World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program 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
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"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.
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.”
“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".
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.
at Minerva, Sydney (curated 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
“...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.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
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
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.
Paperback, 288 pages, 22 x 21 cm
Published by Roma / Amsterdam
$75.00 - In stock -
This catalogue accompanies a major group show at CCA Wattis in San Francisco, curated by Anthony Huberman. It reflects on ways the “machine” determines how we live and what we believe in. A machine is also a mechanism, not just a physical object but also an abstract ideology. The artworks point to the forms and instruments that make up our technological infrastructure, as well as to the values they are designed to enforce. Contesting a world that rewards efficiency, speed, and productivity, the participating artists test existing systems with inefficient machines, impossible tools, wasted time, and elaborate protocols that misalign outputs and inputs.
Artists: Zarouhie Abdalian, Terry Atkinson, Lutz Bacher, Eva Barto, Neïl Beloufa, Patricia L. Boyd, Jay DeFeo, Trisha Donnelly, Harun Farocki, Richard Hamilton, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Louise Lawler, Park McArthur, Jean-Luc Moulène, Pope.L, Charlotte Posenenske, Cameron Rowland, Danh Vo
Designed by Julie Peeters and Scott Ponik this catalogue accompanies the exhibition and includes an essay by the curator as well as sections created by each artist. It is co-published with Roma Publications (Amsterdam).
Paperback, 116 pages, 17 x 24 cm
Published by CCA Wattis Institute for Contemporary Arts / San Francisco
$44.00 - In stock -
The CCA Wattis Institute in San Francisco dedicates year long seasons of discussions and public events to a single artist. In 2014–15, Joan Jonas was “on our mind.” This book brings together essays from writers, curators, art historians and artists that focus on a single work, from Jonas’ earliest films through her installation for the US Pavilion at the 56th Venice Biennale. The book also contains excerpts from readings and public lectures, and images by some of the other artists whose work was evoked in public and private conversation. Contributors include Jacqueline Francis, Renée Green, Quinn Latimer, Sarah Lehrer-Graiwer, Patricia Maloney, Elizabeth Mangini, Judith Rodenbeck and Lynne Tillman.
2017, English / Portuguese
Paperback, 264 pages, 17 x 26 cm
Published by Mousse Publishing / Milan
$52.00 - In stock -
Released as a companion to an eponymous exhibition at MAAT, Lisbon, this book features previously unpublished essays on the ongoing transition from the notion of utopia towards its opposite image of dystopia. It acts as a reader for the curatorial project in which each author reflects on the unsurprising demise of utopian ideals. Yet, as humans, we need positive and idealistic impulses that help us overcome feelings of permanent crisis and disbelief. The dystopia that has come to be accepted and absorbed in human existence can only be combated with a “utopian impulse”. With contributions by Pedro Gadanho, Susana Ventura, Keller Easterling, Franco Berardi, and more.
Softcover, 448 pages, 17 x 23 cm
Published by Valiz / Amsterdam
$62.00 - In stock -
'The Lure of the Biographical' focuses on the relationship between the work and the personal image of artists. The book explores how artists use their (biographic) image in order to make a name for themselves, and how other parties, such as critics, art historians, and art dealers, make connections between personal lives and bodies of work. Through detailed case studies of the image and work of Auguste Rodin, Georgia O'Keeffe, and Francis Bacon, the book demonstrates which mechanisms and strategies are at play in creating the artist's image, and, in addition, proposes a model for research into questions of (self)representation
2 volume soft cover in hardcover slip case, 240 pages (b&w ill.), 25.4 x 17.8 cm
Published by Semiotext(e) / Los Angeles
$95.00 - In stock -
The legendary 1975 “Schizo-Culture” conference, conceived by the early Semiotext(e) collective, began as an attempt to introduce the then-unknown radical philosophies of post-’68 France to the American avant-garde. The event featured a series of seminal papers, from Deleuze’s first presentation of the concept of the “rhizome” to Foucault’s introduction of his History of Sexuality project. The conference was equally important on a political level, and brought together a diverse group of activists, thinkers, patients, and ex-cons in order to address the challenge of penal and psychiatric institutions. The combination proved to be explosive, but amid the fighting and confusion “Schizo-Culture” revealed deep ruptures in left politics, French thought, and American culture.The “Schizo-Culture” issue of the Semiotext(e) journal came three years later. Designed by a group of artists and filmmakers including Kathryn Bigelow and Denise Green, it documented the chaotic creativity of an emerging downtown New York scene, and offered interviews with artists, theorists, writers, and No Wave and pre-punk musicians together with new texts from Deleuze, Foucault, R. D. Laing, and other conference participants.This slip-cased edition includes The Book: 1978, a facsimile reproduction of the original Schizo-Culture publication; and The Event: 1975, a previously unpublished and comprehensive record of the conference that set it all off. It assembles many previously unpublished texts, including a detailed selection of interviews reconstructing the events, and features Félix Guattari, William Burroughs, Kathy Acker, Michel Foucault, Sylvère Lotringer, Guy Hocquenghem, Gilles Deleuze, John Rajchman, Robert Wilson, Joel Kovel, Jack Smith, Jean-Fran?ois Lyotard, Ti-Grace Atkinson, François Peraldi, and John Cage.
Due to the weight of this volume, your order will likely incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
Softcover, 128 pages, 14 x 21 cm
1st UK Edition, Out of print title / used / good
Published by Serpent's Tail / London
$20.00 - In stock -
Frisk, published in 1991, is an award-winning novel by American author Dennis Cooper that explores the ultimate meaning of the body, sex, and death. Homoeroticism, brutality and psychosis are explored through an unnervingly lucid account of a young man's fascination with snuff photos and murder.
"When Dennis is thirteen, he sees a series of photographs of a boy apparently unimaginably mutilated. Dennis is not shocked, but stunned by their mystery and their power; their glimpse at the reality of death. Some years later, Dennis meets the boy who posed for the photographs. He did it for love.
Surrounded by images of violence, the celebrity of horror, news of disease, a wasteland of sex, Dennis flies to Europe, having discovered some clues about the photographs: “I see these criminals on the news who’ve killed someone methodically, and they’re free. They know something amazing. You can just tell.” What they know may lie in bodies themselves. Bodies are unavoidably real; what’s in them must have something to say, even in a society that lives on images and fantasies. An isolated windmill in Holland provides the perfect setting for Dennis to find out more about bodies—of which there are many—and what is inside them.
Cooper says, "I present the actual act of evil so it's visible and give it a bunch of facets so that you can actually look at it and experience it. You're seduced into dealing with it. ... So with Frisk, whatever pleasure you got out of making a picture in your mind based on ... those people being murdered, you take responsibility for it."
Dennis Cooper (born 1953) is an American novelist, poet, critic, editor and performance artist who grew up in the Southern California. In 1976, he founded Little Caesar Magazine and Press, which he ran until 1982. In 1985, he moved to Amsterdam for two and a half years, where he began his ten year long project, The George Miles Cycle, an interconnected sequence of five novels that includes Closer, Frisk, Try, Guide, and Period. His post-George Miles Cycle novels include My Loose Thread, The Sluts and God, Jr. Other works include the short-story collections Wrong and Ugly Man, poetry collections The Dream Police and The Weaklings, as well as the recent Smothered in Hugs: Essays, Interviews, Feedback, and Obituaries.
Dennis Cooper currently spends his time between Los Angeles and Paris.
"Dennis Cooper, God help him, is a born writer" - William Burroughs
"Cooper’s language is at first intense, nearly minimal, then suddenly, it ascends into vision" - Kathy Acker
First UK edition, published Serpent's Tail, London.
Softcover, 232 pages, 15 x 22.5 cm
Published by Semiotext(e) / Los Angeles
$36.00 - In stock -
Long ago, in childhood, when Summer reverberates and feels and throbs all over, it begins to circumscribe my body along with my self, and my body gives it shape in turn: the "joy" of living, of experiencing, of already foreseeing dismembers it, this entire body explodes, neurons rush toward what attracts them, zones of sensation break off almost in blocks that come to rest at the four corners of the landscape, at the four corners of Creation. --from Coma
The novelist and playwright Pierre Guyotat has been called the last great avant-garde visionary of the twentieth century, and the near-cult status of his work--because of its extreme linguistic innovation and its provocative violence--has made him one of the most influential of French writers today. He has been hailed as the true literary heir to Lautreamont and Arthur Rimbaud, and his "inhuman" works have been mentioned in the same breath as those by Georges Bataille and Antonin Artaud.Winner of the 2006 prix Decembre, Coma is the deeply moving, vivid portrayal of the artistic and spiritual crisis that wracked Guyotat in the 1980s when he reached the physical limits of his search for a new language, entered a mental clinic, and fell into a coma brought on by self-imposed starvation. A poetic, cruelly lucid account, Coma links Guyotat's illness and loss of subjectivity to a broader concern for the slow, progressive regeneration of humanity. Written in what the author himself has called a "normalized writing," this book visits a lifetime of moments that have in common the force of amazement, brilliance, and a flash of life. Grounded in experiences from the author's childhood and his family's role in the French Resistance, Coma is a tale of initiation that provides an invaluable key to interpreting Guyotat's work, past and future.