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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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.
1996, English
Softcover, 328 pages, 18 x 22.2 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$69.00 - Out of stock
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real -- to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-garde, it concludes with an original reading of this contemporary situation -- and what it portends for future practices of art and theory, culture and politics.
Includes the work of David Hammons, Robert Gober, Mike Kelley, Marcel Duchamp, Alexander Rodchenko, Vladimir Tatlin, Dan Flavin, Carl Andre, Jasper Johns, Daniel Buren, Marcel Broodthaers, Michael Asher, Hans Haacke, Fred Wilson, Silvia Kolbowski, Larry Bell, Sol Lewitt, Richard Serra, Eva Hesse, Donald Judd, Tony Smith, Robert Morris, Robert Smithson, Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Ross Bleckner, Barbara Kruger, Sherrie Levine, Vito Acconci, Bruce Nauman, Gordon Matta-Clark, Frank Stella, Robert Rauschenberg, Andy Warhol, Allan McCollum, Gerhard Richter, Richard Estes, Richard Prince, Cindy Sherman, Kiki Smith, John Miller, Zoe Leonard, Gran Fury, Renée Green, Dan Graham, Martha Rosler, Allan Sekula, Mary Kelly, Silvia Kolbowski, Lothar Baumgarten, Fred Wilson, Jimmie Durham, and many more.
1969, English / German
Flexible plastic covers, screw-bound in acrylic spine, multiple stocks throughout, approx 500 pages, 28 x 15 cm
3rd enlarged edition,
Out of print title / used / very good
Published by
Ludwig Museum / Cologne
$300.00 - Out of stock
The extraordinary, definitive 1960s art exhibition catalogue, in it's 3rd expanded and corrected edition, designed by Wolf Vostell for the Ludwig collection in Cologne in 1969. A work of art itself, "Kunst der sechziger Jahre" perfectly embodies the materiality of the pop-era in book form. Housed in thick blind-stamped clear soft plastic covers bound in a hard acrylic plexiglass spine with stainless steel screws, this remarkable book opens with an introductory text and lexicon in German and English, printed on styrofoam pages and graph stock, with contributions by Gert von der Osten, Peter Ludwig, Horst Keller, and Evelyn Weiss. Featuring 92 artists, all part of the private collection of Peter Ludwig, each artist is presented with a portrait on transparent acetate followed by a selection of glossy offset-printed colour artworks tipped-in (often concertina fold-out!) on thick raw kraft paper pages. This enlarged 3rd edition features over 200 objects in total, a vast expansion on the first editions.
Featuring the greats of European-American Pop, Nouveau Réalisme, Fluxus, Art Informel, Abstraction, Minimalism and more, this mighty tome includes the work of Josef Albers, Carl Andre, Horst Antes, Shusaku Arakawa, Allan D'Arcangelo, Arman, Richard Artschwager, Jo Baer, Larry Bell, Miguel Berrocal, Joseph Beuys, Peter Blake, Gernot Bubenik, Anthony Caro, John Chamberlain, Dan Christensen, Alex Colville, Carlos Cruz-Diez, Ronald Davis, Jim Dine, Jean Dubuffet, Richard Estes, Oyvind Fahlstrom, Dan Flavin, Lucio Fontana, Domenico Gnoli, Bruno Goller, Robert Graham, Nancy Stevenson Graves, Gunter Haese, Richard Hamilton, Hans Hartung, Erwin Heerich, Eva Hesse, David Hockney, Robert Indiana, Jasper Johns, Allen Jones, Donald Judd, Howard Kantovitz, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Konrad Klapheck, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Linder, Morris Louis, Heinz Mack, Piero Manzoni, Marisol, Malcolm Morley, Robert Morris, Bruce Nauman, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzi, Pablo Picasso, Michelangelo Pistoletto, Robert Rauschenberg, Martial Raysse, Gerhard Richter, Jean-Paul Riopelle, James Rosenquist, Niki de Saint Phalle, Nicolas Schoffer, Bernhard Schultze, George Segal, Richard Serra, Keith Sonnier, Pierre Soulages, Daniel Spoerri, Lawrence Stafford, Lewis Stein, Frank Stella, Antoni Tapies, Paul Thek, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Cy Twombly, Gunther Uecker, Ursula (Schultze-Bluhm), Victor Vasarely, Wolf Vostell, Franz Erhard Walther, Andy Warhol, Tom Wesselmann, Wols (Wolfgang Schulze).
A Very Good copy of this fragile and collectible catalogue. The usual bowing to pages, some general ageing, with a split to the lower back of plastic spine where the screw hole is, yet all still intact, nothing missing. Complete copy.
1973, German
Softcover, 138 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Wallraf-Richartz-Museum / Cologne
$40.00 - Out of stock
Lovely catalogue published by Wallraf-Richartz-Museum, Köln, in 1973 to document the museums extensive collection of international contemporary sculpture. Profusely illustrated in black and white with the works of Jean Arp, Paul Thek, Nancy Graves, John Chamberlain, Larry Bell, Carl Andre, Christo, Eva Hesse, Joachim Bandau, Jacques Lipchitz, Louise Nevelson, Joseph Cornell, Jean Dubuffet, Germaine Richier, Schöffer, Bernard Schultze, Carlos Cruz-Diez, Ursula (Schultze-Bluhm), John Tweed, Franz Erhard Walther, Hanns Gasser, Merdardo Rosso, Joseph Beuys, Günter Haese, Roy Lichtenstein, Richard Serra, Keith Sonnier, Jesús Rafael Soto, Richard Tuttle, Helmut Moos, Bruce Nauman, Ansgar Nierhoff, Jim Dine, Gary Indiana, Karl Zeno Rudolf Schadow, Julio Le Parc, Robert Rauschenberg, Man Ray, G. F. Ris, George Segal, Nicolas Schöffer, Anthony Caro, Eduardo Paolozzi, Jean Tinguely, Arnaldo Pomodoro, Arman, Claes Oldenburg, Marisol Escobar, Niki Saint-Phalle, Daniel Spoerri, Günther Uecker, Heinz Mack, Wolf Vostell, Miguel Ortiz Berrocal, Pol Bury, Erwin Heerich, Horst-Egon Kalinowski, Brigitte Meier-Denninghoff, Johann Gottfried Schadow, Honoré Daumier, Gasser, Adolf von Hildebrand, Max Klinger, Rosso, Aristide Maillol, Tweed, Julio González, Pablo Picasso, Henri Laurens, and many more... Texts in German.
Very Good copy.
1970, German
Softcover, 92 pages, 11 x 17 cm
1st edition, Out of print title / used*,
Published by
Galerie Rudolph Zwirner / Köln
$55.00 - Out of stock
"Z" is a great, unsuspecting pocketbook from Galerie Rudolph Zwirner in 1970, collecting together a wonderful group of works by 78 artists (Yves Klein, Richard Tuttle, Donald Judd, Cy Twombly, René Magritte, Laszlo Moholy-Nagy, Kenneth Noland, Daniel Spoerri, Frank Stella, Jean Tinguely, Roy Lichtenstein, Richard Linder, Jasper Johns, Martial Raysse, Dieter Rot, Franz Erhart Walther, Bruno Goller, Morris Louis, Jim Dine, Otto Dix, Jean Dubuffet, Max Ernst, Salvador Dali, Konrad Klapheck, Lucio Fontana, Blinky Palermo, Hundertwasser, Gerhard Richter, Antoni Tapies, Andy Warhol, George Grosz, Robert Graham, Allen Jones, Henri Michaux, Claes Oldenburg, Robert Rauschenberg, Oskar Schlemmer, Yves Tanguy, Louis Soutter, Tom Wesselmann, Toyen, Wols, Larry Bell, Dan Flavin, Panamarenko, Sol Lewitt, etc.) across painting, sculpture, drawings, collage and multiples, all reproduced in black and white across this almost entirely visual volume.
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.
1968, English
Softcover, 448 pages, 20 x 13.5 cm
1st Edition, Out of print title / used / average
$30.00 - Out of stock
Battock's definitive 1968 collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance, published by E. P. Dutton & Co. Inc., New York.
A collection of twenty-eight seminal essays by both critics and artists across over 400 pages, analyzing all aspects of Minimal Art at it's height in the late 1960s. Includes Lawrence Alloway (Systemic Painting), Mel Bochner (Serial Art, Systems, Solipsism), David Bourdon (The Razed Sites of Carl Andre), Nicolas Calas (Subject Matter in the Work of Barnett Newman), Bruce Glaser (Questions to Frank Stella and Donald Judd), Lucy R. Lippard (Eros Presumptive), John Perreault (Minimal Abstracts), Irving Sandler (Gesture and Non-Gesture in Recent Sculpture), Peter Hutchinson (Mannerism in the Abstract0, Willoughby Sharp (Luminism and Kineticism), Elayne Varian (Schemata 7), Richard Wollheim (Minimal Art), and texts by Martial Raysse, Michael Fried, Clement Greenberg, Dan Flavin, Robert Smithson, and more.
Heavily illustrated throughout with 170 photographs featuring the work of Sol LeWitt, Lee Bontecou, Donald Judd, Hanne Darboven, Carl Andre, Claes Oldenburg, Yves Klein, Jasper Johns, Robert Rauschenberg, John Chamberlain, Agnes Martin, Christo, Barnett Newman, Ellsworth Kelly, Edward Kienholz, Anne Truitt, Joseph Kosuth, Piet Mondrian, Richard Anuszkiewicz, Marcel Duchamp, Chryssa, Anthony Caro, Dan Flavin, Robert Smithson, Frank Stella, Robert Barry, Larry Bell, Carlo Belloli, William Anastasi, Richard Artschwager, Ronald Balden, John Cage, Walter De Maria, Stephen Antonakos, Walter Darby Bannard, Allan D'Arcangelo, Stuart Davis, Mark di Suvero, Helen Frankenthaler, Jim Dine, Al Held, Dan Graham, Robert Grosvenor, Hans Haacke, Ralph Humphrey, Eva Hesse, Douglas Huebler, Will Insley, Patricia Johanson, Allan Kaprow, Roy Lichtenstein, Morris Louis, Robert Mangold, Brice Marden, Yvonne Rainer, Julio Le Parc, David Smith, Richard Tuttle, Tony Smith, Keith Sonnier, James Raphael Soto, Clyfford Still, Les Levine, Victor Vasarely, Ad Reinhardt, John McCracken, Robert Morris, Kenneth Noland, Robert Whitman, Jules Olitski, Milton Resnick, Michelangelo Pistoletto, Jackson Pollock, Larry Poons, Jack Youngerman, George Rickey, Dorothea Rockburne, James Rosenquist, Edward Ruscha, Jan van Eyck, Andy Warhol, Tom Wesselmann, and many others.
Good with general wear and previous owner underlining / notation. Ex-library.
2004, English
Softcover, 87 pages, 18.5 x 12.7 cm
1st Edition, Out of print title / as new
Published by
ICA / Pennsylvania
$45.00 - Out of stock
Conceptions of “nothing” are one of the driving themes of twentieth-century art. One thinks of Piet Mondrian's reductivist approach to abstraction, Marcel Duchamp's contention that art resides in ideas, not objects, Mark Rothko's painterly reach for the sublime, Andy Warhol's affirmations of the vacuity of Pop culture. The Big Nothing will focus on themes of nothing, nothingness and negation in contemporary art and culture, surveying the legacy of these and other manifestations of absence made manifest in contemporary art. Artist include Gareth James, Jutta Koether, Louise Lawler, Richard Prince, Yves Klein, Bernadette Corporation, John Miller and James Welling, among others. Given its broad connotations, “nothing” provides general audiences with immediate access to looking at and thinking about the art of today.
Exhibition catalogue published in conjunction with show held May 1 - August 1, 2004. Curated and with essays by Ingrid Schaffner, Bennett Simpson, and Tanya Leighton. Additional essay by Paula Marincola. Artists include: Bas Jan Ader, Richard Artschwager, Michael Asher, Michel Auder, Jo Baer, Robert Barry, Larry Bell, Bernadette Corporation, James Lee Byars, Maurizio Cattelan, Thomas Chimes, Bruce Conner, Day Without Art, Jessica Diamond, Roe Ethridge, Lili Fleury, Rene Gabri, Jack Goldstein, Dominique Gonzalez-Foerster, Nicolas Guagnini, David Hammons, Heavy Industries, Nancy Holt, Richard Hoeck, Roni Horn, Pierre Huyghe, Gareth James, Ray Johnson, Yves Klein, Joachim Koester, Jutta Koether, Yayoi Kusama, Louise Lawler, Gordon Matta-Clark, Allan McCollum, Patrick McMullen, John Miller, Matt Mullican, Eileen Neff, Gabriel Orozco, Raphael Ortiz, Charlemagne Palestine, Philippe Parreno, William Pope.L, Doris Salcedo, Karin Schneider, Allan Sekula, Arlene Shechet, Santiago Sierra, John Smith, Robert Smithson, Paul Swenbeck, Rirkrit Tiravanija, Andy Warhol, James Welling, John Wesley, and Steve Wolfe. Includes checklist of the exhibition.
1970, English
Softcover, 80 pages, 24.5 x 34.5 cm
Published by
James Fitzsimmons / Lugano
$45.00 - In stock -
Art International, Vol. XIV/5 May 20, 1970
Published and Edited by James Fitzsimmons
Features: Sam Gilliam, Rockne Krebs, Ed McGowin, Enio Iommi, Rogelio Polesello, Lorser Feitelson, Alberto Lilloni, Ernest Trova, David Hockney, Paul Nash, Valeriano Trubbiani, Cynthia Carlson, Pablo Palazuelo, Victor Vasarely, Larry Bell, Jim Dine, Gustav Klimt, Milton Avery, Willliam Pye, Morris Louis, Arman, Brice Marden, Alfred Jensen, Daniel LaRue Johnson, and many more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
1968, English / French
Softcover, 64 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$55.00 - Out of stock
Art International, Vol. VII/8 October 20, 1968
Published and Edited by James Fitzsimmons
Advisory Editors: Umbro Apollonio, R. C. Kenedy, Lucy R. Lippard, James Mellow.
Features:
Phillip King, Paul Frazier, "Science-Fiction" (Robert Smithson, Donald Judd, Larry Bell, Lila Batzen, etc.), "Sculpture as Visual Instrument" (Charles Ross, Michael Kirby), "The Vancouver Explosion" (Iain Baxter, Roy Kiyooka, Jim Willer, Reg Holmes, Audrey Chapel Dorey, Michael Morris, etc.), Paul Wunderlich, Milton Avery, Ludwig Sander, John Barryman, Claude Villiat, Lucio Fontana, Matta, Henri Matisse, Saul Steinberg, Rene Magritte, Isamu Noguchi, Les Levine, Martial Raysse, Andy Warhol, Christo, James Dine, Carl Andre, an much more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
2013, English
Softcover (two-volumes in plastic jacket), 116 pages, 21.6 x 24.7 cm
Published by
Yale University Press / New Haven
$48.00 - Out of stock
The landmark Jewish Museum exhibition Primary Structures offered the first presentation of Minimalist sculptures in the United States, in 1966. The accompanying catalogue by Kynaston McShine became a key resource on artists such as Donald Judd, Carl Andre, Dan Flavin, and Sol LeWitt, who were virtually unknown at the time. Other Primary Structures is a long-overdue reintroduction of this classic, out-of-print text. This two-volume set includes a replica of the original catalogue, plus a new companion volume by Jens Hoffmann that offers a global survey of early Minimalist sculpture during the 1960s and 1970s, featuring important sculptors from Asia, Africa, Latin America, and Eastern Europe, and complementing the earlier catalogue's focus on American and British artists. Beautifully designed, this publication comes enclosed in a clear jacket that pays homage to the original catalogue's iconic cover. Other Primary Structures is invaluable for the study of modern art history and provides an authoritative survey of Minimalist sculpture in the 1960s.
Artists:
Carl Andre, Lyman Kipp, Tim Scott, Richard Van Buren, Isaac Witkin, Tony DeLap, Tom Doyle, Richard Artschwager, Michael Bolus, Paul Frazier, Douglas Huebler, John McCracken, Peter Phillips, Anne Truitt, Ronald Bladen, Robert Grosvenor, Donald Judd, Robert Morris, Larry Bell, Walter de Maria, Sol LeWitt, Daniel Gorski, David Gray, David Hall, Phillip King, John McCracken, Peter Pinchbeck, Michael Todd, Derrick Woodham, Rasheed Araeen, Sérgio Camargo, Willys de Castro, Saloua Raouda Choucair, Lygia Clark, Noemí Escandell, Gego, Stanislav Kolíbal, Edward Krasiński, David Lamelas, David Medalla, Hélio Oiticica, Lygia Pape, Alejandro Puente, Norberto Puzzolo, Branko Vlahović, Oscar Bony, Benni Efrat, Yoshida Katsurō, Stanislav Kolíbal, Susumu Koshimiz, Ivan Kožarić, David Lamelas, Amir Nour, Juan Pablo Renzi, Nobuo Sekine, Antonieta Sosa, Kishio Suga, Jirō Takamatsu, Lee Ufan
2016, English
Hardcover, 160 pages, 17 x 24 cm
Published by
JRP Ringier / Zürich
$88.00 - Out of stock
The book, written by Marie de Brugerolle and published with the Estate of Guy de Cointet, is the first to offer an overview of Cointet's enigmatic and influential oeuvre.
Guy de Cointet (American, b. France. 1934–1983) was fascinated with language, which he explored primarily through performance and drawing. His practice involved collecting random phrases, words, and even single letters from popular culture and literary sources—he often cited Raymond Roussel's novel "Impressions of Africa" as influential—and working these elements into non-linear narratives, which were presented as plays to his audience.
Paintings and works on paper would then figure prominently within these performances. In his play "At Sunrise . . . A Cry Was Heard" (1976), a large painting depicting letters bisected by a white sash served as a main subject and prop, with the lead actress continuously referring to it and reading its jumble of letters as if it were an ordinary script. His drawings likewise are almost readable but just beyond comprehension.
De Cointet is recognized as one of the major figures in the Conceptual art movement that emerged in Los Angeles in the 1970s, having strongly influenced a number of prominent artists working in southern California today, including Paul McCarthy and Mike Kelley, for whom both drawing and performance figure significantly in their artistic practices.
Edited by Clément Dirié.
Text by Larry Bell, Marie de Brugerolle, Gérard Wajcman.
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.
1980, English
Softcover, 128 pages, 28 x 21.5 cm
Out of print title / used*,
Published by
Cornell Paperbacks / London
Phaidon / London
$38.00 $15.00 - Out of stock
"Edward Lucie-Smith, a critic and historian of art who is deeply immersed in the works and trends of the seventies here provides the first general survey of the decade. In a volume alive with visual images that are often surprising and sometimes disturbing, he analyzes the development both of old forms and of new ones, and provides a coherent framework for the general reader."
Contents: The Popular Arts; Post Pop and Mandarin Taste; Abstract Painting; Illusionary Art; Figurative Painting; Fetish Art and Happenings; Political Art; Art as Environment and Architecture; High-Tech and the Third World, plus a biographical list of the artists featured and a "further reading" list.
Includes the work of: Stephen Willats, Lawrence Weiner, Brice Marden, Robert Mapplethorpe, Vito Acconci, Jo Baer, Joseph Beuys, Lynda Benglis, Bob Law, Philip King, Alan Kessler, On Kawara, Douglas Huebler, John Kacere, Richard Long, Robert Mangold, Philip Guston, Hans Haacke, Nancy Grossman, Robert Grosvenor, Nancy Graves, Walter de Maria, U-Fan, Claude Viallet, Nancy Spero, Peter Saul, Robert Ryman, James Rosenquist, Joel Shapiro, Sylvia Sleigh, Robert Stackhouse, Paul Thek, Giulio Paolini, Nam June Paik, Bruce Nauman, Roman Opalka, Dennis Oppenheim, Tony Cragg, Judy Chicago, Larry Bell, Daniel Buren, Chuck Close, and many more.