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.
2014, English
Softcover, 128 pages, 22 x 28 cm
1st Edition, Out of print title / as new
Published by
Yale University Press / New Haven
$55.00 $15.00 - Out of stock
Since the 1960s, Leatrice and Melvin Eagle have acquired decorative arts of the highest quality, beginning with contemporary ceramics and then expanding to works in other mediums produced from the 1940s to the present. Although primarily American in scope, their collection also encompasses significant pieces by acclaimed international artists. This book presents, for the first time, key highlights from the Eagle collection, which was acquired by the Museum of Fine Arts, Houston, in 2010. At the core of the collection are stunning examples of ceramics by groundbreaking California-based artists, such as Robert Arneson, Ralph Bacerra, Viola Frey, David Gilhooly, Ron Nagle, Ken Price, Adrian Saxe, and Peter Voulkos. Also included is furniture by Wendell Castle and Sam Maloof; textile and fiber art by Olga de Amaral, John Garrett, John McQueen, and Cynthia Schira; and jewelry and metalwork by William Harper, Albert Paley, Earl Pardon, and Joyce J. Scott. This catalogue features works by about 40 key artists and an illustrated checklist of about 170 objects in the collection.
As New copy.
1978, English
Softcover, 48 pages, 25.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Everson Museum of Art / Syracuse
$45.00 - In stock -
Very scarce catalogue published to accompany an exhibition curated by Margie Hughto at the Everson Museum of Art, Syracuse, New York, September 29 - December 3, 1979; Arts and Crafts Center of Pittsburgh, February 24 - March 18, 1979. Centring around The California Clay Movement (or American Clay Revolution), a school of ceramic art that emerged in California in the 1950s that was part of the larger transition in crafts from "designer-craftsman" to "artist-craftsman", the exhibition features the influential work of Peter Voulkos and Stephen de Staebler, two of the movement's driving forces, and their students and associated Funk (non-functional Bay Arena ceramic art movement) artists including Marilyn Levine, Robert Arneson, Karen Breschi, David Gilhooly, David Middlebrook, Kenneth Price, and Richard Shaw. Text by Judy S. Schwartz. Acknowledgments & Foreword by Margie Hughto, Adjunct Curator of Ceramics. Each artist with a one page write-up profile with images, notes and biographies.
Very Good with some light creasing.
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.
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.
2014, English
Hardcover, 80 pages (colour ill.), 28 x 33 cm
Published by
Matthew Marks gallery / New York
$52.00 - In stock -
For over five decades, Ken Price (1935–2012) produced small-scale ceramic sculptures with brightly colored finishes that achieved a balance between form and surface. Then, in the last years of his life, he initiated a dramatic shift in scale and finish. Ken Price: The Large Sculptures unveils this final body of work in its entirety. With dimensions that echo those of the human body, these sculptures speak directly to the viewer’s corporeality. Cast in bronze composite and painted with color-shifting automotive paint, the large sculptures are in one sense the culmination of Price’s long career and in another the beginning of a new path cut tragically short. This large-format book includes a detailed essay by Alex Kitnick that situates these works in the history of modern sculpture. The plates section features multiple views of the works’ seemingly ever-shifting forms. Completing the book are numerous unpublished photographs of the fabrication process at Price’s studio.
2000, English
Hardcover (w. dustjacket), 251 pages, 26.4 x 26.4 cm
1st Edition, Out of print title / Used*,
Published by
LACMA / Los Angeles
Rizzoli / New York
$55.00 - Out of stock
Drawn from the collection of the Los Angeles County Museum of Art, Color & Fire: Defining Moments in Studio Ceramics, 1950-2000 accompanies a major touring exhibition on the history of ceramic art in the second half of the twentieth century. Illustrated with more than 250 color photographs, Color & Fire explores the roles of key artists and the major stylistic movements they developed during the decades of pioneering innovation.
Based on the premise that the history of studio ceramics can be regarded as a series of breakthroughs or milestones, Color & Fire highlights the moments when talented artists came together to produce work in clay that challenged traditions and promoted aesthetic freedom. In the early years of the twentieth century, pottery was primarily mass-produced in factories, where specialists in wheel throwing, glazing, and kiln firing worked under a system of divided labor. In the 1930s and 1940s, ceramists such as the renowned team of Gertrud and Otto Natzler began to perform all of these exacting functions-from mixing clay to firing kilns-in their own studios, creating one-of-a-kind pots, breathtaking in design and construction. Since that time, ceramic art has followed a metaphorical journey from the earth to the air, as concerns with utility, materials, and techniques have given way to abstract conceptual considerations.
In Los Angeles in the 1950s, Peter Voulkos and his students upset the traditional values of craft pottery and the Bauhaus- inspired "form follows function" doctrine by creating nonfunctional, oversized, off-kilter vessels with cracks and holes, along with massive Abstract Expressionist monuments. In the 1960s in northern California, Robert Arneson and his students shattered taboos against clay as a sculptural medium in the oversized, off-kilter vessels with cracks and holes, along with massive Abstract Expressionist monuments. In the 1960s in northern California, Robert Arneson and his students shattered taboos against clay as a sculptural medium in the hands of potters with their radical, irreverent, and satirical "Funk" pieces. Today, no longer confined to the decorative arts or other craft categories, ceramic artists around the world explore an unlimited range of influences, styles, and ideas, engaging in a graceful and inventive dialogue with centuries of ceramic tradition.
A celebration as well as a valuable art-historical survey, Color & Fire: Defining Moments in Studio Ceramics, 1950-2000 showcases the finest works form the unparalleled collection of the Los Angeles County Museum of Art. Accessible to the novice as well as to the enthusiast, the book includes essays by Grechen Adkins, Garth Clark, Jo Lauria, Rebecca Niederlander, Susan Peterson, and Peter Selz.
1979, English / Dutch
Softcover (stapled), 44 pages (colour & b/w ill.), 21 x 27.5 cm
1st edition, Out of print title / used*,
Published by
Stedelijk Museum / Amsterdam
$50.00 - Out of stock
Catalogue for "West Coast Ceramics", the 1979 exhibition held at the Stedelijk Museum, Amsterdam. Artists include; Ken Price, Robert Arneson, David Gilhooly, Richard Shaw, Ron Nagle and Peter Voulkos.
Catalogue design: Wim Crouwel, Arlette Brouwers, Total Design
1966, English
Softcover, 54 pages, 21.5 x 24 cm
1st edition of 1000, Out of print title / used*,
Published by
University of California Irvine / US
$170.00 - Out of stock
This is the exhibition catalogue in which curator and editor John Coplans first coined the term "Abstract Expressionist Ceramics".
A very rare piece of West Coast ceramics history, this handsome catalogue, designed by James Turrell and printed in a once-only edition of 1000 copies, was published in conjunction with the seminal 1966 University of California, Irvine survey exhibition ("Abstract Expressionist Ceramics") of West Coast artists affiliated with Peter Voulkos and his pioneering work at the Ceramic Center at Otis Art Institute and the University of California, Berkeley.
Curated by John Coplans, the pivotal figure here is Peter Voulkos, but the catalogue also features incredible and rare photo documentation of the amazing early works of Billy Al Bengston, Michael Frimkess, John Mason, Malcolm McClain, James Melchert, Ron Nagle, Manuel Neri, Kenneth Price, and Henry Takemoto, presented in large colour and black and white photography alongside Coplans' exhibition essay.
A very special, and super scarce item in the history of West Coast ceramic art.
1999, English
Hardcover, 135 pages, 29.5 x 23.7 cm
1st edition, Out of print title / used*,
Published by
The Kruithuis Museum Collection / Netherlands
$62.00 - Out of stock
Published by the Kruithuis Museum Collection in The Netherlands in 1999, this large hard-cover volume profiles the important ad diverse ceramic work of American artists Robert Arneson, Ronald Baron, Christina Bertoni, Kathy Butterly, William Daley, Richard Devore, Robert Forman, Viola Frey, David Gilhooly, Andrea Gill, Wayne Higby, Graham Marks, James Melchert, Ron Nagle, George Ohr, Ken Price, Adrian Saxe, Rudolf Staffel, Robert Turner, Peter Voulkos, Betty Woodman, Rhonda Zwillinger. The work of this incredible grouping of artists is photographed in glorious detail and reproduced very large across the numerous page-spreads that profile each and every artist.
A very visual book!
Includes essays by Arthur C. Danto and Janet Koplos, and photographic portraits of all the artists alongside in-depth bibliographies. An incredible resource.
1981, English
Softcover, 144 pages, 22 x 27 cm
1st Edition, Out of print title / Used*,
Published by
Whitney Museum / New York
University of Washington Press / Washington
$38.00 - Out of stock
Out of print catalogue from the exhibition "Ceramic Sculpture: Six Artists", Whitney Museum of American, 9 Dec 1981 - 7 Feb, 1982; SF MOMA, 8 Apr - 27 Jun 1982.
Features the great ceramic work of Peter Voulkos, John Mason, Kenneth Price, Robert Arneson, David Gilhooly and Richard Shaw.
Included the texts: "Ceramic Sculpture in California: An Overview" by Suzanne Foley and "Ceramic Sculpture: Six Artists" by Richard Marshall.
1988, English
Softcover, 208 pages (colour/b&w ill. throughout)
Out of print title / used*,
Published by
Thames and Hudson / London
$32.00 - Out of stock
The most popular of all the decorative arts, pottery has established itself as a modern art, form universal in its appeal and language. This presentation of ceramics worldwide has been updated to reflect the latest developments in a fast-evolving field, revealing a blend of tradition with new ideas, and spectacular use of ornament and colour. Dormer discusses the nature and roots of today's trends, and examines form and decoration in an authoritative compilation.
2013, English
Softcover, 164 pages (colour & b/w ill.), 15 x 23 cm
Published by
The Drawing Center / New York
$38.00 - Out of stock
This publication accompanies the first survey of drawings by Los Angeles artist Ken Price (1935–2013), best known for his abstract, brightly colored ceramic sculptures. Price’s work was only widely exhibited later in his life, but scholars have long admired his highly original forms. As early as 1966, Lucy Lippard commented: “No one else on the East or West Coast is working like Kenneth Price.” Like his better-known sculptures, these drawings feature an idiosyncratic array of amorphous shapes. The book includes an in-depth 44-page illustrated essay by exhibition curator Douglas Dreishpoon, a 20-page section detailing a rarely seen large-scale scroll drawing from 1962, and color plates of all of the nearly 70 works in the exhibition, tracking the evolution of Price’s drawings over 48 years and demonstrating a wide range of characters and techniques.
2009, English
Softcover (stapled), 16 pages (colour ill. throughout), 220 x 145 mm
Out of print title / used*,
Published by
Matthew Marks gallery / New York
$35.00 - Out of stock
This brightly illustrated publication accompanied the exhibition Ken Price: New Sculpture & Works on Paper at the Art Dealers Association of America Art Show, February 19-23, 2009 at the Park Avenue Armory. Features photographs of many new sculptural works and drawings. Very scarce catalogue.
2013, English
Softcover, 172 pages, ills colour & bw, 23 x 28 cm
Published by
PIN-UP MAGAZINE
$25.00 - Out of stock
PIN–UP is a magazine that captures an architectural spirit, rather than focusing on technical details of design, by featuring interviews with architects, designers, and artists, and presenting work as an informal work in progress – a fun assembly of ideas, stories and conversations, all paired with cutting-edge photography and artwork. Both raw and glossy, the magazine is a nimble mix of genres and themes, finding inspiration in the high and the low by casting a refreshingly playful eye on rare architectural gems, amazing interiors, smart design, and that fascinating area where those areas connect with contemporary art. In short, PIN–UP is pure architectural entertainment!
Issue 14 features:
Paulo Mendes Da Rocha, ROLU, Delfina Delettrez, Hans Kollhoff, PLUS a 60-page BRAZIL SPECIAL including a portfolio by Wolfgang Tillmans on the city São Paulo; a cinematic portrait of Rio by the artist Sarah Morris; a Hans Ulrich Obrist-led tour of Lina Bo Bardi’s luminous domestic masterpiece and former residence, the Casa de Vidro; and an insightful new take on Brasilia’s genesis and legacy by Richard Williams with photographs by Marcelo Krasilcic. As well as conversations with established and up-and-coming architects, artists and designers from all over Brazil, including an introduction to ten of the most exciting contemporary Brazilian architects.
Also:
An ethereal tour of Valerio Olgiati’s unbuilt wonders, a visit to legendary gay artist Tom of Finland’s Los Angeles sanctuary, a look inside Michael Capo’s auction house treasure palace, and a trip to Mozambique to revisit the life and work of the unbelievably prolific Portuguese architect Pancho Guedes. Also in the issue, Kate McCollough trawls Second Life cataloging traditional stair typologies and PIN–UP’s recommendations for the contemporary corporate environment. Plus a 15-page PIN–UP Board showcase including the PIN–UP Book Club, Norman Foster, Jerszy Seymour, Ken Price, Horrace Gifford, OMA for Knoll, FAUX/real, Adeline André, and so much more.
1987, English
Softcover, 64 pages (colour ill. throughout), 280 x 220 mm
Out of print title / Used*,
Published by
Seattle Art Museum / Seattle
$10.00 - Out of stock
Published by Seattle Art Museum, this catalogue accompanied the exhibition "Clay Revisions: Plate, Cup, Vase", held at Renwick Gallery in 1988. The show was organized by the Seattle Art Museum and curated by Vicki Halper, the author of this catalogue. It documents work by many of the world's leading ceramists, including Ken Price, Peter Shire, Mary Heilmann, Peter Voulkos, Ron Nagle, Richard Shaw, Robert Arneson, and many more.
1990, English
Softcover, 240 pages, 305 x 230 mm
Out of print title/Used*,
Published by
Los Angeles County Museum of Art / Los Angeles
$30.00 - Out of stock
A catalogue of the Howard and Gwen Laurie Smits Collection at the Los Angeles County Museum of Art. This publication showcases the collection, one of the most outstanding selections of contemporary vessel ceramics in the world. The goal of this collection, begun in the 1970s, was to gather works by living artists, that showed their diversity, energy, and intellectual concerns. It is composed principally of works from 1979 to 1988, with a core representative of southern California potters. For background on the interwoven histories of English and American studio potters in the development of the clay movement, work of European and especially English artists are represented, including works that illustrate a technique or "moment" to show a specific genre. The catalogue profiles 64 ceramists through biographies, photographs, and discussions of the artist's work.
1978, English
Softcover, 89 pages, 230 x 255 mm
Out of print title / Used*,
Published by
Los Angeles County Museum of Art / Los Angeles
$130.00 - Out of stock
“After settling in Taos, Price began to identify with the folk artists who make roadside monuments and the artisans who produce pottery in villages all over Mexico. He determined to make a body of work, using commercial material and readily available preparations, that was true in spirit to the folk/cottage industry sensibility, that was ‘easy, offhand but utterly assured characteristic’ of ‘low art’ pottery.” The resulting project, “Happy’s Curios,” which Price spent nearly six years working on (the bulk of the decade), culminated with a show at the Los Angeles County Museum of Art in 1978"
2012, English
Hardcover (w. dustjacket), 288 pages, 248 x 280 mm
Published by
Prestel / Munich
$85.00 - Out of stock
This definitive book on American sculptor Ken Price presents a comprehensive overview of the artist's exquisite and innovative work.
For more than 50 years, Ken Price created remarkable and unique objects that have redefined contemporary sculpture practice. Published in conjunction with a LACMA- organized retrospective exhibition, this monograph features superbly reproduced color photographs of Price's vibrant and anthropomorphic work, which has garnered a cultlike following among artists, critics, and scholars since the 1960s. Also included are essays tracing the arc of Price's career and addressing his development as a colorist; a compilation of in-depth interviews from 1980 to 2011; and an appreciation by his friend Frank Gehry, who is also designing the exhibition. An illustrated checklist and chronology as well as an anthology of historical texts from the 1960s allow readers to envision the remarkable trajectory of Price's work. Examining the artist's prolific career and influence, this authoritative book on Price will serve as the catalyst for further scholarly investigation.