene, working incessantly across the most diverse media and platforms and stretching the limits of visual language. This hybrid editorial experiment coincides with the artist's major show at the Belvedere/Winterpalais in Vienna and participation in the “Made in LA“ biennial at Hammer Museum, Los Angeles.
Running independent from the takeover, the opening section of HIGHLIGHTS and the closing section of REGULARS complete the issue with a rich and varied selection of the best of the summer season and insightful contributions from our columnists and correspondents around the globe.
HIGHLIGHTS features profiles on Sean Raspet (by Franklin Melendez), Kienholz (by Gianni Jetzer), Marguerite Humeau (by Nadim Samman), Eckhaus Latta (by Chloe Wilcox), Sol Calero (by George Vasey), Renaud Jerez (by Tina Kukielski), Christopher Y. Lew (by Julia Trotta), Yngve Holen (by Cristina Travaglini), Home Economics (by Attilia Fattori Franchini), Valerie Keane (by Allison Bulger), Cao Fei (by Xin Wang) and Megan Rooney (by Harry Burke).
In the REGULARS section, “Producers” features Carson Chan in conversation with New York-based collective DIS; in “Futura 89+,” Hans Ulrich Obrist and Simon Castets (with Katherine Dionysius) interview young Portuguese artist Bruno Zhu; Fiona Duncan reflects on the figure of the go-go dancer in contemporary art and culture as part of her “Pro/Creative” column; in “Renaissance Man,” Jeffrey Deitch discusses the collaboration between artist Alex Israel and writer Bret Easton Ellis; Maria Lind's “Centerstage” presents Danish artist Marie Kölbaek-Iversen; Gean Moreno unveils Cuba’s new normal for “Panorama”; in “Pioneers,” Fredi Fischli and Niels Olsen talk to Heimo Zobernig; and lastly, as part of the “What's Next” series, we look forward to the season with collector and curator Tiffany Zabludowicz.
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 $15.00 - In stock -
ISSUE NO. 100
DECEMBER 2015
„THE CANON“
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
PREFACE
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
DIEDRICH DIEDERICHSEN
MIKE KELLEY
SABETH BUCHMANN
MEDIAL (SELF-)MOVEMENT
ISABELLE GRAW
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
JULIANE REBENTISCH
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
GERTRUD KOCH
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
KERSTIN STAKEMEIER
MORE MANNERISM / Ruth May and Jan Molzberger
GUNTER RESKI
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
BEATE SÖNTGEN
ROSEMARIE TROCKEL
NICK MAUSS
IAN WHITE
TESS EDMONSON
DIS
HANNA MAGAUER
POST-INTERNET: THE NEW ORDER
JOSEPHINE PRYDE
THE INDIVIDUAL
CAROLINE BUSTA
BAD CANON
SIMON DENNY
DISRUPT
KEN OKIISHI
CITIZENSHIP
VALENTINA LIERNUR
SELF-REFLECTIVE SUBJECTS
JUTTA KOETHER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
TUCUMÁN ARDE
PAMELA M. LEE
GROUP MATERIAL
FELIX VOGEL
MARTIN BECK
SVEN BECKSTETTE
STURTEVANT
CLAIRE FONTAINE
TOWARD A CANONIC FREEDOM
SVEN LÜTTICKEN
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
BRIGITTE WEINGART
GREAT & SMALL
HELMUT DRAXLER
CANON OF EXISTENCE, ETHICS OF THE BREAK
ROTATION
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
REVIEWS
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
OBITUARIES
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015)
by Tim Griffin
EDITION
JOHN BALDESSARI
NHU DUONG
PETER FISCHLI/DAVID WEISS
WADE GUYTON
RACHEL HARRISON
SARAH MORRIS
ALBERT OEHLEN
RICHARD PHILLIPS
SETH PRICE
GERHARD RICHTER
ROSEMARIE TROCKEL
2006, English
Softcover, 74 pages, 21 x 29.5 cm
Edition of 40 (signed and numbered, w. 5 artist's proofs and 2 printer's proofs), As New,
Published by
David Pestorius / Brisbane
$270.00 - Out of stock
Heimo Zobernig
Untitled, 2006
Edition for Pacemaker
Artist's book, b&w, offset + photocopied, perfect bound
Edition of 40 (signed and numbered, w. 5 artist's proofs and 2 printer's proofs)
Published by David Pestorius Projects on the occasion of Heimo Zobernig's exhibition at Artspace, Sydney (7 April - 6 May, 2006), and as a special edition for the free French and English quarterly Pacemaker.
Print Production by The Printing Office, Brisbane.
This book includes offset printed photo-documentation by Richard Stringer of Heimo Zobernig's exhibition at the Pestorius Sweeney House, Brisbane (18 June - 23 July, 2005), together with, amongst other things, photocopies of pages from the following publications: Conceptual Art and Conceptual Aspects. ed. Ian Burn and Joseph Kosuth, New York City: New York Cultural Centre, 1970; Art & Language: Catalogue Raisonné November 1965 - Feb 1969. Leamington Spa and Zurich: Art and Language Press and Galerie Bischofberger, 1970; Ian Burn, Dialogue: Writings in Art History. ed. Geoffrey Batchen. North Sydney: Allen & Unwin, 1991; Paul Maenz Koln 1970 - 1980 - 1990: An Avant-GardeGallery And The Art of Our Time. ed. Gerd de Vries. Koln: DuMont, 1991 (with the permission of Paul Maenz).
Acknowledgements: The Power Institute, Catherine Chevalier, Eva Svennung, Paul Maenz, Nick Tsoutas.
2013, English
Softcover, 256 pages (colour & b/w ill.), 29.7 x 21 cm
Published by
Walther König / Köln
$58.00 - Out of stock
Heimo Zobernig uses a variety of media, including painting, sculpture, video, installations, architectural interventions and performance art. His works seem to question the usual art narrative, in media such as architecture, design and theatre, by stirring up the underlying ideological positions and reinterpreting them with a characteristic economy of means, materials and methodologies. In this beautifully designed publication accompanying and documenting the exhibitions at the Palacio Velázquez/Museo Reina Sofia in Madrid and at the Kunsthaus Graz, all of the works presented are traced back historically to the beginning of the 1980s with regard to their origins. Alongside a contextualising text by the exhibition's curator, Jürgen Bock, commenting on the oeuvre of this internationally renowned Austrian artist are Achim Hochdörfer on the meaning of painting, Andrew Renton on Beckettian theatricality and Gertrud Sandqvist on its art-historical aspects.
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.
2001, English
Softcover, 80 pages, 16.5 x 24.5 cm
1st Edition, Out of print title / As New,
Published by
University of Queensland Art Museum / Brisbane
$25.00 - Out of stock
7 December 2000—24 February 2001
University of Queensland Art Museum, Brisbane
Monochromes was the first major survey in Australia of artists working with a single colour. It presented artworks produced over the previous 35 years by more than 45 Australian and foreign artists who have exhibited work of this nature in Australia. The approach adopted involved selecting one work by each artist and grouping them by colour. And rather than including only artists who might be considered 'hard-core' exponents of the painted monochrome, a more expanded view of monochromatic practice was embraced, one that acknowledged critical shifts in contemporary practice since the 1960s, with numerous conceptual and post-conceptual works presented.
A substantial catalogue, with an introduction by David Pestorius, commissioned essays by Andrew McNamara (QUT) and Morgan Thomas (UQ), and comprehensive installation view photo-documentation, was produced in the immediate aftermath of the exhibition.
artists: Ian Anüll (Zurich) Peter Bonde (Copenhagen) Peter Booth (Melbourne) Ian Burn (Melbourne) A.D.S. Donaldson (Sydney) Mikala Dwyer (Sydney) Andreas Exner (Frankfurt) Dale Frank (Brisbane) Marco Fusinato (Melbourne) Gail Hastings (Sydney) Leni Hoffmann (Düsseldorf) Robert Hunter (Melbourne) Robert Jacks (Melbourne) Gerold Miller (Berlin) Ian Milliss (Sydney) Elizabeth Newman (Melbourne) John Nixon (Sydney) Rose Nolan (Melbourne) Robert Owen (Melbourne) Wendy Paramour (Sydney Ti Parks (Melbourne) Mel Ramsden (Oxfordshire) Robert Rooney (Melbourne) Chris Wilder (Los Angeles) Heimo Zobernig (Vienna), and others.
2012, English
Softcover, 160 pages, 220 x 293 mm
Published by
Kaleidoscope Press / Milan
$18.00 - Out of stock
"PAINTING FOREVER"
HIGHLIGHTS
Oscar Murillo by Isobel Harbison; Ryan Sullivan by Klaus Kertess; Allison Katz by Chris Sharp; Jonathan Binet by Michele D’Aurizio; Tala Madani by Chris Wiley.
MAIN THEME – Four Painters, Four Perspectives
Heimo Zobernig by Beatrix Ruf; John Currin by Catherine Wood; Amy Sillman by Joanna Fiduccia; Michael Krebber by Isabelle Graw.
MONO – Dianna Molzan
Essay by Jonathan Griffin; Interview by Bruce Hainley.
REGULARS
Futura: Nikolas Gambaroff by Hans Ulrich Obrist; Souvenir D’Italie: Giorgio Griffa by Luca Cerizza; Producers: Almine Rech by Carson Chan; On Exhibitions: “Painter Painter” by Cristina Travaglini.
2011, English
Softcover, 220 x 293 mm
Published by
Kaleidoscope Press / Milan
$18.00 - Out of stock
Kaleidoscope 10 – Spring 2011
Kaleidoscope is an international quarterly of contemporary art and culture. Distributed worldwide on a seasonal basis, it offers a timely guide to the present (but also to the past and possible futures) with an interdisciplinary and unconventional approach.
HIGHLIGHTS
Michael E. Smith by Chris Sharp; Jean-Léon Gérome by Marie de Brugerolle; Kathryn Andrews by Michael Ned Holte; Criticism as Fiction? by Vincenzo Latronico; John Divola by Chris Wiley.
MAIN THEME – Art Faces the Economy
Superflex by Marina Vishmidt; Charles Esche and Maria Lind in conversation; Current Account by Nav Haq; Zachary Formwalt by Binna Choi
MONO – Haegue Yang
Essay by Bart van der Heide; Focus by Joanna Fiduccia; Special project by Haegue Yang; Interview by Yasmil Raymond.
REGULARS
Pionners: Absalon by Simone Menegoi; Futura: Raumlabor by Hans Ulrich Obrist; Mapping the Studio: Heimo Zobernig by Luca Cerizza; Vis à vis: Leigh Ledare and Hilary Lloyd by Elena Filipovic; Critical Space: Chantal Mouffe by Markus Miessen; Last Question by Alessandro Pessoli.
2003, English/German
Softcover, 360 pages, 210 x 295 mm
Published by
Walther König / Köln
$45.00 - Out of stock
This title presents, for the first time, the extensive œuvre of Austrian-born artist Heimo Zobernig - an artist who exploits the full spectrum of current forms of artistic expression as almost nobody else can. This publication presents a standard reference work on the artist with a comprehensive index that provides an overview of the last 25 years of his work. Each of his works is documented in photographs and explained within its context, communicating the unpretentious nature of Zobernig’s art.
June 2010, German/English
Softcover Journal, 262 pages (colour/bw ill.), offset, 230 x 165 mm
Published by
Texte Zur Kunst / Berlin
$38.00 - Out of stock
"FASHION"
Includes : Frédéric Monneyron - The Significance of Couturiers and fashion Magazines, fashion is Fun / An interview with Stefano Pilati by Merlin Carpenter, Isabelle Graw - Fashion and Vitality / A note on "Brigitte" without models, Elegant Discipline / An interview with Rick Owens by Monica Titton, Kim Gordon "Fossil Collections / On Rodarte", Monica Titton "Fashion in the City / Street-Style-Blogs and the Limits of Fashion's Democratization", "Global Fashion - Local Tradition. On the Globalization of Fashion" by Gurtrud Lehnert, Mahret Kupka "Uniform of the Slim / On the Persistence of a Silhouette", Heimo Zobernig, Rudolf Stingel, Andreas Fogarasi, Daniel Buren, Ed Ruscha, "Skin Fruit: Selections from the Dakis Joannou Collection", Allen Ruppersberg,Danica Dakic, Willem de Rooij, Michela Meise, "Crash Site/My_Never_Ending_Burial_Plot" by Juli Carson, "Donna - Avanguardia femminista negli anni '70 dalla Sammlung Verbund di Vienna", Diedrich Diederichsen - "Changing Channels. Kunst und Fernsehen 1963-1987", "2010 Whitney Biennial","Yves Saint Laurent. Rétrospective", much more.
One of the finest art journals, period. TEXTE ZUR KUNST stands for controversial discussions and contributions by internationally leading writers on contemporary art and culture. Alongside ground-breaking essays the quarterly magazine, founded in Cologne in 1990 by Stefan Germer (†) and Isabelle Graw and published in Berlin since 2000, offers interviews, roundtable discussions and extensive reviews on art, film, music, market and fashion as well as on art history, theory and cultural politics. Since 2006 the comprehensive main section section, each time devoted to a different topic, and selected reviews are published in both German and English.
2009, English/French
Softcover, 176 pages, 175 x 240 mm
Published by
May Revue / Paris
$18.00 - In stock -
May Revue is a wonderful arts journal from Paris, edited by Catherine Chevalier and Eva Svennung.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
May #2 features texts and contributions by/on artists and critics, including Dahn Vo, Heimo Zobernig, Anthony Elms, Jay Chung, Elvan Zabunyan, Thomas Boutoux, Catherine Chevalier, Benjamin Thorel et Patricia Falguières, Elisabeth Lebovici, Natasa Petresin-Bachelez, Gallien Dejean, Bruno Serralongue, Seth Price, Lili Reynaud Dewar, Karl Holmqvist, Juliane Rebentisch, Hegel, Dork Zabunyan, Chicago, Merlin Carpenter, and more!!!