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:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
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.
2021, English
Softcover, 168 Pages, 10.5 x 15 cm
Published by
Fireflies Press / Berlin—Melbourne
$21.00 - Out of stock
Part of the Decadent Editions series.
James Benning’s landscape film TEN SKIES (2004) becomes an ecstatic launchpad to survey artistic representations of the sky. Looking up, Balsom’s lyrical and idiosyncratic text drifts through the skyscape of historical and contemporary filmmaking, approaching the sky as an archive that offers tantalising clues to the shifting relations between nature and people, clouds and earth.
‘James Benning’s movies show me how to look, and confirm the way I want to see. Erika Balsom, clearly a kindred spirit in her regard for these movies, has not just studied TEN SKIES, unfolding hidden intricacies of meaning, but apprehends it on instinct, too. The results are precise and also wise.’—Rachel Kushner
‘Part of the epic achievement of Benning’s TEN SKIES is to confound expectations of minimalism with a mesmerising study of time, light, movement and moisture that traces the shifting relations between clouds and earth, nature and people, teaching us how to look and listen in the process. Erika Balsom’s study – ‘a punch of clean rigour’, like the film she describes – recognises and extends those lessons with crystalline prose, a comparable sense of (and access to) depths, and an exhilarating, maximalist intimation of what criticism can do and become.’—Jonathan Rosenbaum
‘Erika Balsom brings you from the film itself into the mind of the artist, through the history of experimental cinema, to philosophical musings and art historical scholarship, and back into Benning’s thoughtful imagery. Take this little book, put it in your pocket, and wander the landscape until you find the perfect spot to sit and read, pausing now and then to look at the sky.’—Sharon Lockhart
About the film
Ten shots of the sky, each ten minutes long. That’s all it takes to describe James Benning’s film from 2004. And yet, this simplicity conceals a rich and absorbing drama, one of the great works of the American avant-garde.
About the author
Erika Balsom is a scholar and critic based in London. She is Reader in Film Studies at King’s College London, a frequent contributor to Artforum, 4Columns and Cinema Scope, and the author of four books, including An Oceanic Feeling: Cinema and the Sea (2018) and After Uniqueness: A History of Film and Video Art in Circulation (2017).
2017, English
Softcover, 188 pages, 12.5 x 18 cm
Published by
Kunsthalle Wien / Vienna
Sternberg Press / Berlin
$39.00 $15.00 - Out of stock
The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices. The prospect of a fully automated future—while acutely reshaping the notions of work, production, and value creation—also feeds emancipatory scenarios ultimately leading to the end of labor. Total automation is upon us but its liberating promise is yet to be claimed.
This book surveys the literature on that story. It tracks its fabric, layers, and mediations, and unfolds a bibliography and chronology of automation and of its promises.
Copublished with Kunsthalle Wien on the occasion of the exhibition “The Promise of Total Automation,” March 11–May 29, 2016, curated by Anne Faucheret. Artists included: Athanasios Argianas, Zbyněk Baladrán, Thomas Bayrle, James Benning, Bureau d’études, Steven Claydon, Tyler Coburn, Philippe Decrauzat & Alan Licht, Harry Dodge, Juan Downey, Cécile B. Evans, Judith Fegerl, Melanie Gilligan, Peter Halley, Channa Horwitz, Geumhyung Jeong, David Jourdan, Barbara Kapusta, Konrad Klapheck, Běla Kolářová, Nick Laessing, Mark Leckey, Tobias Madison & Emanuel Rossetti, Benoît Maire, Mark Manders, Daria Martin, Shawn Maximo, Régis Mayot, Wesley Meuris, Gerald Nestler, Henrik Olesen, Julien Prévieux, Magali Reus
Design by David Jourdan
2012, English
Softcover, 128 pages, 21.5 x 10.5 cm
Published by
Paper Monument / New York
$35.00 $15.00 - Out of stock
Draw It with Your Eyes Closed: the Art of the Art Assignment is a unique and wide-ranging anthology featuring essays, drawings, and assignments from over one hundred contributors including John Baldessari, William Pope.L, Mira Schor, Rochelle Feinstein, Bob Nickas, Chris Kraus, Liam Gillick, Amy Sillman, James Benning, and Michelle Grabner. Bringing together assignments, anti-assignments, and artworks from both teachers and students from a broad range of institutions, we hope it simultaneously serves as an archive and an instigation, a teaching tool and a question mark, a critique and a tribute.
2018, English / German
Softcover, 272 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$30.00 - Out of stock
In the 18 years since Texte zur Kunst first turned its attention to the field of performance, a lot has happened, to say the least. Today, performance refers to almost any act, willing or forced, and is used by the institutions the world over whose aim is often to solicit performative acts from consumers, whether they are an audience at an art event or a user of social media. With performance today comes the inevitable system of evaluation—likes, ratings, grades, followers, etc.—a fact that has made separating performance as an art, and its popularity, from the overpowering influence of the culture of evaluation. For this issue of Texte zur Kunst, "Performance Evaluation," we investigate the overlapping definitions of performance, following their ubiquity and uses in particular, in order to evaluate what performance means today, and what we mean when we call something a "performance."
Issue No. 110 / June 2018 "Performance Evaluation"
Table Of Contents
Vorwort
Preface
Sabeth Buchmann
Feed Back: Performance In The Evaluation Society
Steffen Mau And Uwe Vormbusch
Likes And Performance / A Conversation Between Uwe Vormbusch And Steffen Mau On The Quantification Of The Social
Alexandra Pirici
Performance As Conjuring / Artist Statement
Stefan Hölscher
(Re-)Evaluating Performance Since 1990
Evelyn Annuss
On The Future Of The Volksbühne –
Failure Is An Option
Andreas Gelhard
Notes On The Competence Society
Working With Performance / A Conversation About Collaboration, Collectivity, And The Value Of Performance
New Development :
Amanda Schmitt
Miranda Warning
Rotation :
Nach Dem Metabolischen Bruch / Martin Müller Über „Molekulares Rot. Theorie Für Das Anthropozän“ Von Mckenzie Wark
Klang Körper
Äpfel Und Birnen / Wolfgang Seidel Über „Underground Und Improvisation. Alternative Musik Und Kunst Nach 1968“ In Der Akademie Der Künste, Berlin
Stunt / Anke Dyes Über Georgia Sagri Im Portikus Frankfurt/M.
Brighten The Corners / Colin Lang On “Res·O·Nant” At The Jewish Museum Berlin
Anke Dyes, Luisa Kleemann Und Tina Schulz
Über Das Gallery Weekend In Berlin
Reviews :
Endstation Selbstbezug / Hans-Christian Dany Über „Harald Szeemann: Museum Of Obsessions“ Und „Grandfather: A Pioneer Like Us“ Im Getty Center Und Ica In Los Angeles
Forward In This Generation / Eva Díaz On The New Museum Triennial
Archivarisch Verdichtet / Agnieszka Roguski Über „Left Performance Histories“
In Der Neuen Gesellschaft Für Bildende Kunst, Berlin
Broken Lineage / Gregory H. Williams On “Inventur: Art In Germany, 1943–55” At The Harvard Art Museums
Geld Ist Sein Pinsel / Verena Dengler Über Damien Hirst Bei Gagosian, Beverly Hills
Antipathy & Ecstasy / Kari Rittenbach On Ilya Lipkin At Svetlana, New York
Museum In Progress / Barbara Hess Über „Von Da An. Räume, Werke, Vergegenwärtigungen Des Antimuseums 1967–1978“ Im Museum Abteiberg, Mönchengladbach
Composition As Explanation / Annie Godfrey Larmon On Cally Spooner At The Centre D’art Contemporain Genève
Ikonisches Nachleben / Johannes Bennke Über James Benning Bei Neugerriem-Schneider, Berlin
Game Of Thrones / Chris Reitz On Geta Bratescu At Hauser & Wirth, Los Angeles
Park, Blicke / Benjamin Meyer-Krahmer Über Maya Schweizer Im Kunstverein Leipzig
Humanity’s Last Hopf / Mikael Brkic On Judith Hopf At Kunst-Werke Berlin
Memes, Schönheit Und Verfremdung / Jessica Aimufua Über Arthur Jafa In Der Julia Stoschek
Collection Berlin
Unendliche Arbeit / Hans-Jürgen Hafner Über Catherine Christer Hennix
Im Stedelijk Museum, Amsterdam
Relentless Applause / Carmen Gray On Katrina Daschner At The Neue Galerie Graz
Karikaturen Ohne Pointe / Michael Franz Und Franziska Ipfelkofer Über Matthias Noggler Bei Emanuel Layr, Wien
Administrativer Papierkram / Fiona Geuß Über „Paperwork“ In Der Sammlung Haubrok, Fahrbereitschaft, Berlin
Nachrufe :
Linda Nochlin (1931–2017)
Kynaston Mcshine (1935–2018)
Peter Gorsen (1933–2017)
Edition :
Tauba Auerbach
Eliza Douglas
Hans Haacke
2016, English
Softcover (over-sized), 136 pages, 25 x 37 cm
$58.00 $15.00 - Out of stock
encens is a fashion magazine from France, presenting a very selective number of designers, edited by Samuel Drira and Sybille Walter.
encens 36 "Mindscape" (Spring/Summer 2016) features Susan Sontag, Serge Lutens, Isabelle Weingarten, Cartier, Comme des Garçons, Annie Leibovitz, Nehera, Giorgio Armani, Hed Mayner, Angelo Flaccavento, James Benning, Carol Bove, Uma Wang, Veronique Branquinho, Issey Miyake, Carlo Scarpa, Lene Berg, Lutz Huelle, Givenchy, Dries Van Noten, Sonia Rykiel, Azzadine Alaia, Yohji Yamamoto, Willie Christie, Axl Jensen, Chanel, Celine, Lemaire, Veronique Leroy, Dior Homme, Maison Martin Margiela, Vivienne Westwood, Linda Loppa, Bless, Juun J., Christopher Williams, Friedrich Kiesler, Pierre Cardin, Hermes, and many more.
2011, English
Hardcover, 172 pages (35 color photographs), 22 x 26 cm
Published by
A.R.T. Press / New York
$35.00 - Out of stock
This project based publication edited by Julie Ault documents and analyzes a body of work by the critically acclaimed filmmaker, James Benning.
Benning reconstructed Henry David Thoreau's and Ted Kaczynski's iconic cabins, and uses these structures to reflect on utopian and dystopian versions of social isolation. Mounted on the walls of each cabin are copies of paintings by so-called outsider artists, also made by Benning. On the surface Benning's two cabins are night and day, invoking contradictory sets of reclusive intentions and divergent paths leading back out. Deeper inquiry reveals the Thoreau / Kaczynski equation to be inspired. Benning's engagement makes discernable a multitude of contacts between their motivations, beliefs, and experiences of seclusion. Benning's armature artfully unfolds a complex articulation of practices of dissent, nonprescriptive ways of living, and the politics of solitude.
The book includes photography by Benning, essays by Julie Ault, Benning, and Dick Hebdige, and extracts from Thoreau's and Kaczynski's writings.