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:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1969, English / German
Flexible plastic covers, screw-bound in acrylic spine, multiple stocks throughout, approx 500 pages, 28 x 15 cm
3rd enlarged edition,
Out of print title / used / very good
Published by
Ludwig Museum / Cologne
$300.00 - Out of stock
The extraordinary, definitive 1960s art exhibition catalogue, in it's 3rd expanded and corrected edition, designed by Wolf Vostell for the Ludwig collection in Cologne in 1969. A work of art itself, "Kunst der sechziger Jahre" perfectly embodies the materiality of the pop-era in book form. Housed in thick blind-stamped clear soft plastic covers bound in a hard acrylic plexiglass spine with stainless steel screws, this remarkable book opens with an introductory text and lexicon in German and English, printed on styrofoam pages and graph stock, with contributions by Gert von der Osten, Peter Ludwig, Horst Keller, and Evelyn Weiss. Featuring 92 artists, all part of the private collection of Peter Ludwig, each artist is presented with a portrait on transparent acetate followed by a selection of glossy offset-printed colour artworks tipped-in (often concertina fold-out!) on thick raw kraft paper pages. This enlarged 3rd edition features over 200 objects in total, a vast expansion on the first editions.
Featuring the greats of European-American Pop, Nouveau Réalisme, Fluxus, Art Informel, Abstraction, Minimalism and more, this mighty tome includes the work of Josef Albers, Carl Andre, Horst Antes, Shusaku Arakawa, Allan D'Arcangelo, Arman, Richard Artschwager, Jo Baer, Larry Bell, Miguel Berrocal, Joseph Beuys, Peter Blake, Gernot Bubenik, Anthony Caro, John Chamberlain, Dan Christensen, Alex Colville, Carlos Cruz-Diez, Ronald Davis, Jim Dine, Jean Dubuffet, Richard Estes, Oyvind Fahlstrom, Dan Flavin, Lucio Fontana, Domenico Gnoli, Bruno Goller, Robert Graham, Nancy Stevenson Graves, Gunter Haese, Richard Hamilton, Hans Hartung, Erwin Heerich, Eva Hesse, David Hockney, Robert Indiana, Jasper Johns, Allen Jones, Donald Judd, Howard Kantovitz, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Konrad Klapheck, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Linder, Morris Louis, Heinz Mack, Piero Manzoni, Marisol, Malcolm Morley, Robert Morris, Bruce Nauman, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzi, Pablo Picasso, Michelangelo Pistoletto, Robert Rauschenberg, Martial Raysse, Gerhard Richter, Jean-Paul Riopelle, James Rosenquist, Niki de Saint Phalle, Nicolas Schoffer, Bernhard Schultze, George Segal, Richard Serra, Keith Sonnier, Pierre Soulages, Daniel Spoerri, Lawrence Stafford, Lewis Stein, Frank Stella, Antoni Tapies, Paul Thek, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Cy Twombly, Gunther Uecker, Ursula (Schultze-Bluhm), Victor Vasarely, Wolf Vostell, Franz Erhard Walther, Andy Warhol, Tom Wesselmann, Wols (Wolfgang Schulze).
A Very Good copy of this fragile and collectible catalogue. The usual bowing to pages, some general ageing, with a split to the lower back of plastic spine where the screw hole is, yet all still intact, nothing missing. Complete copy.
2022, English
Softcover, 456 pages, 16.8 x 23.1 cm
Published by
Karma / New York
$52.00 - Out of stock
Conversations with leading women artists, composers and writers from Judy Chicago, Anohni and Lynne Tillman to Ellie Ga, Tauba Auerbach and Renee Green.
This massive volume comprises over 80 interviews published across a 13-year span of Lauren O’Neill-Butler’s career as a writer, educator, editor and cofounder of November magazine. The majority of the interviews first appeared on Artforum.com’s interviews column, which O’Neill-Butler edited for 11 years. The book is divided into two sections, “Q&A” and “As Told To”—the first comprising interviews in a traditional format and the second recast by O’Neill-Butler in the interviewee’s voice.
Interviewees include: Judy Chicago, Shannon Ebner, Carolee Schneemann, Lucy R. Lippard, Joan Semmel, Liz Deschenes, Eleanor Antin, Andrea Fraser, Anohni, Claudia Rankine, Lorrie Moore, Adrian Piper, fierce pussy, Nan Goldin, Nell Painter, Frances Stark, Sara Greenberger Rafferty, Alex Bag, Agnès Varda, Lisi Raskin, Mary Mattingly, Carol Bove, Jennifer West, Aki Sasamoto, Mary Ellen Carroll, Rebecca Solnit, Rita McBride and Kim Schoenstadt, Karla Black, Julia Bryan-Wilson, Lynda Benglis, Sturtevant, Rachel Foullon, Ellie Ga, Lisa Tan, Mira Schor, Jo Baer, Ruby Sky Stiler, Suzanne Lacy, Rebecca Warren, Katy Siegel, Marlene McCarty, Rachel Mason, Mary Kelly, Dianna Molzan, Lynne Tillman, Polly Apfelbaum, Jesse Jones, Dorothea Rockburne, Sarah Crowner, Lucy Skaer, Sophie Calle, Mary Beth Edelson, W.A.G.E., Mary Heilmann, Pauline Oliveros, Kathryn Andrews, Jessamyn Fiore, Aura Rosenberg, Lucy McKenzie, Rhonda Lieberman, Lucy Dodd, Hong-Kai Wang, Sakiko Sugawa, Beverly Semmes, Virginia Dwan, Jeanine Oleson, Tauba Auerbach, Renee Green, Iman Issa, Monir Shahroudy Farmanfarmaian, Joan Jonas, Yoko Ono, Donna J. Haraway and more.
1976, English
Softcover, 314 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
E P Dutton / New York
$90.00 - Out of stock
First 1976 printing of this fantastic and now rarely seen classic book collection of essays by internationally acclaimed writer, art critic, activist and curator, Lucy R. Lippard.
"FROM THE CENTER : Feminist Essays on Women's Art" is broken into three sections: GENERAL ESSAYS, MONOGRAPHS, and FICTION. GENERAL ESSAYS include 12 major essays such as "Sexual Politics : Art Style", "Household Images in Art", "Fragments", "What is Female Imagery", "Making Up: Role-Playing and Transformation in Women's Art", "The Pains and Pleasures of Rebirth: European and American Women's Body Art", "The Womens' Art Movement - What Next?" and more. MONOGRAPHS is made up of writings dedicated to single artists, including essays on the work of Eva Hesse, Adrian Piper, Jo Baer, Joan Mitchell, Hanne Darboven, Ree Morton, Irene Siegel, Rosemarie Castoro, Louise Bourgeois, Faith Ringgold, Yvonne Rainer, Judy Chicago, Jackie Winsor, Nancy Graves and many more. A suburb collection, illustrated throughout with examples of the artists written about, including a colour plate section.
Very Good copy with cover/spine tanning, light wear.
1970, Dutch
Hardcover, unpaginated, 27.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Nederlandse Stichting Openbaar Kunstbezit / Netherlands
$45.00 - Out of stock
Published in 1970 by Dutch art historian and critic Carel Blotkamp (b. 1945), Na de beeldenstorm: drie opstellen over recente beeldende kunst (3 essays on recent visual art) surveys developments in art at the height of one of the most innovative periods in art history, the 1960s. Blotkamp traces the influence of historical avant gardes (Mondrian, Kandinsky, Malevich, Duchamp...) into new abstraction, hard-edge, Color Field, Minimalism, Pop, Op Art, Nouveau Réalisme, Fluxus, Art Povera, Land Art, et al. Illustrated throughout in colour and black and white with fine examples of work by Barnett Newman, Josef Albers, Lucio Fontana, Robert Rauschenberg, Daan Van Golden, Richard Serra, Kenneth Nolan, Morris Louis, Jo Baer, Frank Stella, Bruce Nauman, Claes Oldenburg, Jim Dine, Walter de Maria, Yves Klein, Robert Morris, Bridget Riley, Jasper Johns, Lawrence Weiner, Jan Dibbets, Armando, Panamarenko, Joseph Beuys, Sol LeWitt, Ellsworth Kelly, Larry Poons, Barry Flanagan, JCJ Vanderheyden, Robert Indiana, Roy Lichtenstein, Martial Raysse, Richard Long, Wim T. Schippers, Marcel Duchamp, Michael Heizer, Ger van Elk, Mario Merz, Carl Andre, Pieter Engels, Andy Warhol, Edward Rushca, Jesús Rafael Soto, Peter Struycken, and many more...
Very Good copy without dust jacket (as issued), light tanning/wear to glossy, foiled boards.
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by
U.M.I. Research Press / Michigan
$50.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.
2004, English
Softcover, 87 pages, 18.5 x 12.7 cm
1st Edition, Out of print title / as new
Published by
ICA / Pennsylvania
$45.00 - Out of stock
Conceptions of “nothing” are one of the driving themes of twentieth-century art. One thinks of Piet Mondrian's reductivist approach to abstraction, Marcel Duchamp's contention that art resides in ideas, not objects, Mark Rothko's painterly reach for the sublime, Andy Warhol's affirmations of the vacuity of Pop culture. The Big Nothing will focus on themes of nothing, nothingness and negation in contemporary art and culture, surveying the legacy of these and other manifestations of absence made manifest in contemporary art. Artist include Gareth James, Jutta Koether, Louise Lawler, Richard Prince, Yves Klein, Bernadette Corporation, John Miller and James Welling, among others. Given its broad connotations, “nothing” provides general audiences with immediate access to looking at and thinking about the art of today.
Exhibition catalogue published in conjunction with show held May 1 - August 1, 2004. Curated and with essays by Ingrid Schaffner, Bennett Simpson, and Tanya Leighton. Additional essay by Paula Marincola. Artists include: Bas Jan Ader, Richard Artschwager, Michael Asher, Michel Auder, Jo Baer, Robert Barry, Larry Bell, Bernadette Corporation, James Lee Byars, Maurizio Cattelan, Thomas Chimes, Bruce Conner, Day Without Art, Jessica Diamond, Roe Ethridge, Lili Fleury, Rene Gabri, Jack Goldstein, Dominique Gonzalez-Foerster, Nicolas Guagnini, David Hammons, Heavy Industries, Nancy Holt, Richard Hoeck, Roni Horn, Pierre Huyghe, Gareth James, Ray Johnson, Yves Klein, Joachim Koester, Jutta Koether, Yayoi Kusama, Louise Lawler, Gordon Matta-Clark, Allan McCollum, Patrick McMullen, John Miller, Matt Mullican, Eileen Neff, Gabriel Orozco, Raphael Ortiz, Charlemagne Palestine, Philippe Parreno, William Pope.L, Doris Salcedo, Karin Schneider, Allan Sekula, Arlene Shechet, Santiago Sierra, John Smith, Robert Smithson, Paul Swenbeck, Rirkrit Tiravanija, Andy Warhol, James Welling, John Wesley, and Steve Wolfe. Includes checklist of the exhibition.
2007, English
Softcover, 21 x 28 cm, 320 pages
Published by
Primary Information / New York
$59.00 - In stock -
REAL LIFE Magazine: Selected Writings and Projects 1979-1994 highlights a selection of writings and artists' projects from REAL LIFE magazine, which was originally edited by artist, writer, and curator, Thomas Lawson and writer, Susan Morgan. Published in twenty-three issues from 1979-1994 as an intermittent black and white magazine, REAL LIFE featured artists and art historians writing on art, media and popular culture interspersed with pictorial contributions. The development of the magazine through its 15 year history, traces the influences, development and transitions of artists through the 80s.
The anthology features writings by and about Dara Birnbaum, Eric Bogosian, Rhys Chatham, Mark Dion, Jack Goldstein, Felix Gonzalez-Torres, Kim Gordon, Dan Graham, Thomas Lawson, Louise Lawler, Sherrie Levine, Allan McCollum, John Miller, Dave Muller, Matt Mullican, Adrian Piper, Richard Prince, David Robbins, Ed Ruscha, Cindy Sherman, Laurie Simmons, Michael Smith, John Stezaker, Bernard Tschumi, Jeff Wall, Lawrence Weiner, and James Welling among others.
Table of Contents:
Thomas Lawson and Susan Morgan: Various Histories of REAL LIFE Magazine
Matthew Higgs: REAL LIFE
Susan Morgan: an interview with Robert Moskowitz, 1979
Valentin Tatransky: Collage And The Problem Of Representation: Sherrie Levine's new work, 1979
Grahame Shane: Crime as Function, 1979
Susan Morgan: an interview with Steve Gianakos, 1979
Barbara Kruger: Game Show, 1979
James Welling: Untitled, 1979
Thomas Lawson: Every Picture Tells A Story Don't It? 1979
Thomas Lawson: Fashion Moda, 1980
Richard Prince: Primary Transfers, 1980
Dan Graham: The Destroyed Room of Jeff Wall, 1980
Kim Gordon: Trash Drugs And Male Bonding, 1980
Thomas Lawson: Going Places, 1980
Susan Morgan: Michael Hurson, 1980
Barbara Kruger: Devils With Red Dresses On, 1980
Thomas Lawson: Long Distance Information, 1980
Joseph Bishop: Desperate Character, 1980
Richard Prince: Menthol Pictures, 1980
Laurie Simmons: Sam and Dottie Dance, 1980
Jim Bradley: Radical Genitalia, 1980
Allan McCollum: Matt Mullican's World, 1980
Michael Smith: Mike In... What Should I Do About The Car? 1980
Sherrie Levine: Two Photographs After Walker Evans, 1980
Kim Gordon: Honeymoon Habit, 1980
Post-Modernism: a symposium, 1981
Dan Graham: BOWWOWWOW (the Age of Piracy), 1981
Howard Singerman: The Artist as Adolescent, 1981
Elsa Bulgari: Your Everyday Critic, 1981
Thomas Lawson: Too Good to be True, 1981
Jenny Bolande: Elk Grazed as if Nothing Had Happened, 1981
David Robbins: Notes toward film, 1981
Eric Bogosian: Fascination, 1981
Fulton Ryder: Pissing on Ice, 1981
Joan Wallace and Geralyn Donohue: Edit deAk, 1982
Rex Reason: Democratism, 1982
The Holy Ghost Writers: Condensation and Dish-Placement, 1982-3
Howard Singerman: Paragraphs toward an essay entitled 'Restoration Comedies', 1982-3
John Roberts: Ruins in the Realm of Thought, 1983
Paul McMahon: From The Permanent Collection, 1983
Jo Baer and Bruce Robbins: Beyond the Pale, 1983
Kathi Norklun: Courage, 1983
Tim Rollins: Particles, 1980-1983, 1983-4
Doug Ashford: Kiss of Death, 1983-4
Thomas Lawson: Komar & Melamid, 1983-4
Robin Winters: The Secret Agent: an interview with Jacki Ochs , 1983-4
Robert C. Morgan: a conversation with Lawrence Weiner , 1983-4
Judith Kirshner: A Blinding Light , 1983-4
Rex Reason: Brie Popcorn: an interview with the directors of Nature Morte Gallery, 1983-4
John Miller: Morality and the Poetic, 1984
Susan Morgan: Portraits of the Artists/Composite Drawings, 1984
B.P. Gutfreund: Four Photographs, 1984
Susan Morgan: Each and Every One of You, 1985
Mark Dion: Tales From The Dark Side, 1985
Jeff Wall: Dan Graham's Kammerspiel Parts I and II, 1985
Jana Sterbak: Premeditated: an interview with Ed Ruscha, 1985
Walter Robinson: The Quest For Failure, 1985-6
Derek Boshier: John Dugger, 1985-6
John A.Walker: Unholy Alliance: Chairman Mao, Andy Warhol, and the Saatchis, 1985-6
Kellie Jones: David Hammons, 1986
John Miller: Swiss Family Robbins, 1986
Adrian Piper: An Open Letter to Donald Kuspit, 1987-8
Susan Morgan: when X does not equal Y , 1987-8
Thomas Lawson: Critical Art Ensemble, 1988-9
Christine N. Lea: Beyond Belief, 1988-9
Felix Gonzalez-Torres: Untitled 1988: Detail of a Sculpture (Endless Copies), 1988-9
Thomas Lawson: No Bull, 1990
Allan McCollum: Photo from TV (with Paintings), 1990
Dara Birnbaum: The Wondering Of Context, 1990
James Welling: Corridors, 1989, 1990
Michael Smith and R. Sikoryak: Mike, 1990
Felix Gonzalez-Torres: Untitled, 1990
Judith Barry: Drive-In or Walk-In Museum, 1990
Group Material: AIDS Timeline, 1990
David Robbins: Three Cancelled TV Families, 1990
Louise Lawler: Untitled 1988, 1990
Susan Morgan: Carlos Gutierrez-Solana, 1994
Josef Strau and Stephan Dillemuth: Friesenwall 120, 1994
David A. Muller: Three Day Weekend, 1994
Spencer Finch: Amnesia And Saying Nothing, 1994
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1978, English
Out of print title / Used*
Published by
Collier Books / New York
$35.00 - Out of stock
Book edition of Linda Nochlin's famous essay "Why Have There Been No Great Women Artists?", that first appeared in the January 1971 issue of ARTnews, together with the follow-up essay "GREAT WOMEN ARTISTS" by Thomas B. Hess. Together these texts are followed by a collection of ten essay replies to "Why Have There Been No Great Women Artists?", including "Dialogue" by Elaine de Kooning with Rosalyn Drexler; "The Hermaphrodite" by Bridget Riley; "Do Your Work" by Louise Nevelson; "Women without Pathos" by Eleanor Antin; "The Double-Bind" by Suzi Gablik; "Healthy Self-Love" by Sylvia Stone; "Moving Out, Moving Up" by Marjorie Strider; "Social Conditions Can Change" by Lynda Benglis; "Artists Transgress All Boundaries" by Rosemarie Castoro; "SEXUAL ART-POLITICS" by Elizabeth C. Baker; and "IN THE UNIVERSITY" by Lee Hall. Five sections of the book are made up of exemplary art works by Agnes Martin, Eva Hesse, Mary Bauermeister, Lee Hall, Nancy Graves, Dorothea Rockburne, Lee Bontecou, Jo Baer, Niki de St. Phalle, Kiki Kogelnik, Deborah Remington, Joan Snyder, Louise Nevelson, Lynda Benglis, Eleanor Antin, Sylvia Stone, Suzi Gablik, Joan Mitchell, Bridget Riley, Sylvia Sleigh, Jean Follett, Charmion Von Wiegand, Louise Bourgeois, Marcia Marcus,Marisol, Louisa Matthiasdottir, Chryssa, Mary Frank, Perle Fine, Elaine de Kooning, Roslyn Drexler, and many more.
1975, English
Softcover (staple-bound), 40 pages, 25 x 25 cm
1st edition, Out of print title / used*,
Published by
Whitney Museum of American Art / New York
$60.00 - Out of stock
Rare Jo Baer catalogue from 1975, published to accompany a major mid-career retrospective of Jo Baer's work at the Whitney Museum of American Art, New York, May 1-July 13, 1975. Features colour and black and white reproductions of many of Baer's work, along with text by Barbara Haskell.
Jo Baer was born in Seattle, Washington in 1929. After completing graduate work in psychology at the New School for Social Research in New York, she began her career as an artist in Los Angeles in 1953. Seven years later, she returned to New York where she became a key participant in the Minimalist art movement. Her paintings were included with works by Donald Judd, Dan Flavin, Robert Morris, and Sol Lewitt in many of the first Minimalist art exhibitions in New York in the early 1960s.
Her unswerving commitment to painting as a radical art form brought her a one-person exhibition as early as 1966 at the Fischbach Gallery in New York. In 1975, the Whitney Museum of American Art in New York held a mid-career retrospective of her work. In 1999, the Stedelijk Museum in Amsterdam exhibited a large retrospective of her work. Recently the DIA Center for the Arts in New York also held a major exhibition of over 25 minimalist paintings and prints that she completed from 1960 to 1975.
In search of a more substantive art, Baer exiled herself from the New York art world with a move to Ireland in 1975. By 1983, she took a stance against abstract art as an avant-garde form with a polemical article in Art in America. Since 1984, she has lived and worked in Amsterdam. Baer continues to develop the formal content of her paintings in a quasi-figurative manner that she considers radical figuration — without pre-eminence of image or space.
1980, English
Softcover, 128 pages, 28 x 21.5 cm
Out of print title / used*,
Published by
Cornell Paperbacks / London
Phaidon / London
$38.00 $15.00 - Out of stock
"Edward Lucie-Smith, a critic and historian of art who is deeply immersed in the works and trends of the seventies here provides the first general survey of the decade. In a volume alive with visual images that are often surprising and sometimes disturbing, he analyzes the development both of old forms and of new ones, and provides a coherent framework for the general reader."
Contents: The Popular Arts; Post Pop and Mandarin Taste; Abstract Painting; Illusionary Art; Figurative Painting; Fetish Art and Happenings; Political Art; Art as Environment and Architecture; High-Tech and the Third World, plus a biographical list of the artists featured and a "further reading" list.
Includes the work of: Stephen Willats, Lawrence Weiner, Brice Marden, Robert Mapplethorpe, Vito Acconci, Jo Baer, Joseph Beuys, Lynda Benglis, Bob Law, Philip King, Alan Kessler, On Kawara, Douglas Huebler, John Kacere, Richard Long, Robert Mangold, Philip Guston, Hans Haacke, Nancy Grossman, Robert Grosvenor, Nancy Graves, Walter de Maria, U-Fan, Claude Viallet, Nancy Spero, Peter Saul, Robert Ryman, James Rosenquist, Joel Shapiro, Sylvia Sleigh, Robert Stackhouse, Paul Thek, Giulio Paolini, Nam June Paik, Bruce Nauman, Roman Opalka, Dennis Oppenheim, Tony Cragg, Judy Chicago, Larry Bell, Daniel Buren, Chuck Close, and many more.
2015, English
Softcover, 650 pages, 29.2 x 19 cm
Published by
Koenig Books / London
The Artist's Institute / New York
$50.00 - Out of stock
The Artist´s Institute dedicates each six-month season to a single artist, whose work becomes the occasion for a series of exhibitions, public programs, and graduate seminars with leading contemporary thinkers in the fields of art, music, film, literature, science, art history, philosophy, and other creative pursuits. The first six seasons, taking place between 2010 and 2013, were dedicated to Robert Filliou, Jo Baer, Jimmie Durham, Rosemarie Trockel, Haim Steinbach, and Thomas Bayrle. In each context, the Institute convened private and public forums to reflect on each artist by reading relevant texts, displaying artworks, and programming related events, all of which are narrated in this book.
Typeset by Scott Ponik.
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