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.
2010, English / German
Softcover, spiral-bound, 182 pages, 17.8 x 25.4 cm
Published by
Kölnischer Kunstverein / Köln
Walther König / Köln
$55.00 $20.00 - Out of stock
With statements from Judith Barry, Joseph Beuys, Paul Chan, Mel Chin and the GALA Committee, Jaime Davidovich, Simon Denny, Kalup Linzy, Christoph Schlingensief, Ryan Trecartin, Francesco Vezzoli, Andy Warhol.
"Forbidden Love: art in the wake of television" observes television's methods of seduction, with its "garish mannerisms" and describes it as a world of experience with the most varied of formats. The catalogue does not aim to analyse the content or morals of television, rather it is interested in an aesthetic, "camp" approach-as described in Susan Sontag's essay Notes on "Camp"-to the medium of television and its affects.
Out-of-print.
2018, English
Softcover, 192 pages,
Edition of 2000,
Published by
Primary Information / New York
$29.00 - Out of stock
Just Another Asshole was an influential and now-legendary mixed-media publication series edited by Barbara Ess from 1978 to 1987. The submission process was open and collaborative, and each issue was produced in a different format (e.g., limited-edition zine by Ess, tabloid-sized graphic arts magazine, 4 pages in an issue of Artforum, photography book, LP record album, paperback book). Several were edited with Jane Sherry or Glenn Branca.
Issue 6 of the magazine, co-edited with Branca, was published in the form of a pulp paperback book with writings by sixty-one artists from the early-80s downtown scene. It includes short stories, performance transcripts, aphorisms, plays, monologues, screenplays, and essays that offer a window into the gritty and dynamic culture of New York City before gentrification pushed the underground out of Lower Manhattan.
Contributors include Kathy Acker, Lindsay Amos, Constance Ash, Josh Baer, Barbara Barg, Judith Barry, Nan Becker, Eric Bogosian, Glenn Branca, Brian Buczak, Mitch Corber, Peter Cummings, Margaret De Wys, Bradley Eros, Barbara Ess, Richard Fantina, Dorothea Franck, Matthew Geller, Michael Gira, Jack Goldstein, Dan Graham, Rudolph Grey, Sue Hanel, Jenny Holzer, Peggy Katz, Barbara Kruger, Beth Lapides, Joe Lewis, Amanda Linn, Carla Liss, Meredith Lund, Matthew Maguire, Aline Psyche Mare, Sam Marshall Harvey, Alan Moore, Richard Morrison, Cookie Mueller, Peter Nadin, Joseph Nechvatal, Richard Prince, Lee Ranaldo, David Rattray, Mike Roddy, David Rosenbloom, Ann Rower, Arleen Schloss, Jane Sherry, Kiki Smith, Michael Smith, Jim Sutcliffe, Fiona Templeton, Wharton Tiers, Lynne Tillman, Anne Turyn, Gail Vachon, S.Weisser, Sally A. White, Reese Williams, Martha Wilson, Stephan Wischerth, David Wojnarowicz, and Linda Yablonsky.
Barbara Ess is an artist living and working in New York City and upstate New York. She uses photography, video, and sound to make her work, which has been shown widely in the United States and Europe. She is an Associate Professor of Photography at Bard College.
Glenn Branca was a composer whose work included music for experimental rock bands, large ensemble instrumentals for electric guitars, symphonies for both electric instrumentation and acoustic orchestras, chamber ensemble pieces, an opera, a ballet, choral works, and music for film, dance, theater, and art installations. He was an early pioneer of the no wave punk scene that emerged in downtown New York in the late ’70s.
Edition of 2000
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
2016, English
Hardcover, 252 pages, 26 x 20 cm
Published by
Koenig Books / London
NTU Contre for Contemporary Art Singapore / Singapore
$55.00 - Out of stock
Theatrical Fields brings together a selection of seminal texts, commissioned essays and exhibition materials that explore the political potential of ʻtheatricalityʼ.
This reader stems from a long-term curatorial research examining the deep-rooted connection between theatre and theory, juxtaposing artists and theoreticians from different generations and backgrounds who share a communal interest in the ʻtheatricalityʼ as a methodology to address questions of ideology, gender, power and resistance.
In this conception, ʻtheatricalityʼ does not refer strictly only to the theatre and the theatrical arts; rather, it also points to the constructedness of everyday life. Theatrical forms make visible how our realities are staged, and also how our histories are constructed and performed.
This reader has been conceived and edited by renowned curator, Ute Meta Bauer – Artistic Director of the 3rd Berlin Biennale for Contemporary Art, Berlin (2004); Co-Curator of documenta 11 (2001/2002); Professor and Dean of the School of Fine Art at the Royal College of Art, London (2012/2013); and since 2005 she has been an Associate Professor at MIT, Cambridge, United States.
Includes texts by: Antonin Artaud, Mikhail Bakhtin, Ute Meta Bauer, Bertolt Brecht, Giuliana Bruno, Jacques Derrida, Regis Durand, Josette Féral, Jean-François Lyotard, Eva Meyer, Timothy Murray, Katarina Pierre, Katharina Sykora, Marina Warner
2012, English
Softcover, 544 pages (225 colour ill.), 18 x 23 cm
Published by
Yale University Press / New Haven
$55.00 - Out of stock
Helen Molesworth; With essays by Johanna Burton, William Horrigan, Elisabeth Lebovici, Kobena Mercer, Sarah Schulman, and Frazer Ward.
Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art historically aware. Published in association with the Museum of Contemporary Art, Chicago, this fascinating book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an increasingly commodified world. The major developments of the decade—the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of color, and the ascension of new media—are illuminated in works by Sophie Calle, Nan Goldin, Jeff Koons, Lorna Simpson, Leigh Bowery, Jimmy De Sana, Carroll Dunham, Jimmie Durham, Alex Garry, Robert Gober, Nan Goldin, Mike Kelley, Paul McCarthy, Annette Messager, Cady Noland, Albert Oehlen, Richard Prince, Cindy Sherman, Julian Schnabel, Rosemarie Trockel, Jeff Wall, Charlie Ahearn, Gretchen Bender, Black Audio Film Collective, Jennifer Bolande, Gregg Bordowitz, Eugenio Dittborn, Gran Fury, Group Material, Guerrilla Girls, Hans Haacke, David Hammons, Jenny Holzer, Alfredo Jaar, Barbara Kruger, Louise Lawler, Donald Moffett, Lorraine O’Grady, Paper Tiger Television, Adrian Piper, Lari Pittman, Tim Rollins and K.O.S., Christy Rupp, Doris Salcedo, Juan Sánchez, Tseng Kwong Chi and Keith Haring, Carrie Mae Weems, Christopher Williams, Krzystof Wodiczko, Judith Barry, Ashley Bickerton, Deborah Bright, Marlene Dumas, Felix Gonzales-Torres, Peter Hujar, G. B. Jones, Isaac Julian, Rotimi Fani Kayode, Mary Kelly, Silvia Kolbowski, Louise Lawler, Sherrie Levine, Jack Leirner, Robert Mapplethorpe, Richard Prince, Marlon Riggs, David Robbins, Laurie Simmons, Haim Steinbach, David Wojnarowicz, Dotty Attie, Robert Colescott, General Idea, Robert Gober, Jack Goldstein, Pater Halley, Mary Heilmann, Candy Jernigan, Mike Kelley, Martin Kippenberger, Louise Lawler, Sherrie Levine, Christian Marclay, Allan McCollum, Peter Nagy, Raymond Pettibon, Stephen Prina, Martin Puryear, Gerhard Richter, David Salle, Doug + Mike Starn, Tony Tasset, James Welling, and Christopher Wool, among others. Essays by leading scholars provide unique perspectives on the decade's competing factions and seemingly contradictory elements, from counterculture to the mainstream, radicalism to democracy and historical awareness, conservatism to feminist politics.
Complete with critical texts on each work, This Will Have Been brings into focus the full impact of the art, artists, and political and cultural ruptures of this paradigm-shifting decade. More than 200 full-color reproductions of works in a range of media, including drawing, painting, photography, and sculpture, illustrate this ambitious guide to a period of artistic transformation.