World Food Books

The Readymade Boomerang: Certain Relations in 20th Century Art
The 8th Biennale of Sydney 1990

1990, English
Softcover (w. dust jacket), 512 pages, 29.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by Biennale of Sydney / Sydney

$120.00 - In stock -

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First edition of the incredible (huge) catalogue published to accompany the 8th Biennale of Sydney 1990 "The Readymade Boomerang: Certain Relations in 20th Century Art", held 11 April-3 June 1990 in Sydney across various venues. The eighth Biennale began from ‘a trio of Dada originators’: Marcel Duchamp, Man Ray and Francis Picabia. A large number of artists across generations joined these key figures in Artistic Director René Block’s exploration of the ‘readymade’ in twentieth-century art, which aimed to highlight ‘its invention and pure use by Duchamp, to its resurgence in Nouveau Realism, Pop Art, and Fluxus of the 60s, all the way to new versions by young contemporary artists’. Pop, fluxus and conceptual artists such as Andy Warhol, Richard Hamilton, Marcel Broodthaers, Joseph Beuys, John Cage, Alison Knowles, César, George Brecht, Nam Jun Paik and Piero Manzoni were shown alongside Rosemarie Trockel, John Nixon, Ian Burn, Mel Ramsden, Janet Burchill, Peter Tyndall, Robert Rooney, Rosalie Gascoigne, Cindy Sherman, Bruce Nauman, Hans Haacke, Rebecca Horn, Sophie Calle, Jeff Koons, Allan Kaprow, Jenny Holzer, Robert Gober, Jill Scott, Bill Culbert, Stanley Brouwn, Peter Cripps, Terry Fox, Ian Hamilton Finlay, Fischli & Weiss, KP Brehmer, Sigmar Polke, Dieter Rot, Hanne Darboven, Robert MacPherson, Jackie Redgate, Ed Ruscha, Barbara Bloom, Oyvind Fahlstrom, amongst so many others. The industrial Bond Store at Millers Point featured site-specific works by artists such as Olaf Metzel and Simone Mangos, and several works were created on-site in Sydney, amplifying Block’s notion of the Biennale as a ‘workshop’. A comprehensive satellite program of music, performance, lectures, symposia, workshops and exhibitions at various Sydney venues complemented the exhibition, with Carles Santos’ piano recital on a barge in Sydney Harbour a highlight. Five satellite exhibitions included On Kawara, Joseph Beuys, Alain Fleischer, Fluxus and Broken Record, which featured artist’s experimentations with audio recordings, vinyl and album artwork – from John Cage’s 33 1/3 composition for 12 record players to Milan Knížák’s record-collages.

An incredible Sydney biennale, captured here across over 500 pages conceived and realised by René Block and Jennifer Cook - profusely illustrated with examples of all artists works and accompanying texts throughout by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg, Dick Higgins, René Block and Jennifer Cook. Very Good copy with only general wear/ageing. Bright and clean, includes tanned original dust jacket now preserved under plastic wrap.

Having represented Beuys, Richter and Polke, German gallery owner, art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde.

Very Good copy with original dust jacket. Common tanning to dust jacket spine, now preserved under mylar wrap.

File under: Marcel Duchamp Man Ray Francis Picabia Andy Warhol Richard Hamilton Marcel Broodthaers Joseph Beuys John Cage Alison Knowles César George Brecht Bruce Nauman Hans Haacke Rebecca Horn Sophie Calle Jeff Koons Rosemarie Trockel John Nixon Ian Burn Janet Burchill Peter Tyndall Robert Rooney Allan Kaprow Jenny Holzer Robert Gober Jill Scott Stanley Brouwn Peter Cripps Terry Fox Ian Hamilton Finlay Fischli & Weiss Sigmar Polke Dieter Rot Hanne Darboven Robert MacPherson Ed Ruscha Barbara Bloom Carles Santos Milan Knížák On Kawara Alain Fleischer Öyvind Fahlström K. P. Brehmer Jacky Redgate Nam June Paik Cindy Sherman Piero Manzoni Rosalie Gascoigne Arman Olaf Metzel Shigeko Kubota Allan McCollum Panamarenko Stephen Prina Markus Raetz Edward Ruscha Reiner Ruthenbeck Sarkis Michael Snow Ken Unsworth Ben Vautier Robert Watts Lawrence Weiner David Weiss Emmett Williams Raymond Hains Bill Henson Tony Cragg Stan Douglas Christian Boltanski Dale Frank Jennifer Bolande Bill Culbert Zvi Goldstein Mel Ramsden Anne Zahalka George Maciunas Richard Dunn Milan Knizak Rainer Ruthenbeck Ger van Elk Derek Kreckler Dennis Adams Mimmo Rotella Rémy Zaugg Yoshi Wada Arthur Køpcke Stuart Sherman Henning Christiansen René Block Jennifer Cook Lynne Cooke Bernice Murphy Anne Marie Freybourg Dick Higgins Biennale of Sydney / Sydney Art Group Shows / Collections Out-of-print / Rare Australian Art Conceptual Art Fluxus Feminism Film / Video Minimal Art Performance / Dance / Theater Painting Photography Sculpture / Installation Sound / Music Surrealism Poetry Dada Curatorial Arte Povera Pop Art Nouveau Réalisme / Zero / Kinetic

$OUL — DÉCADA DEL 70 — INTERCÂMBIO ENTRE MAC E CAYC
Organised by Jorge Glusberg

1976, Portuguese
Double-sided fold-out, 4 panels, 47 x 30 cm (unfolded)
1st Edition, Out of print title / used / very good
Published by Museu de Arte Contemporânea da Universidade de São Paulo / São Paulo

$45.00 - In stock -

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Very rare fold-out catalogue for the important international art exhibition surveying conceptual art, concrete poetry, experimental art, performance art, mail art ("activity with a critical view of society") in the 1970s organized by Argentine author, publisher, curator, professor, and conceptual artist, Jorge Glusberg, who was director of the Center for Art and Communication of Buenos Aires (CAYC). With text by Brazilian professor, historian, art critic and curator by Walter Zanini, director of the Museu de Arte Contemporânea da Universidade de Sao Paulo (MAC). With a number of the exhibited heliographic documents from the exhibition illustrated throughout, the brochure catalogues the exhibited works by participants including: Dan Graham, Lawrence Weiner, Genesis P-Orridge, Ian Burn and Mel Ramsden, Öyvind Fahlström, Július Koller, Tim Ullrichs, Luis Fernando Benedit, Jaime Davidovich, Jorge Glusberg, Víctor Grippo, Lea Lublin, Luis Pazos, Julio Plaza, Jonier Marin, Jiří Valoch, Guillermo Deisler, Juan Navarro Baldeweg, Manuel Barbadillo, MH de Ossorno, Valcárcel Medina, Felipe Ehrenberg, César Bolaños, Pawel Petasz, José Urbach, Lydia Okumura, Haroldo González, Les Levine, and many others.

Very Good copy with light wear.

File under: Dan Graham Lawrence Weiner Genesis P-Orridge Ian Burn Mel Ramsden Öyvind Fahlström Július Koller Walter Zanini Jorge Glusberg Museu de Arte Contemporânea da Universidade de São Paulo / São Paulo Out-of-print / Rare Conceptual Art Concrete Poetry Art Group Shows / Collections Pop Art Collage / Mail Art / Xerox Art Performance / Dance / Theater Curatorial Film / Video Fluxus Minimal Art Nouveau Réalisme / Zero / Kinetic Painting Photography Poetry Protest / Revolt Sound / Music

The Situation Now: Object and Post-Object Art?
Curated by Terry Smith and Donald Brook

1971, English
Softcover (staple-bound), 42 pages, 43 x 24 cm
1st Edition, Out of print title / used / very good
Published by C.A.S. Gallery / Sydney

$400.00 - Out of stock

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Very rare, important publication distributed on the occasion of the exhibition "The Situation Now: Object and Post-Object Art", 16 July—6 August 1971, Central Street Gallery, Sydney, NSW. Curated by Terry Smith and Donald Brook, The Situation Now: Object and Post-Object Art, was a survey exhibition of conceptual and experimental works in Australia, sponsored by the Contemporary Art Society (CAS) held at Central Street. Artists in the exhibition: David Aspden, Michael Johnson, Trevor Vickers, Guy Stuart, Aleksander Danko, Nigel Lendon, Tony Coleing, Ti Parks, Clive Murray-White, Bill Gregory, Robert Hunter, Optronic Kinetics (Bert Flugelman, Jim McDonnell, David Smith), Tim Johnson, Simon Close, Robert Rooney, Dale Hickey, Neil Evans, Ian Burn and Mel Ramsden; with further contributions by Peter Kennedy, Mike Parr, Noel Hutchison, Bruce Pollard, Terry Smith, Donald Brook, Joel Fisher.

"THIS EXHIBITION has been put together less as a display of merely good and/or interesting art (although we think it is that), but more as a series of statements which amount to an argument about the nature of the most recent changes in art."

The staple-bound, stamped publication acts as a catalogue and reader, consisting of of discussions, interviews and artist statements, providing a deeper understanding of the various conceptual operations of these contemporary Australian artists and contributors, and important projects they were associated with (Inhibodress, Pinacotheca, Tin Sheds Art Workshop, Art & Language, et al.).

Very Good copy with some tanning to the edges and light wear.

File under: Art & Language David Aspden Michael Johnson Trevor Vickers Guy Stuart Aleksander Danko Nigel Lendon Tony Coleing Ti Parks Clive Murray-White Bill Gregory Robert Hunter Optronic Kinetics (Bert Flugelman Jim McDonnell David Smith) Tim Johnson Simon Close Robert Rooney Dale Hickey Neil Evans Ian Burn Mel Ramsden Peter Kennedy Mike Parr Noel Hutchison Bruce Pollard Terry Smith Donald Brook Joel Fisher C.A.S. Gallery / Sydney Australian Art Conceptual Art Minimal Art Out-of-print / Rare Art Painting Sculpture / Installation

The Field Revisited

2018, English
Softcover (2 volumes w. die-cut covers in plastic jacket), 144 / 96 pages, 32.8 x 24 cm
1st Edition, Out of print title / as new
Published by NGV (National Gallery of Victoria) / Victoria

$140.00 - In stock -

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The fast out-of-print two-volume publication published to accompany 'The Field Revisited' 50th anniversary exhibition at The Ian Potter Centre, NGV Australia, 27 April - 26 August, 2018. Housed in a transparent plastic jacket, the publication includes a complete facsimile of the rare and highly collectable original 1968 'The Field' exhibition publication and a new publication for 'The Field Revisited', which reflects on the importance of this exhibition over the past fifty years through new essays, colour documentation of the exhibited (and related) works and archival photographs of the 1968 exhibit. Designed by Stuart Geddes, with typography by Vincent Chan.

The National Gallery of Victoria’s inaugural exhibition at its new premises on St Kilda Road in 1968 was The Field, the first comprehensive display of colour field painting and abstract sculpture in Australia. Regarded as a landmark exhibition in Australian art history, The Field was a radical presentation of 74 works by 40 artists who practised hard-edge, geometric, colour and flat abstraction, many of which were influenced by American stylistic tendencies of the time. With its silver foil–covered walls and geometric light fittings, The Field opened to much controversy and helped launch the careers of a generation of Australian artists, including Sydney Ball, Peter Booth, Janet Dawson and Robert Jacks. Eighteen of the exhibiting artists were under the age of thirty, with Robert Hunter the youngest at twenty-one years of age.

The Field Revisited recreated The Field exhibition for its fifty-year anniversary. By reassembling as many of the original 74 paintings and sculptures as possible, this restaging re-examined the exhibition’s impact and significance for Australian art history and allow a new generation to experience it for themselves. Because some works included in The Field are known to have been destroyed, the NGV has commissioned a number of artists, including Normana Wight and Col Jordan, to recreate their original works for The Field Revisited.

Artists : Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.

Out-of-print, As New copy.

File under: Sydney Ball Peter Booth Janet Dawson Robert Jacks James Doolin David Aspden Tony Bishop Ian Burn Gunter Christmann Tony Coleing Noel Dunn Garry Foulkes Dale Hickey Michael Johnson Col Jordan Michael Kitching Alun Leach-Jones Nigel Lendon Tony McGillick Clement Meadmore Michael Nicholson Harald Noritis Alan Oldfield Wendy Paramor Paul Partos John Peart Emanuel Raft Melvyn Ramsden R.C. Robertson-Swann Robert Rooney Rollin Schlicht Udo Sellbach Eric Shirley Joseph Szabo Vernon Treweeke Trevor Vickers Dick Watkins John White Normana Wight Stuart Geddes Vincent Chan Janet Dawson Jenny Bell Tony Ellwood Beckett Rozentals NGV (National Gallery of Victoria) / Victoria Australian Art Minimal Art Conceptual Art Sculpture / Installation Group Shows / Collections Art Out-of-print / Rare

Ian Burn
Collected Writings 1966-1993

2024, English
Softcover, 776 pages, 24 x 17 cm
Published by Walther König / Köln KW Institute for Contemporary Art / Berlin

$65.00 - Out of stock

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“A sense of art history is part of the critical basis on which artists construct ‘a future’ of art. But the question is, which sense of art history will be shaping that future? Art history has always been far too important to be left up to art historians.”—Ian Burn, 1982

Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—and, as he once described himself in a moment of self-deprecating alienation, ‘an exConceptual artist’.

Edited by Burn’s friend, frequent collaborator and eminent art historian, Dr Ann Stephen, this volume brings together 49 pieces of Burn’s own agile and expansive writings that reveals a probing, analytical artist who turned to language to articulate the need for ‘looking at seeing and reading’, who pursued a Marxist politics in the face of neoliberalism and who sought to occupy and transform the margins of landscape painting. Alongside a vast collection of his artworks, the catalogue brings together previously unpublished material and offers a prescient rethinking of art in a decentered world through what Ian Burn called ‘peripheral vision’. The collection concludes with reflections on Burn’s life and work from prominent figures and past collaborators in the form of memorial lectures.

Born in Geelong in 1939, Ian Burn was a conceptual artist. Burn studied painting in Melbourne and went on to live and work in London and New York. Burn moved back to Australia in 1977 and passed away in 1993 at the age of 53.

Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—or, as he once described himself in a moment of self-deprecating alienation, ‘an ex-conceptual artist’.

Born in Geelong in 1939, Burn studied painting in Melbourne and went on to live and work in London and New York. Burn moved back to Australia in 1977 and passed away in 1993 at the age of 53.

Burn sought to grapple with how art history intersects and engages with contemporary art and political debate, arguing for a decentred view of the world. His legacy is international and can be seen in retrospective exhibitions as recent as 2022, and his work remains a key touchstone in art history.

Edited by Burn’s friend, frequent collaborator and eminent art historian, Dr Ann Stephen, this volume brings together 49 pieces of Burn’s own agile and expansive writings alongside a vast collection of his artworks. The collection concludes with reflections on Burn’s life and work from prominent figures and past collaborators in the form of memorial lectures.

Design and typesetting by Robert Milne.
Co-published by Walther Koenig and KW Institute for Contemporary Art, Berlin.

File under: Ian Burn Adrian Piper Mel Ramsden Allan Sekula Art & Language Ian Burn Adrian Piper Mel Ramsden Allan Sekula Ann Stephen Paul Wood Walther König / Köln KW Institute for Contemporary Art / Berlin Australian Art Conceptual Art Minimal Art Theory / Essay

Recent Australian Art

1973, English
Softcover, 96 pages, 18.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by Art Gallery of New South Wales / Sydney

$35.00 - Out of stock

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Catalogue published on the occasion of the major exhibition "Recent Australian Art" held at Art Gallery of New South Wales, Sydney, 18 October-18 November 1973, featuring new work (created between 1970-1973) by close to 50 Australian artists, including many of 'The Field' artists. Each exhibited artist is profiled with a photographic portrait, potted history and blck and white reproductions of their work. Includes a foreword by Peter Laverty, Director, Art Gallery of New South Wales, and introduction by Frances McCarthy and Daniel Thomas.

Artists: Robert Hunter, Mel Ramsden, Ian Burn, Dick Watkins, Robert Rooney, Aleks Danko, Ewa Pachuka, Ti Parks, John Firth-Smith, Robert Jacks, Tim Johnson, Robert Hunter, Victor K, Donald Laycock, Mike Parr, Peter Kennedy, Paul Partos, Nigel Lendon, Rollin Schlicht, Alberr Shomaly, Guy Frank Stuart, William Anderson, David Aspden, Jonas Balsaitis, Peter Booth, Robert Boynes, Mike Brown, Tim Burns, Gunter Christmann, William Delafield Cook, John Davis, Bill Clements, Tony Coleing, Ross Grounds, Dale Hickey, Ian Howard, Noel Hutchison, Tony Kirkman, Richard Larter, Donald Laycock, Tony McGillick, Alan Oldfield, John Peart, Peter Powditch, Ron Robert-Swann, Rollin Schlicht, Alberr Shomaly, Guy Stuart, Michael Taylor, Imants Tillers, Tony Tuckson.

Very Good copy, light cover wear and tanning.

File under: Robert Hunter Mel Ramsden Ian Burn Dick Watkins Robert Rooney Aleks Danko Tony McGillick John Firth-Smith Robert Jacks Tim Johnson Victor K Donald Laycock Mike Parr Peter Kennedy Paul Partos Rollin Schlicht Alberr Shomaly Guy Frank Stuart Ti Parks Nigel Lendon William Anderson David Aspden Jonas Balsaitis Peter Booth Robert Boynes Mike Brown Tim Burns Gunter Christmann William Delafield Cook John Davis Bill Clements Tony Coleing Ross Grounds Dale Hickey Ian Howard Noel Hutchison Tony Kirkman Richard Larter Alan Oldfield John Peart Peter Powditch Ron Robert-Swann Guy Stuart Michael Taylor Imants Tillers Tony Tuckson Ewa Pachucka Peter Laverty Frances McCarthy Art Gallery of New South Wales / Sydney Australian Art Painting Conceptual Art Sculpture / Installation Textiles Minimal Art Out-of-print / Rare Group Shows / Collections Art

Memo Magazine No. 1
2023/24

2023, English
Softcover, 200 pages, 16.6 x 23 cm
Published by Memo Review / Naarm

$35.00 - In stock -

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Issue 1 of Memo’s first glossy annual magazine features an extended artist focus on Archie Moore, the 2024 Venice Biennale Australian Representative, with essays by Rex Butler, Tara Heffernan, Tristen Harwood, and Hilary Thurlow.

Audrey Schmidt unveils a covetous history of tall-poppy takedowns in the Melbourne art world. Philip Brophy rips into Hollywood’s shallow art-world playbook, while Cameron Hurst checks-in with the once-celebrated Spike magazine cultural critic, Dean Kissick, in his post-zenith era. The Manhattan Art Review’s Sean Tatol visits the Dutch artist group, KIRAC, reporting on their legal woes with French literature’s ageing enfant terrible, Michel Houellebecq.

We also have essays and reviews on art from all around Australia and the world. Amelia Winata turns up the heat on Melbourne’s public museums as Callum McGrath uncovers a typically Eurocentric failure at the heart of British art historian Claire Bishop’s recent Artforum essay on research-based art. Helen Hughes writes on Helen Johnson’s The Birth of an Institution (2022) and Chelsea Hopper and Shaune Lakin on Derek Jarman’s Blue (1993). Stars like Isa Genzken, Royal Academy graduates like Anna Higgins, cult-favourites like Jas H. Duke — Memo features all this and more.

Texts by Adam Ford, Aimee Dodds, Amelia Winata, Anastasia Murney, Andrew Harper, Audrey Schmidt, Callum McGrath, Cameron Hurst, Camille Orel, Chelsea Hopper, Darren Jorgensen, Gemma Topliss, Giles Fielke, Helen Hughes, Hilary Thurlow, Lévi McLean, Loren Kronemyer, Maraya Takoniatis, Paris Lettau, Philip Brophy, Rayleen Forester, Rebecca Edwards, Rex Butler, Sam Beard, Sean Tatol, Shaune Lakin, Susie Russell, Tara Heffernan, Tristen Harwood, Verónica Tello, Victoria Perin.

File under: Archie Moore Isa Genzken Helen Johnson Anna Higgins Dean Kissick Jas H. Duke Ian Burn Lotty Rosenfeld Anabel Robinson Rex Butler Tristen Harwood Tara Heffernan Hilary Thurlow Giles Fielke Chelsea Hopper David Homewood Helen Hughes Cameron Hurst Paris Lettau Lévi McLean Audrey Schmidt Sean Tatol Véronica Tello Amelia Winata Philip Brophy Gemma Topliss Adam Ford Aimee Dodds Anastasia Murney Andrew Harper Callum McGrath Camille Orel Darren Jorgensen Loren Kronemyer Maraya Takoniatis Rayleen Forester Rebecca Edwards Sam Beard Shaune Lakin Susie Russell Victoria Perin Michel Houellebecq Memo Review / Naarm Australian Art Art Painting Sculpture / Installation Periodicals Conceptual Art Curatorial Performance / Dance / Theater Film / Video

Six Years : The Dematerialization of the Art Object from 1966 to 1972
by Lucy Lippard

1973 / 1997, English
Softcover, 280 pages, 173 x 213 cm
Out of print title / used / good
Published by University of Chicago Press / Chicago

$70.00 - Out of stock

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“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'”—Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period. Lippard provides a new preface to this 1997 reprint edition.

Includes: Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Joseph Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young

"Essential source book of documentation of the Conceptual Art, Land Art, Earth Art, Arte Povera, Minimal Art, Performance Art, Video Art movements. Documents the activities, day by day, month by month, year by year of artists including Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Josef Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young and others. "The unusual form of this provocative book intentionally reflects the chaotic network of ideas connected with so-called conceptual art or information art or idea art, in America and abroad, from 1966 to 1972. Arranged as a continuous bibliographical chronology, into which is woven a rich collection of original documents - including texts by, and taped discussions with and among, the artists involved - and annotations by Lucy R. Lippard, the book has the informal quality of a lively contemporary forum. Only a minimum of order is imposed; for the most part the reader is left to confront the curious compendium of information on his or her own, to follow changing ideas and artistic developments over the six-year period, to witness the gradual (and controversial) "dematerialization" of the art object." -- publisher's statement."

Good—Very Good copy with general light shelf wear and tanning to spine.

File under: Vito Acconci Bas Jan Ader Dennis Adrian Carl Andre Eleanor Antin Keith Arnatt Art-Language Richard Artschwager Michael Asher David Askevold John Baldessari Robert Barry Frederick Barthelme N.E. Thing Co. Joseph Beuys Mel Bochner Alighiero Boetti Stanley Brouwn Daniel Buren Victor Burgin Donald Burgy Ian Burn Jack Burnham James Lee Byars Hanne Darboven Agnes Denes Jan Dibbets Peter Downsbrough Gerald Ferguson Rafael Ferrer Barry Flanagan Gilbert & George Dan Graham Guerrilla Art Action Group Hans Haacke Charles Harrison Michael Heizer Douglas Huebler Peter Hutchinson Stephen Kaltenbach Allan Kaprow On Kawara Joseph Kosuth Christine Kozlov John Latham Barry Le Va Sol LeWitt Richard Long Lee Lozano Bruce McLean Walter de Maria Robert Morris Bruce Nauman Claes Oldenburg Yoko Ono Dennis Oppenheim Adrian Piper Michelangelo Pistoletto Sigmar Polke Mel Ramsden Allen Ruppersberg Edward Ruscha Robert Ryman Gerry Schum Richard Serra Willoughby Sharp Seth Siegelaub Tony Smith Robert Smithson Michael Snow Keith Sonnier Athena Tacha Spear Bernar Venet Wolf Vostell Franz Erhard Walther William Wegman Lawrence Weiner William Wiley Ian Wilson La Monte Young Lucy R. Lippard University of Chicago Press / Chicago Conceptual Art Arte Povera Minimal Art Performance / Dance / Theater Feminism Curatorial Out-of-print / Rare Theory / Essay Art Photography Film / Video Ecology / Earth Fluxus Group Shows / Collections Sculpture / Installation

The Necessity of Australian Art : An Essay About Interpretation
By Ian Burn, Nigel Lendon, Charles Merewether and Ann Stephen

1988, English
Softcover, 156 pages, 21 x 15 cm

$20.00 - Out of stock

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The Necessity of Australian Art : An Essay About Interpretation by Ian Burn, Nigel Lendon, Charles Merewether and Ann Stephen critically examines the art historical orthodoxies which have dominated Australian art during the twentieth century.

File under: Ian Burn Nigel Lendon Ian Burn Nigel Lendon Charles Merewether Ann Stephen Australian Art Conceptual Art Minimal Art Painting Theory / Essay Art

Artists Think: The Late Works of Ian Burn
Edited by Ann Stephen

1996, English
Softcover, 118 pages, 23 x 29.5 cm
Published by Power Publications / Sydney Monash University Exhibition Gallery / Victoria

$36.00 - In stock -

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Artists Think: The Late Works of Ian Burn explains how it was possible for the artist to return to painting in the late 1980s. Burn, an internationally renowned conceptual artist of the 1960s, had worked for over two decades in alternative cultural practices in Art & Language, New York and later within the Australian trade union movement. His late work, made in a short, intensely productive period before his accidental death in 1993, holds in Burn's words, 'professional spaces and identities hostage to amateur values'. With an introduction and contributing chapter by Ann Stephen, the book contains Burn's essay entitled 'Notes on 'Value Added' Landscapes'. The book also included are a biography and listing of exhibitions of the artist.

Edited by Ann Stephen
Contributors: Ian Burn, Michael Corris, Elizabeth Gertsakis, Helen Grace, Sandy Kirby, Andrew McNamara, Mel Ramsden, Ann Stephen, Paul Wood.

Co-published with Monash University Gallery, Melbourne.

File under: Mel Ramsden Ian Burn and Mel Ramsden Ian Burn Ian Burn Michael Corris Elizabeth Gertsakis Helen Grace Sandy Kirby Andrew McNamara Mel Ramsden Ann Stephen Paul Wood Power Publications / Sydney Monash University Exhibition Gallery / Victoria Australian Art Painting Conceptual Art Minimal Art Theory / Essay Art

Materializing Six Years
Lucy R. Lippard and the Emergence of Conceptual Art

2012, English
Hardcover, 304 pages, 216 x 254 mm
Published by The MIT Press / Massachusetts

$79.00 - Out of stock

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Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book.

“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized.’” — Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard’s celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book.

The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard’s own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices.

With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard’s curatorial experiment full circle.

Edited by Catherine Morris and Vincent Bonin

Published on the occasion of the exhibition The Six Years' Project: Lucy R. Lippard and the Emergence of Conceptual Art, September 14, 2012-February 3, 2013, organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center at the Brooklyn Museum, and the independent scholar Vincent Bonin.

File under: Vito Acconci Bas Jan Ader Dennis Adrian Carl Andre Eleanor Antin Keith Arnatt Art-Language Richard Artschwager Michael Asher David Askevold John Baldessari Robert Barry Frederick Barthelme N.E. Thing Co. Mel Bochner Alighiero Boetti Stanley Brouwn Daniel Buren Victor Burgin Donald Burgy Ian Burn Jack Burnham James Lee Byars Hanne Darboven Agnes Denes Jan Dibbets Peter Downsbrough Gerald Ferguson Rafael Ferrer Barry Flanagan Dan Graham Guerrilla Art Action Group Hans Haacke Charles Harrison Michael Heizer Douglas Huebler Peter Hutchinson Stephen Kaltenbach Allan Kaprow On Kawara Joseph Kosuth Christine Kozlov John Latham Barry Le Va Sol LeWitt Richard Long Lee Lozano Bruce McLean Walter de Maria Robert Morris Bruce Nauman Claes Oldenburg Yoko Ono Dennis Oppenheim Adrian Piper Michelangelo Pistoletto Sigmar Polke Mel Ramsden Allen Ruppersberg Edward Ruscha Robert Ryman Gerry Schum Richard Serra Willoughby Sharp Seth Siegelaub Tony Smith Robert Smithson Michael Snow Keith Sonnier Athena Tacha Spear Bernar Venet Wolf Vostell Franz Erhard Walther William Wegman Lawrence Weiner William Wiley Ian Wilson La Monte Young Lucy Lippard Joseph Beuys Gilbert & George Lucy R. Lippard The MIT Press / Massachusetts Art Curatorial Theory / Essay Feminism Conceptual Art Minimal Art

Donald Judd
OCTOBER FILES BOOK — Edited by Annie Ochmanek and Alex Kitnick

2021, English
Softcover, 224 pages, 22.9 x 15.2 cm
Published by October Books / New York The MIT Press / Massachusetts

$39.00 - Out of stock

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Donald Judd (1928–1994) was one of the most influential American artists of the postwar era. Beginning in the 1960s, he developed new ideas about art—in both his works and writings—that challenged many of modernism's core tenets by resisting the categories of painting and sculpture. Judd described this work as “specific objects.” Critics labeled it minimalism. Perhaps because Judd's own writings provide a discursive framework for his project, some of the monographic essays on his art are not widely known. This volume collects critical and scholarly writings on Judd, examining his work as both artist and critic.

Spanning all periods of Judd's career, the essays gathered in this volume explore questions of abstraction, phenomenology, political engagement, labor, urban planning, and conservation. Written by a range of artists, architects, art historians, critics, and curators, these texts make clear Judd's relevance for a wide array of fields and disciplines, and situate him as a pivotal figure in contemporary art. They include an early consideration of Judd's work by Robert Smithson, a text on Judd's later works by curator Lynne Cooke, two essays by the art historian Rosalind Krauss, and an appraisal of Judd's writings by the artist Mel Bochner.

Contributors
Elizabeth C. Baker, Karl Beveridge, Mel Bochner, Yve-Alain Bois, Ian Burn, Lynne Cooke, Rosalind E. Krauss, Michael Meredith, Joshua Shannon, Robert Slifkin, Robert Smithson, Ann Temkin, Brian Wallis

Annie Ochmanek is a PhD candidate at Columbia University. Alex Kitnick is Assistant Professor of Art History and Visual Culture at Bard College and the editor of a previous October Files volume, Dan Graham (MIT Press).

File under: Donald Judd Ian Burn Mel Bochner Elizabeth C. Baker Karl Beveridge Mel Bochner Yve-Alain Bois Ian Burn Lynne Cooke Rosalind E. Krauss Michael Meredith Joshua Shannon Robert Slifkin Robert Smithson Ann Temkin Brian Wallis October Books / New York The MIT Press / Massachusetts Theory / Essay Minimal Art Sculpture / Installation Art

Art and Australia
Vol 8, No 2, September 1970

1970, English
Softcover, 188 pages, 24 x 23 cm
1st Edition, Out of print title / used / good
Published by Ure Smith / Sydney

$20.00 - Out of stock

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September 1970 issue of Art and Australia, featuring Ian Burn's "Conceptual Art as Art" article, alongside article on Stanislaus Rapotec, Colin Lanceley, Roger Kemp, the Venice Biennale (Michael Snow, Heinz Mack, Edward Ruscha, Gunter Uecker, Manuel Gómez Raba, etc.)

File under: Ian Burn Manuel Gómez Raba Stanislaus Rapotec Colin Lanceley Roger Kemp Michael Snow Heinz Mack Edward Ruscha Günter Uecker Ian Burn Ure Smith / Sydney Art Australian Art Conceptual Art Sculpture / Installation Painting Periodicals Theory / Essay

The Apartment
Edited by Thierry Davila

2020, English
Softcover, 132 pages, 22.9 x 15.9 cm
Published by Mamco / Genève

$63.00 $30.00 - Out of stock

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This book documents the scrupulous recreation, inside MAMCO Geneva, of a flat owned between 1975 and 1992 by Parisian collector and self-described agent d’art Ghislain Mollet-Viéville. Mollet-Viéville’s apartment on the rue Beauborg showcased his incredible collection of minimalist and conceptual art; the flat served flexibly as home, gallery and crossroads of international contemporary art. Featuring works by Victor Burgin, Dan Flavin, Donald Judd, Carl Andre, Claude Rutault, Art & Language, John McCracken and Lawrence Weiner, Mollet-Viéville’s collection, and its display in his apartment, defined a radical approach to collecting and played an important role in publicizing the work of these artists in France.

MAMCO acquired Mollet-Viéville’s groundbreaking collection in 2017; The Apartment is the first publication to celebrate and study Mollet-Viéville’s collection and its faithful reinstallation at MAMCO Geneva as a “period room” of contemporary art history. The Apartment features an analysis of each work included in the installation, an interview with Mollet-Viéville conducted by Lionel Bovier and Thierry Davila, and an essay by Patricia Falguières.

File under: Ian Burn Joseph Kosuth Sol LeWitt Victor Burgin Dan Flavin Donald Judd Carl Andre Claude Rutault Art & Language John McCracken Lawrence Weiner Ian Wilson Daniel Buren André Cadere Walter De Maria Ghislain Mollet-Viéville Thierry Davila Lionel Bovier Mamco / Genève Conceptual Art Minimal Art Curatorial Group Shows / Collections Art Sculpture / Installation SALE

ART & TEXT 1
Autumn 1981

1981, English
Softcover, 76 pages, 18.5 x 24 cm
Out of print title / used / good
Published by Art & Text / Prahran

$50.00 - Out of stock

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ART & TEXT 1
Autumn 1981

Edited by Paul Taylor

CONTENTS :
Editorial: On Criticism
The lk and Australian Aborigines by Peter Brook
The Mirror Without A Memory by Giorgio Colombo
Australian 'New Wave' and the 'Second Degree' by Paul Taylor
SPECIAL SECTION:
Artists in Society
Collaboration : Artists Working Collectively by Janine Burke
Modernism and Morality by Suzi Gablik
The 'Sixties Crisis and Aftermath by Ian Burn
Book Reviews:
'A Fable of Modern Art' by Dore Ashton by Memory Holloway
Subculture: The Meaning of Style by Dick Hebdige by Philip Brophy

Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.

Very Good - general wear/tanning. Spotting/toning to cover.

File under: Philip Brophy Ian Burn Philip Brophy Ian Burn Paul Taylor Giorgio Colombo Peter Brook Janine Burke Suzi Gablik Art & Text / Prahran Art Australian Art Periodicals Out-of-print / Rare Theory / Essay

ART & TEXT 11
Spring 1983

1983, English
Softcover, 104 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by Art & Text / Prahran

$45.00 - Out of stock

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ART & TEXT 11
Spring 1983

Edited by Paul Taylor
Blurb by Malcolm McLaren
CONTENTS:
"The Precession of Simulacra" by Jean Baudrillard (translated by Paul Foss and Paul Patton
"Kristeva, Bakhtin and Carnival" by Kateryna Arthur
"Performance Art As Politicised Epistemology" by Thomas Huhn
"Anything Still" by John Young
"Duck Rock" by Andrew Preston
"A Melbourne Mood" by Frances Lindsay
"Made by →↑→" by Mary Eagle
"Horrality" by Philip Brophy

Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.

Very Good - general wear/tanning.

File under: →↑→ Bae Haddock Dale Hickey Eric Thake Ian Burn John Davis John Nixon Malcolm McLaren Maria Kozic Peter Booth Philip Brophy Richard Dunn Robert Hunter Robert Jacks Robert Rooney Andrew Preston Frances Lindsay Jean Baudrillard John Young Kateryna Arthur Malcolm McLaren Mary Eagle Philip Brophy Thomas Huhn Art & Text / Prahran Art Australian Art Minimal Art Out-of-print / Rare Painting Periodicals Theory / Essay

What is Appropriation?
An Anthology of Writings on Australian Art in the 1980s & 1990s

1996 / 2004, English
Softcover, 315 pages, 21 x 25cm
Published by IMA / Brisbane

$45.00 - Out of stock

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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.

File under: Ian Burn Peter Cripps Imants Tillers Juan Davila Janet Burchill Maria Kozic John Nixon A.D.S. Donaldson Richard Dunn Jenny Watson Robert Rooney Peter Tyndall Lyndal Jones Lindy Lee John Young Linda Marrinon Rose Nolan Clifford Possum Tjapaltjarri Tim Johnson Michael Nelson Jagamara Narelle Jubelin Hany Armanious Gordon Bennett Kathy Temin Julie Rrap Adam Cullen Robyn Stacey Anne Ferran Mark Jackson Geoff Weary Susan Norrie Rex Butler Judy Annear Ian Burn Edward Colless Peter Cripps Juan Davila Juliana Engberg Paul Foss Memory Holloway Tim Johnson Vivien Johnson Adrian Martin Chris McAuliffe Eric Michaels Ingrid Periz Nelly Richard Terry Smith Paul Taylor Imants Tillers Roger Benjamin Naomi Cass Richard Dunn Jeff Gibson Catriona Moore Tony Fry Anne-Marie Willis IMA / Brisbane Theory / Essay Australian Art Art Painting Conceptual Art

Working Art : A Survey of Art in the Australian Labour Movement in the 1980's
Curated by Ian Burn

1985, English
Softcover, 96 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by Art Gallery of New South Wales / Sydney

$100.00 - Out of stock

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Very scarce catalogue and unique valuable resource published to accompany the exhibition "Working Art: A Survey of Art in The Australian Labour Movement in The 1980's", curated by Australian conceptual artist, curator and writer Ian Burn for the Art Gallery of New South Wales in 1985. Designed by Michael Davies of the Art Workers Union (AWU), this heavily illustrated (in colour and black and white) catalogue surveys the Banners, Posters, Graphics, Photographs, and Media of the Australian Labour movement during the 1980's, as well as a detailed "Historical Sketch" written and compiled by Ian Burn and Sandy Kirby that illustrates the rich history of the Arts in Australian unionism and communities. Alongside the many exhibited prints and textiles, there is photo documentation throughout of marches, performances, artist's at work, historical exhibitions, plus reproductions of newsletters, newspapers, cartoons, announcements, along with further accompanying introductory texts and a bibliography.

Includes inserted Trade Union Information Kit "Art and Working Life : The Victorian Trades Hall Council Arts Workshop" booklet that takes an illustrated look at the activities of the VTHC Workshop in the 1980s. A perfect accompaniment to this catalogue. Also, errata slip enclosed from the NSW catalogue.

Ian Burn (1939-1993) was an Australian conceptual artist, curator and writer who spent the first part of his career working in London and New York. It was here that he began working with Art & Language, a collaborative group who produced the publication Art-Language and whose members included artists Roger Cutforth, Joseph Kosuth and Mel Ramsden. Returning to Australia in 1977 Burn became involved in the Art Workers Union (AWU), a political and social platform that championed artists’ rights and helped change the landscape and expectations under which artists worked in Australia. From 1980 onwards, together with artist and social activist Ian Millis, he worked on a number of initiatives to further the cause of the labour movement, including Union Media Services and the Art and Working Life program. Burn died by accidental drowning in 1993.

A great copy of an important resource on Australia's cultural, industrial and political history, and also an important publication by Ian Burn.
Light general reading/handling creasing to oblong pages, otherwise tight and clean throughout. Previous owner's name penned to title page.

File under: Ian Burn Ian Burn Cliff Dolan Sandy Kirby Art Gallery of New South Wales / Sydney Art Theory / Essay Feminism Curatorial Out-of-print / Rare Australian Art Graphic Design / Typography Illustration / Graphic Art / Bandes Dessinées Counterculture Group Shows / Collections Textiles

The Field

1968, English
Softcover (French-fold with die-cut), 96 pages, 22 x 30 cm
Out of print title / used / good
Published by NGV (National Gallery of Victoria) / Victoria

$160.00 - In stock -

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Rare and very collectable first edition of this iconic catalogue produced in 1968 to accompany "The Field", regarded as a landmark exhibition in Australian art history – a radical showcase of 74 abstract and conceptual, colour field, geometric and hard edge artworks. Influenced by the American origins of abstract art, the exhibition opened to much controversy at the NGV in 1968 with its silver foil-covered walls and geometric light fittings, boldly launching the careers of a generation of young Australian artists it was the first the NGV staged in its new Swanston Street galleries.

Handsomely designed with its wrapped, french-flap, die-cut cover, the book includes profiles on each exhibiting artist in the exhibition, including colour and black and white reproductions of all 72 of the works exhibited.

On the occasion of its 50th anniversary the NGV will restage the exhibition as The Field Revisited, opening in May 2018 at The Ian Potter Centre: NGV Australia.

Texts by Elwyn Lynn, Patrick McCaughey, Royston Harpur, and an introduction by Brian Finemore (Curator) and John Stringer (Exhibitions Manager).

Artists included: Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.

File under: Alan Oldfield Alun Leach-Jones Clement Meadmore Col Jordan Dale Hickey David Aspden Dick Watkins Emanuel Raft Eric Shirley Garry Foulkes Gunter Christmann Harald Noritis Ian Burn James Doolin Janet Dawson John Peart John White Joseph Szabo Mel Ramsden Michael Johnson Michael Kitching Michael Nicholson Nigel Lendon Noel Dunn Normana Wight Paul Partos Peter Booth Robert Jacks Robert Rooney Rollin Schlicht Sydney Ball Tony Bishop Tony Coleing Tony McGillick Trevor Vickers Udo Sellbach Vernon Treweeke Wendy Paramor Ron Robertson-Swann Brian Finemore Elwyn Lynn John Stringer Patrick McCaughey Royston Harpur NGV (National Gallery of Victoria) / Victoria Art Australian Art Out-of-print / Rare Painting Sculpture / Installation Group Shows / Collections

The Secret of Australian Art
by Rex Butler

2002, English
Softcover, 152 pages,
1st Edition, Out of print title / used / very good
Published by Craftsman House / St Leonards

$38.00 - Out of stock

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In April 2000, the Australian art critic Rex Butler was invited to present a series of lectures to students and members of the public at Metro Arts, Brisbane. Now out of print, Rex Butler's "The Secret of Australian Art" compiles these lectures, offering insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.

Full contents:
Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.

Includes bibliographical references and index.

Professor Rex Butler is an art historian, writer and Professor (Art History & Theory) at Monash University. His research interests include contemporary Australian art and art criticism; Post-war American art; and Postmodernism. Rex Butler is currently editing a collection entitled 'Radical Revisionism' on Australian post-colonial art and two volumes of Slavoj Zizek's selected writings. He is the author six books including, What is Appropriation? (1996); Jean Baudrillard: The Defence of the Real (1999); A Secret History of Australian Art (2002); and Borges' Short Stories: A Reader's Guide (2010).

File under: Ian Burn John Nixon Mikala Dwyer Michael Stevenson Dale Frank Kathleen Petyarre John Aslanidis George Tjungurrayi Emily Kngwarreye Merilyn Fairskye Richard Dunn Beat Streuli Rex Butler Craftsman House / St Leonards Australian Art Art Painting Sculpture / Installation Theory / Essay Minimal Art Conceptual Art

Anything Goes
Art in Australia 1970-1980

1984, English
Softcover, 170 pages, 21 x 30 cm
1st Edition, Out of print title / Used*,
Published by Art & Text / Beverley Hills Art & Text / Prahran

$65.00 - Out of stock

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First printing of "Anything Goes : Art in Australia 1970-1980", published by Art & Text in 1984. Edited by Paul Taylor, founder of Art & Text, this large, valuable volume of essays by leading writers of those years - covering all aspects of painting, sculpture, photography and experimental art forms since 1970 - features contributions by Janine Burks, Mary Eagle, Christine Godden, Robert Lindsay, Ian Burn, Julie Ewington, Memory Holloway, Terry Smith, Ann Stephen, Margaret Plant, Patrick McCaughey, Daniel Thomas.

"The 1970s were years of unprecedented change in Australian art and culture, and Anything Goes is the first book about that decade's remarkable variety of art."

Includes the work of: →↑→, Mike Parr, Howard Arkley, Jenny Watson, Donald Judd, Ian Burn, John Lethbridge, John Davis, Mel Bochner, Joseph Beuys, Mel Ramsden, Women's Domestic Needlework Group, Andy Warhol, Tim Johnson, Nigel Lendon, Artsworkers Union, Robert Rooney, Clive Murray-White, Tony McGillick, Fred Williams, John Firth-Smith, George Haynes, Donald Laycock, Michael Taylor, Fred Cress, Ron Robertson-Swann, David Aspden, Sydney Ball, Roger Kemp, Paul Partos, Trevor Vickors, Robert Hunter, Robert Jacks, Vivienne Binns, Bonita Ely, Marie McMahon, Virginia Cuppaidge, Imants Tillers, Les Kossatz, Ti Parks, Peter Cripps, Ken Searle, Jan Senbergs, George Baldessin, John Armstrong, Janet Dawson, Dale Hickey, Tony Coleing, Marr Grounds, Chips Mackinolty, Ann Newmarch, Colin Little, Jan Mackay, Toni Robertson, Jenny Hill, Christo, Ross Grounds, Ken Unsworth, Kevin Mortensen, Stelarc, Jillian Orr, Hossein Valamanesh, W. Thomas Arthur, Ewa Pachucka, Vicki Varvaressos, Carol Jerrems, Elizabeth Gower, Geoff Hogg, Ann Newmarch, Peter Kennedy, Jon Rhodes, Bill Henson, Stephen Lojewski, Robert Owen, Mark Johnson, Peter Booth, John Dunkley-Smith
, Ron Robertson-Swann, Alun Leach-Jones, Michael Johnson, Lesley Dumbrell, Fred Cross, John Walker, David Aspden, and many more.

Paul Taylor (Melbourne, 1957–7 September 1992) was an Australian art critic, curator, editor and publisher. In 1981, he founded Art & Text, the contemporary art journal considered to be responsible for generating and promoting postmodernist discourse in Australian art.

Condition: Very Good (tight, clean copy, tanning to cover edges/spine) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: →↑→ Alun Leach-Jones Andy Warhol Ann Newmarch Artsworkers Union Bill Henson Bonita Ely Carol Jerrems Christo Clive Murray-White Colin Little Dale Hickey David Aspden Donald Judd Donald Laycock Elizabeth Gower Ewa Pachucka Fred Williams Geoff Hogg George Baldessin George Haynes Hossein Valamanesh Howard Arkley Ian Burn Imants Tillers Jan Mackay Jan Senbergs Janet Dawson Jenny Hill Jenny Watson Jillian Orr John Armstrong John Davis John Dunkley-Smith John Firth-Smith John Lethbridge John Walker Jon Rhodes Joseph Beuys Ken Searle Ken Unsworth Kevin Mortensen Les Kossatz Lesley Dumbrell Marie McMahon Mark Johnson Marr Grounds Mel Bochner Mel Ramsden Michael Johnson Michael Taylor Mike Parr Nigel Lendon Paul Partos Peter Booth Peter Cripps Peter Kennedy Robert Hunter Robert Jacks Robert Owen Robert Rooney Roger Kemp Ron Robertson-Swann Ross Grounds Stelarc Stephen Lojewski Sydney Ball Ti Parks Tim Johnson Toni Robertson Tony Coleing Tony McGillick Trevor Vickers Vicki Varvaressos Virginia Cuppaidge Vivienne Binns Women's Domestic Needlework Group Ann Stephen Christine Godden Daniel Thomas Ian Burn Janine Burke Janine Burks Julie Ewington Margaret Plant Mary Eagle Memory Holloway Patrick McCaughey Paul Taylor Robert Lindsay Terry Smith Art & Text / Beverley Hills Art & Text / Prahran Art Australian Art Out-of-print / Rare Performance / Dance / Theater Photography Sculpture / Installation Theory / Essay

Illusion and Reality

1977, English
Softcover, 111 pages, 25 x 30 cm
1st edition, Out of print title / used*,
Published by Australian Gallery Directors Council / Canberra

$38.00 - Out of stock

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Major Australian touring exhibition exploring realism and illusion in art (across new realist painting, pop, photography, conceptualism, minimalism, abstraction, ceramics, even architecture) with a catalogue of 71 works by 44 international artists and groups. Introduction and notes on the artists by John Stringer; statements by Audrey Flack, Stephen Posen and Josef Raffael; biographical notes on the artists, including exhibitions and collections; statement on realism by Raymond Williams. Exhibition organized by the Australian National Gallery, Canberra, and shown at seven locations throughout Australia.

Artists: Ian Burn, Gerhard Richter, Ed Ruscha, Joseph Kosuth, Bernd and Hilla Becher, Marilyn Levine, Dale Hickey, Jenny Watson, Jan Dibbets, Chuck Close, SITE, Michael Snow, Tom Wesselman, Claudio Bravo, Malcolm Morley, Michael Snow, Robert Bechtle, Tom Blackwell, Christian Boltanski, Santiago Cardenas, John Clem Clarke, William Delafield Cook, Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Ralph Goings, Jan Groover, Duane Hanson, Peter Kennedy, Ron Kleeman, Richard Larter, Victor Lance Henderson, Terry Schoonhoven, Richard McLean, Jud Nelson, John Okulick, Philip Pearlstein,, Michelangelo Pistoletto, Liliana Porter, Stephen Posen, Joseph Raffael, Ben Schonzeit, Paul Sharits, Sonia Landy Sheridan, and more.

Condition: Very Good (light tanning/wear) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Audrey Flack Ben Schonzeit Bernd and Hilla Becher Christian Boltanski Chuck Close Claudio Bravo Dale Hickey Don Eddy Duane Hanson Ed Ruscha Gerhard Richter Ian Burn Jan Dibbets Jan Groover Jenny Watson John Clem Clarke John Okulick Joseph Kosuth Joseph Raffael Jud Nelson Liliana Porter Malcolm Morley Marilyn Levine Michael Snow Michelangelo Pistoletto Paul Sharits Peter Kennedy Philip Pearlstein Ralph Goings Richard Estes Richard Larter Richard McLean Robert Bechtle Robert Cottingham Ron Kleeman Santiago Cardenas SITE Sonia Landy Sheridan Stephen Posen Terry Schoonhoven Tom Blackwell Tom Wesselmann Victor Lance Henderson William Delafield Cook John Stringer Australian Gallery Directors Council / Canberra Art Australian Art Out-of-print / Rare Painting Performance / Dance / Theater Photography Group Shows / Collections

Technologism

2015, English
Softcover, 96 pages, 17 x 23 cm
Published by MUMA / Victoria

$20.00 - Out of stock

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Catalogue published to accompany the exhibition Technologism, at Monash University Museum of Art (MUMA) in Melbourne, 3 Oct - 12 Dec 2015, curated by Charlotte Day.

Artists: Cory Arcangel (US), Dara Birnbaum (US), Chris Burden (US), Ian Burn (AU), Antoinette J. Citizen (AU), Simon Denny (NZ), Jan Dibbets (NL), Aleksandra Domanović (SI/DE), Harun Farocki (DE), Benjamin Forster (AU), Isa Genzken (DE), Greatest Hits (AU), Martijn Hendriks (NL), Lynn Hershman Leeson (US), Matt Hinkley (AU), Jenny Holzer (US), Edward Kienholz & Nancy Reddin Kienholz (US), Oliver Laric (AT), Mark Leckey (UK), Scott Mitchell (AU), Rabih Mroué (LB), Henrik Olesen (DK), Nam June Paik (KR/US), Nam June Paik & John Godfrey (US), Joshua Petherick (AU), Matte Rochford (AU), Jill Scott (AU), Richard Serra (US), John F. Simon Jr. (US), Brian Springer (US), Hito Steyerl (DE), Ricky Swallow (AU), Jeff Thompson (US), Pia van Gelder (AU), Ulla Wiggen (US) and Dennis Wilcox (AU)

MUMA concludes its three-part series on watershed moments in art history — Reinventing the Wheel: the readymade century and Art as a Verb — with Technologism, a major group exhibition bringing together forty-three historical and contemporary artworks, including several new commissions from Australian practitioners. Technologism wrestles with the profound cultural, social and political impact technology has made on art since the 1960s.

Conservative cul-de-sac's of the community are often sceptical of technology and its ever increasing presence in our lives. However many artists — with a natural propensity for constant upheaval — have whole-heartedly embraced radical changes in technology over the last sixty years. Featuring artworks that engage both physically and conceptually with electronic systems — television, computers, the internet, smartphones — Technologism focuses on the ways artists critique and disrupt official uses of the media, or construct their own machines and data systems.

Riffing off both the aesthetic and conceptual characteristics of technology, artists in Technologism document technology's advancement in a plethora of ways: Ulla Wiggen's intricate paintings of circuit boards from the mid 1960s, see the development of an aesthetic inspired by the complex intersection of electrical wires, connectors and components, working to manipulate and rewire the physicality of technology; some thirty years later, John F. Simon's Art Appliances series of the 1990s uses the circuitry of small LCD screens to disrupt pictures and patterns, recreating them over; in Matte Rochford's video Progressively Degrading Test Pattern 2013, humble VHS tapes are copied and recopied, in a process of metaphysical reduction; while in Joshua Petherick's new work, one technology is employed to record another soon to be superseded, revealing new visual dimensions and the 'ghosts in the machine'.

A story of advancement inevitably turns into obsolescence, and Technologism seeks to document the early use of broadcast technology as a way of bridging the gap (and finding a space) between the image on the screen, the physical presence of the viewer, and the broader community. Jan Dibbet's TV as a Fireplace 1968, documents television as a collective experience — even if viewers were separated physically, they were united through time and space like pre-historic cave-dwellers by a communal broadcast. However with the advent of the internet, personal computer devices and streaming services, technology has again changed the relationship we have with the world around us to a more singular yet proliferating existence.

A history of DIY jamming and hacking presents the way artists have continued to subvert conventional uses of technology and challenge the status-quo, from the internet as militarily-designed, to corporately-exploited, civilian-employed, artistically-manipulated, and back again. For instance, Lynn Hershman Leeson's work investigates how media is used as a tool for censorship and political repression, while Simon Denny's work co-opts the aesthetic and rhetoric of language of multinational corporations in order to question their power. In presenting these works and others, Technologism seeks to consider what is the value of such subversion, or is it merely a perpetuation of the problem?

Artist Hito Steyerl asks, 'is the internet dead?' Although, hyperbolic in its prognosis, Technologism recognises that sceptical questions such as this are an important part of how artistic practice negotiates technological advancement. Technologism proceeds from the idea that technology in all its forms, physical and immaterial, needs to be interrogated in order to be perpetually remade.

Technologism considers changes in infrastructure, such as telecommunication networks and the internet, and the cultural implications of technological innovation and considers from the position of the developers of these technologies as well as from the end user. Technologism asks 'how does technology effect artistic practice?' As well as, 'how can artistic practice effect technology?'

Fully illustrated catalogue features texts by Charlotte Day, Philip Brophy, Bridget Crone and Sean Dockray. Designed by Yanni Florence.

File under: Antoinette J. Citizen Benjamin Forster Brian Springer Chris Burden Cory Arcangel Dara Birnbaum Dennis Wilcox Edward Kienholz Greatest Hits Harun Farocki Henrik Olesen Hito Steyerl Ian Burn Isa Genzken Jan Dibbets Jeff Thompson Jenny Holzer Jill Scott John F. Simon Jr. John Godfrey Joshua Petherick Lynn Hershman Leeson Mark Leckey Martijn Hendriks Matt Hinkley Matte Rochford Nam June Paik Nancy Reddin Kienholz Oliver Laric Pia van Gelder Rabih Mroué Richard Serra Ricky Swallow Scott Mitchell Simon Denny Ulla Wiggen Aleksandra Domanović Bridget Crone Charlotte Day Philip Brophy Sean Dockray MUMA / Victoria Art Film / Video Sculpture / Installation Sound / Music Theory / Essay Group Shows / Collections

Primary Views
Stephen Bram, Janet Burchill and Jennifer McCamley, Juan Davila

2009, English
Softcover, 30 pages, 17 x 20 cm

$10.00 $5.00 - In stock -

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Catalogue produced on the occasion of the exhibition, "Primary Views" at MUMA, Monash University Museum of Art in 2008, curated by artists Stephen Bram, Janet Burchill and Jennifer McCamley, and Juan Davila, with co-ordinating curator Kirrily Hammond.
Primary Views invited the insights of four artists represented in the Monash University collection. Each has been invited to curate a self-contained exhibition from the Monash University collection, according to their own areas of interest, expertise and aesthetic/discursive predilections. Alternative to classical or canonical art-historical readings, Primary Views considers the role of the artist as curator, encouraging new readings of the collection, and more partial, polemical and aberrant artistic historiographies.
Features texts by the curating artists and Max Delany.

Artists featured in the exhibition were: Howard Arkley, Paul Bai, Chris Barry, Charles Blackman, Peter Booth, Arthur Boyd, Stephen Bram, Horace Brodzky, Janet Burchill & Jennifer Mccamley, Ian Burn, Jane Burton, Domenico De Clario, Clyde Clinton, Noel Counihan, Mutlu Cerkez, Juan Davila, John Dunkley-Smith, Richard Dunn, Louise Forthun, John Heartfield, Bill Henson, Lynn Hershman Leeson, Ronnie Van Hout, Raafat Ishak, Rosemary Laing, Robert Macpherson, Tracey Moffatt, John Nixon, Jacky Redgate, William Robins, Paul Saint, Dada Samson, Jan Senbergs, Wolfgang Sievers

File under: Arthur Boyd Bill Henson Charles Blackman Chris Barry Clyde Clinton Dada Samson Domenico De Clario Horace Brodzky Howard Arkley Ian Burn Jacky Redgate Jan Senbergs Jane Burton Janet Burchill Janet Burchill & Jennifer McCamley Jennifer McCamley John Dunkley-Smith John Heartfield John Nixon Juan Davila Louise Forthun Lynn Hershman Leeson Mutlu Çerkez Noel Counihan Paul Bai Paul Saint Peter Booth Richard Dunn Robert Macpherson Ronnie Van Hout Rosemary Laing Stephen Bram Tracey Moffatt William Robins Wolfgang Sievers Raafat Ishak Max Delany Art Australian Art Curatorial Minimal Art Painting Group Shows / Collections Drawing Sculpture / Installation SALE