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:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
Art
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World Food Books Gift Voucher
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Australian Art
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Fluxus
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
2000, English
Softcover, 228 pages, 178 x 229 cm
1st Edition, Out of print title / used / very good
Published by
October Books / New York
The MIT Press / Massachusetts
$30.00 - In stock - Add to cart
Out of print first 2000 softcover edition of Rosalind E. Krauss' Bachelors, published by October / MIT Press.
Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists' concerns with the major currents of postwar visual culture. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work (such as that of Louise Bourgeois or Cindy Sherman) could be said to find its power in strategies associated with such concepts as écriture feminine. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand.
Rosalind E. Krauss, University Professor at Columbia University and an editor and cofounder of October magazine, is the author of The Originality of the Avant-Garde and Other Modernist Myths (1985), The Optical Unconscious (1993), The Picasso Papers (1999), and Bachelors (1999), all published by the MIT Press, and coauthor (with Yve-Alain Bois) of Formless: A User's Guide (Zone Books, 1997).
"[S]timulating, difficult, and often dazzling...Bachelors is a smart and often profound book that makes avaluable contribution to the gendered field it abhors." Carol Zemel, Women's Review of Books.
Contents: By way of introduction, Claude Cahun and Dora Maar; portrait of the artist as "fillette", Louise Bourgeois; the "cloud", Agnes Martin; contingent, Eva Hesse; untitled, Cindy Sherman; problem sets, Francesca Woodman; bachelors, Sherrie Levine; souvenir memories, Louise Lawler.
VG copy with only a corner bump/bend to the top-right.
1985, English
Softcover (staple-bound), 64 pages, 40 x 26 cm
1st Edition, Out of print title / used / very good
Published by
Monika Sprüth / Cologne
$800.00 - Out of stock
Very rare, inaugural issue of the iconic and enormously influential magazine published and edited by Cologne-based gallery owner Monika Sprüth, who opened her first gallery in 1983 with a focus on female artists. Emblematic of this perspective, Sprüth launched Eau de Cologne, an “effervescent, shape-shifting magazine, featuring almost exclusively women artists and art practitioners.” Three issues were published between 1985 and 1989, along with accompanying exhibitions, representing an international female discourse on art. With early cover artwork by Cindy Sherman, this first issue was published on the occasion of an all-female exhibition presentation of the same name, held by Monika Sprüth Galerie in Cologne in 1985, featuring the work of Ina Barfuss, Jenny Holzer, Barbara Kruger, Cindy Sherman, Rosemarie Trockel, and Anne Loch. Combining theoretical discourse with visual practice, the large-format magazine was created in collaboration with the artists Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, and Rosemarie Trockel, featuring artist pages, essays, interviews, texts, quotes, portraits by an incredible list of contributors including Louise Bourgeois, Hanne Darboven, Cady Noland, Dominique Gonzalez Foerster, Ileana Sonnabend, Annette Messager, Susan Hiller, Ulrike Rosenbach, Elaine Sturtevant, Kathe Burkhart, Marian Goodman, Mary Boone, Georgia O'Keefe, Marisa Merz, Astrid Klein, Jutta Koether, Jenny Holzer, Maria Lassnig, Holly Solomon, Nancy Spero, Jo-Anna Isaak, Hilary Lloyd, Holly Solomon, Bärbel Grässlin, Annina Nosei, Tanja Grunert, Pat Hearn, Bice Curiger, Edit DeAk, Rosalind Krauss, Isabelle Graw, Linda Nochlin, Ingrid Oppenheim, Barbara Gladstone, and many more. Texts in German and English. It really doesn't get much better!
“The exhibition and the catalogue “Eau de Cologne” fulfil the claim of my gallery to show the most interesting aspects of contemporaneous art. This exhibition presents five female artists: Ina Barfuss, Jenny Holzer, Barbara Kruger, Cindy Sherman and Rosemarie Trockel, and the catalogue which includes many more young and older female artists, writers, critics and art-dealers want to show art in its social context. I see this exhibition as an example. According to my subjective observation and based on the experiences and contacts of almost three years work as art-dealer I have made a selection. The time of working on this catalogue was limited, too, and it is for these reasons that some artists, curators and art-critics are not mentioned. I approve of realizing this “idea” now, 1985.”—from introduction by Monika Sprüth
Very Good copy with light wear and age to extremities, small chip to back-cover edge.
1997, English / Japanese
Hardcover, 188 pages, 19 x 26 cm
1st Edition, Out of print title / used / good
Published by
Yokohama Museum of Art / Japan
$140.00 - Out of stock
Rare Japanese monograph on Louise Bourgeois produced to accompany the major retrospective exhibition at Yokohama Museum of Art in 1997-1998.
Very handsomely designed and printed in Japan, this book is profusely illustrated with Bourgeois' artworks from the 1940s to the mid-1990s, including her drawing, sculpture and installations, pictured throughout the book in full-colour and black and white photographs. Features three major texts by Taro Amano (exhibition curator), Robert Storr and Louise Neri, all in both English and Japanese, alongside a full biography and bibliography and illustrated history.
Designed by Yoshinobu Kuwahata.
Good copy with tanning to edges and light wear to covers.
2017, English
Softcover, 196 pages, 20 x 28 cm
Published by
Capricious / New York
$75.00 - In stock - Add to cart
A dual catalogue and archival exposé that explores the pivotal exhibition, Coming to Power: 25 Years of Sexually X-Plicit Art By Women, originally curated by the late artist, Ellen Cantor, in 1993, along with its re-staging in 2016 by curator Pati Hertling and artist, Julie Tolentino.
The book also chronicles the unprecedented partnership amongst five New York City institutions. Exhibitions and programming of Cantor’s work were offered by 80WSWE, Maccarone, Foxy Productions, Participant Inc., Electronic Arts Intermix (EAI), Skowhegan School of Painting, and MOMA—highlighting the lush, visionary, and audacious aspects of Cantor’s drawings, paintings, curatorial projects, sculpture, assemblage, video, film, and evocative writing. Another section features a reprint of an interview between Cantor and Cerith Wyn Evans, a conversation between Lia Gangitano/Jonathan Berger and Julie Tolentino/Pati Hertling, as well as archival material from Cantor’s diary entries and never-seen sketches from Cantor’s personal papers.
LIST OF ARTISTS:
PAINTING/SCULPTURE/PHOTOGRAPHS: Lynda Benglis, Judith Bernstein, Louise Bourgeois, Ellen Cantor, Patricia Cronin, Mary Beth Edelson, Nicole Eisenman, Nancy Fried, Nan Goldin, Nancy Grossman, Pnina Jalon, G.B. Jones, Doris Kloster, Joyce Kozloff, Zoe Leonard, Monica Majoli, Marilyn Minter, Alice Neel, Lorraine O’Grady, Yoko Ono, Carolee Schneemann, Joan Semmel, Cindy Sherman, Nancy Spero, and Hannah Wilke
VIDEO/FILM: Peggy Ahwesh, Maria Beatty, Lynda Benglis, Abigail Child, Cicciolina, Kate Dymond, Azian Nurudin, Barbara Hammer, Holly Hughes, Julia Kunin, Blush Productions, Annie Sprinkle, and Ona Zee
PERFORMANCES: FlucT, luciana achugar, Kia Labeija, Xandra Ibarra/La Chica Boom, Zackary Drucker & Orlando Tirado, Jim Fletcher, Narcissister, niv Acosta, and Jen Rosenblit and their collaborators
1995, English
Hardcover (w. dust jacket), 192 pages, 24 x 15 cm
1st Edition, Out of print title / used / very good
Published by
University Art Museum / Berkeley
$120.00 - Out of stock
First hardcover edition of this exquisitely designed volume, published by Bulfinch Press in 1995. Though known primarily for her sculpture, Louise Bourgeois has displayed a lifelong passion for drawing and considers it to be essential to her oeuvre. This exceptional book is the first to combine over fifty years of the artist's drawings with her own observations. Not merely preparatory studies for her sculptures, Bourgeois's drawings are fully realized, independent works of art that rank as some of her most powerful and emotive creations. In the text accompanying the illustrations, Bourgeois, a highly autobiographical artist, describes and explains the sources for each work - and in the process provides fascinating insights into her life and art.
Very Good copy in VG dust jacket.
2024, English
Hardcover (cloth bound), 240 pages, 22 x 27.9 cm
Published by
Walther König / Köln
$95.00 - Out of stock
It was not before the 1990s that Louise Bourgeois won global recognition for her artistic achievements, becoming famous for her monumental spider sculptures and room-sized cells. But it was in her early oil paintings that the artist first developed the formal vocabulary and defined the thematic concerns that she would continue to explore.
This catalogue accompanies the first major solo exhibition of Bourgeois’ early paintings in Europe, placing them in dialogue with a selection of later sculptures, installations, drawings and prints.
Edited by Stella Rollig, Sabine Fellner, and Johanna Hofer.
Text by Louise Bourgeois, Bice Curiger, Ulf Küster, and John Yau
2023, English
Softcover (w. dust jacket), 110 pages, 25 x 17 cm
Published by
ACCA / Melbourne
$25.00 - In stock - Add to cart
Produced in association with the upcoming ACCA exhibition of the same name, this publication casts a lens upon feminist, queer, and non-binary subjectivities to consider the transgressive pleasures and liberations of horror, as makers, masters and consumers of the genre.
From the other side features curatorial texts by Elyse Goldfinch and Jessica Clark, alongside writings from Barbara Creed, author of The Monstrous Feminine; Canadian film writer Kier-La Janisse, author of the cult classic, House of Psychotic Women, 2012; Lisa Fuller, a Murri woman and author of the novel Ghost Bird, 2021; and a horror-themed screenplay by UK-based author and filmmaker Alison Peirse, editor of the Women Make Horror anthology, 2021.
Artists featured in the exhibition and book include Clare Milledge, Cybele Cox, Heather B Swann, Jemima Lucas, Julia Robinson, Karla Dickens, Kellie Wells, Lonnie Hutchinson, Louise Bourgeois, Maria Kozic, Marianna Simnett, Mia Boe, Minyoung Kim, Naomi Blacklock, Naomi Kantjuriny, SJ Norman, Suzan Pitt, Tracey Moffatt and Zamara Zamara.
The exhibition crosses the artificial parameters of horror in the everyday, as something that exists as part of society but also from outside of it. Culminating in a potent synthesis of dread, camp, humour and catharsis, From the other side challenges the traditional narratives and assumed boundaries of the body, gender, the self and the ‘other’.
2000, English
2 clothbound hardcover books in slipcase, 448 / 132 pages, 33 x 25.5 cm
1st Edition, Out of print title / used / fine
Published by
Scalo Publishers / New York
$300.00 - Out of stock
Rare first limited edition slipcased two-volume publication, Louise Bourgeois — The Insomnia Drawings, published by Scalo, New York—Zürich in 2000. Long out-of-print and collectible.
Insomnia has been a lifetime companion of Louise Bourgeois' night hours. Between November 1994 and June 1995, she has committed to paper whatever thoughts, memories, and images surfaced during her long sleepless nights. The resulting 220 drawings are the quintessence of all the impulses, sources, and motifs inspiring her work. "The Insomnia Drawings" show the artist's mind at work: drawings and sketches alternate with poems and aphorisms in both French and English, interspersed with notes referring to the hustle-bustle of everyday life. The series is a unique mirror of an extraordinary woman's life and work: beautiful, disquieting, passionate, inquiring, and imbued with a quirky sense of humor. As soon as the artist agreed to entrust "The Insomnia Drawings" to the Daros Collection, it was clear that this extraordinary work should be presented as a book. The result is a handsome slipcased two-volume publication, edited by Daros Services, Zurich. The first volume contains facsimiles of both the recto and verso of the 220 drawings. The second volume provides the reader with valuable background information on this complex and exhilaratingly beautiful work of art. Marie-Louise Bernadac, a leading Bourgeois scholar, places "The Insomnia Drawings" in context of Bourgeois' oeuvre, providing biographical references for many notes, and pointing out the leitmotifs of Bourgeois' imaginary universe. In a lucid and beautifully written essay, Elisabeth Bronfen traces the nocturnal mysteries of insomnia and places this work of art in a larger cultural context. Furthermore, the second volume offers a chronology and annotated transcriptions of all texts and notes. This landmark publication is a must for everyone wanting to take part in the imaginative journeys of one of today's most important artists. "The Insomnia Drawings" are part of the Daros Collection.
"She presents herself as a lady-in-waiting, silent and patient, with the night promising to save her from the array of desires such as love, faith, faithlessness, tenacity, ambition, while here sleeplessness prevents any salvation from her psychic distress. If in these drawings and texts the night is metaphorically conceived of as an expanse of water that might engulf her, while sleep would restore her, insomnia is what prevents any voyage into inundation. (...) Because her insomnia brings states of ambivalence to the fore, she keeps returning to the question of being suspended between two emotions-between plentitude and lack, proximity and absence, agreement and contradiction."—Elisabeth Bronfen
"L'art / ou est / la vie, / toi et vous / inspire / unafraid: Art / est le / contraire / du acting. Les paysages de nuit on / envahi les jours. Water is the / opposite of continuity / water can be the best but it can be worse / / M is for mother / in the water / it is subject / to change / or even to reversal."—Louise Bourgeois
Fine—Near Fine volumes, red and navy hardcovers, both volumes clean and unmarked, slipcase VG—Fine, only very light shelf wear to corners.
1976, English
Softcover, 314 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
E P Dutton / New York
$90.00 - Out of stock
First 1976 printing of this fantastic and now rarely seen classic book collection of essays by internationally acclaimed writer, art critic, activist and curator, Lucy R. Lippard.
"FROM THE CENTER : Feminist Essays on Women's Art" is broken into three sections: GENERAL ESSAYS, MONOGRAPHS, and FICTION. GENERAL ESSAYS include 12 major essays such as "Sexual Politics : Art Style", "Household Images in Art", "Fragments", "What is Female Imagery", "Making Up: Role-Playing and Transformation in Women's Art", "The Pains and Pleasures of Rebirth: European and American Women's Body Art", "The Womens' Art Movement - What Next?" and more. MONOGRAPHS is made up of writings dedicated to single artists, including essays on the work of Eva Hesse, Adrian Piper, Jo Baer, Joan Mitchell, Hanne Darboven, Ree Morton, Irene Siegel, Rosemarie Castoro, Louise Bourgeois, Faith Ringgold, Yvonne Rainer, Judy Chicago, Jackie Winsor, Nancy Graves and many more. A suburb collection, illustrated throughout with examples of the artists written about, including a colour plate section.
Very Good copy with cover/spine tanning, light wear.
2011, English
Hardcover (w. dust jacket), 296 pages, 21 x 26 cm
Published by
Siglio Press / Los Angeles
$88.00 - Out of stock
It Is Almost That collects is a phenomenal collection of twenty-six visionary image+text works by women artists and writers. Supremely imaginative in their use of word and image, these hybrid works are steeped in narrative play and subversion, inviting readers to engage in multiple modes of reading. It Is Almost That features substantial excerpts or the works in their entirety—many previously unpublished, difficult to find, or long out-of-print—by renown, little known, forgotten, and emerging artists.
The works include a painted autobiographical novel by a young artist who died in the Holocaust (Charlotte Salomon); the transformation of the front pages of newspapers into alchemical drawings (Suzanne Treister); a computer-generated chance operation that “imagines” houses and their inhabitants (Alison Knowles); the pseudo-scientific examination of mother-daughter conversations (Eleanor Antin); and drawings called “body maps,” inscribed with stories of HIV-positive South African women (Bambanani Women’s Group), among almost two dozen others.
Arranged as a constellation with various kinds of connective tissue, It Is Almost That eschews traditional categories in order to reorient the reader to see the works outside or beyond their recognizable affiliations. Both literary and art audiences will discover new works, new artists and writers, as well as new ways of reading.
"Because the frame is image+text, we’re reminded that all of us generally do more. Female artists don’t just stay in their disciplines; we experience, we forage, we play. Intuitively and practically speaking, It Is Almost That is, in effect, a handbook. It, by presenting female art history, shows us how to be an artist."—EILEEN MYLES, The Poetry Foundation
CONTRIBUTORS: Eleanor Antin, Bambanani Women’s Group, Fiona Banner, Louise Bourgeois, Theresa Hak Kyung Cha, Cozette de Charmoy, Ann Hamilton, Jane Hammond, Susan Hiller, Dorothy Iannone, Bhanu Kapil & Rohini Kapil, Helen Kim, Alison Knowles, Ketty La Rocca, Bernadette Mayer, Adrian Piper, Charlotte Salomon, Geneviéve Seillè, Molly Springfield, Cole Swensen & Shari DeGraw, Suzanne Treister, Erica Van Horn & Laurie Clark, Carrie Mae Weems, Hannah Weiner, Sue Williams, and Unica Zürn.
2020, English
Hardcover, 432 pages, 25 x 30 cm
Published by
Hirmer / Münich
$100.00 - Out of stock
Comprehensive hardcover catalogue published to accompany the first major presentation of women surrealist artists at the Schirn Kunsthalle, Frankfurt, and Louisiana Museum of Modern Art, Humlebæk. This groundbreaking exhibition shows that women played a more important and numerous role in Surrealism than in any other artistic avant-garde movement. Mostly connected through their association with Surrealist co-founder André Breton, Surrealism nurtured a prolific group of women artists who actively took part in the seminal exhibitions and publications of the day and expanded the formulations of the movement, taking on different roles in search for a (new) model of female and artistic identity. This expansive exhibition and catalogue revisits their diverse Imaginaries and underlines the consistency of their social and even political positions, spanning networks from Europe/UK to the US and Mexico.
“On the whole, the [Surrealist] movement in many ways strikes as decidedly ‘feminine’, since it rejected all traditionally masculine, patriarchal, and imperialist structures,” notes curator Dr. Ingrid Pfeiffer. This scholarly exhibition reveals how the movement was shaped by many more female artists than art historians have hitherto recognized.
Profusely illustrated throughout with essays by Patricia Allmer, Tere Arcq, Kirsten Degel, Heike Eipeldauer, Annabelle Görgen-Lammers, Rebecca Herlemann, Karoline Hille, Silvano Levy, Alyce Mahon, Christiane Meyer-Thoss, Laura Neve, Ingrid Pfeiffer, and Gabriel Weisz Carrington as well as biographies of the individual artists.
Artists featured : Eileen Agar, Lola Álvarez Bravo, Rachel Baes, Louise Bourgeois, Emmy Bridgwater, Claude Cahun, Leonora Carrington, Ithell Colquhoun, Maya Deren, Germaine Dulac, Nusch Éluard, Leonor Fini, Graverol, Valentine Hugo, Frida Kahlo, Rita Kernn-Larsen, Greta Knutson, Jacqueline Lamba, Sheila Legge, Dora Maar, Emila Medková, Lee Miller, Suzanne Muzard, Meret Oppenheim, Valentine Penrose, Alice Rahon, Edith Rimmington, Kay Sage, Sophie Taeuber-Arp, Jeannette Tanguy, Dorothea Tanning, Elsa Thoresen, Bridget Tichenor, Toyen, Remedios Varo, Unica Zürn
2019, English
Hardcover, 200 pages, 15.2 x 21.6 cm
Published by
Hauser & Wirth / Zurich
$82.00 $35.00 - Out of stock
In the 1980s, Ursula Hauser began quietly building what’s become one of the world’s most impressive private collections of modern and contemporary art—acquiring works from visionary artists such as Louise Bourgeois, Carol Rama, Alina Szapocznikow, Franz West, Eva Hesse, Francis Picabia, Lee Lozano, and many others—and in 1992, she co-founded one of today’s most important galleries, Hauser & Wirth. This book presents the first-ever extensive and intimate account of her life and art collection.
To define the works found in Ursula’s collection is a matter of identity, one that is fused to her personal trajectory—from her early years in eastern Switzerland, where she was born in 1939, to becoming a mother, helming her father’s intrepid electronics business, and starting an art gallery with her daughter and son-in-law. Family has always been the steady axis around which Ursula’s life orbits; for her, the artists she collects belong to that same magnetic locus. To understand Ursula Hauser’s collection is to know the collector and chart the course of late twentieth-century and early twenty-first-century art.
Edited by Laura Bechter and Michaela Unterdörfer
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.
2018, English
Softcover, 240 pages, 210 x 145 mm
Published by
Whitechapel / London
The MIT Press / Massachusetts
$50.00 - Out of stock
Part of the acclaimed Documents of Contemporary Art series of anthologies which collect writing on major themes and ideas in contemporary art.
"Tanya Harrod is our leading scholarly voice on craft. [This] invaluable anthology...is an ideal introduction to the intellectual landscape of craft, and an essential tool for those already invested in the topic." - Glenn Adamson, Senior Scholar at the Yale Center for British Art
Craft is a contested concept in art history and a vital category through which to understand contemporary art. Through ‘craft’, materials, techniques and tools are investigated and their histories explored in order to reflect on the politics of labour and on the extraordinary complexity of the made world around us. This anthology offers an ethnography of craft, surveying its shape-shifting identities in the context of progressive art and design through writings by artists and makers, and drawing on poetry, fiction, anthropology and sociology. Reflections on new technologies and materials, lost and found worlds of handwork and the politics of work all throw light on ‘craft’ as process, product and ideology.
Artists surveyed include Anni Albers, El Anatsui, Aaron Angell, Ruth Asawa, Phyllida Barlow, Louise Bourgeois, Annie Cattrell, Edmund de Waal, Harun Farocki, Lucio Fontana, Theaster Gates, Gee’s Bend Quiltmakers, Sabrina Gschwandtner, Sheila Hicks, Ana Lupas, Lu Shengzhong, Enzo Mari, Martin Puryear, Jessi Reaves, Bridget Riley, Ettore Sottsass, Studio Formafantasma, Peter Voulkos.
Writers include Glenn Adamson, Elissa Auther, Reyner Banham, Jean Baudrillard, John Berger, Walter Benjamin, Julia Bryan-Wilson, Joan Key, Ulrich Lehmann, Sarat Maharaj, Karl Marx, Sadie Plant, Rainer Maria Rilke, John Roberts, Jenni Sorkin.
Tanya Harrod is an independent design historian who lives in London and who writes widely on craft, art and design. She is co-editor of The Journal of Modern Craft and is author of The Crafts in Britain in the Twentieth Century (1999), The Last Sane Man: Michael Cardew (2012) which won the 2013 James Tait Black Memorial Prize for biography, and The Real Thing: Essays on Making in the Modern World (2015).
2017, English
Softcover, 224 pages, 17.3 x 22 cm
Published by
MUDAM / Luxembourg
Sternberg Press / Berlin
$38.00 - Out of stock
Contributions by Carl Andre, Charles Baudelaire, Walter Benjamin, Barbara Bloemink, Jan Boelen, Louise Bourgeois, Sheldon Cheney and Martha Candler Cheney, Alex Coles, Anthony Dunne and Fiona Raby, Hal Foster, Sigmund Freud, Dan Graham, Isabelle Graw, Sebastian Hackenschmidt and Dietmar Rübel, Graham Harman, G. W. F. Hegel, Martin Heidegger, Dave Hickey, Matthew Higgs, Donald Judd, Immanuel Kant, Frederick J. Kiesler, Sven Lütticken, Alessandro Mendini, W. J. T. Mitchell, Jasper Morrison, Bruno Munari, Robert Nickas, Alice Rawsthorn, Jeff Rian, Richard Rinehart, Anthony Vidler
This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. Writers from different fields explore how things interact with materials, structures, and production processes while defining and registering the intangible qualities of the material world. Each author considers the different relationships between the context of a thing and its thingness, describing the ways in which things and ideas intersect.
Copublished with MUDAM Luxembourg
Design by Florence Richard
1992, German / English
Hardcover (in original slipcase), Vol. 1 : 255 pages; Vol. 2 : 310 pages; Vol. 3 : 619 pages, 18.5 x 27 cm
1st Edition, Out of print title / used / good
Published by
Hatje Cantz / Berlin
$120.00 - Out of stock
Hardcover edition, three volume exhibition catalogue published in conjunction with Documenta IX, Kassel, Germany, June 13 - September 9, 1992.
Documenta 9 is remembered as one of the most popular of all documenta exhibitions, thanks not least of all to the influence of its artistic director, the charismatic Belgian curator Jan Hoet. Hoet wanted to make the human being and our sensual, perceptual, agonized corporeality, which had been progressively displaced by the digitized, virtual world, the focus of attention at his exhibition. “From body to body to bodies” was the meaningful, poetic motto of documenta 9. Hoet described his curatorial mission in the following words: “At a time in which the human race is confronted more than ever with such dangers as AIDS and multinational wars, nuclear catastrophes, and global climate disasters, at a time in which threats are growing increasingly abstract and the fears more and more diffuse, I see reflection on the physical conditions of life as an appropriate answer.”
Texts by Jan Hoet, Denys Zacharopoulos, Bart de Baere, Pier Luigi Tazzi, Claudia Herstatt, Joyce Carol Oates, Jacques Roubaud, Cornelius Castoriadis, Heiner Müller, Paul Robbrecht, Hilde Daem.
Artists include Marina Abramovic, Absalon, Richard Artschwager, Francis Bacon, Marco Bagnoli, Nicos Baikas, Miroslaw Balka, Matthew Barney, Jerry Barr, Lothar Baumgarten, Jean-Pierre Bertrand, Joseph Beuys, Michael Biberstein, Guillaume Bijl, Dara Birnbaum, Jonathan Borofsky, Louise Bourgeois, Herbert Brandl, Ricardo Brey, Tony Brown, Marie José Burki, Jean-Marc Bustamante, Michael Buthe, Pedro Cabrita Reis, Waltercio Caldas, Pier Paolo Calzolari, Ernst Caramelle, Lawrence Carroll, Saint Clair Cemin, Tomasz Ciecierski, Tony Clark, James Coleman, Tony Conrad, Patrick Corillon, Damian, Richard Deacon, Thierry De Cordier, Silvie Defraoui & Chérif Defraoui, Raoul De Keyser, Wim Delvoye, Braco Dimitrijevic, Eugenio Dittborn, Helmut Dorner, Stan Douglas, Marlene Dumas, Jimmie Durham, Mo Edoga, Jan Fabre, Luciano Fabro, Belu-Simion Fainaru, Peter Fend, Rose Finn-Kelcey, FLATZ, Fortuyn/O'Brien, Günther Förg, Erik A.Frandsen, Michel François, Vera Frenkel, Katsura Funakoshi, Isa Genzken, Gaylen Gerber, Robert Gober, Dan Graham, Rodney Graham, Angela Grauerholz, Michael Gross, George Hadjimichalis, David Hammons, Georg Herold, Gary Hill, Peter Hopkins, Rebecca Horn, Geoffrey James, Olav Christopher Jenssen, Tim Johnson, Andrej N. Joukov, Ilya Kabakov, Anish Kapoor, Kazuo Katase, Tadashi Kawamata, Mike Kelley, Ellsworth Kelly, Bhupen Khakhar, Per Kirkeby, Harald Klingelhöller, Kurt Kocherscheidt, Peter Kogler, Vladimir Kokolia, Joseph Kosuth, Mariusz Kruk, Guillermo Kuitca, Suzanne Lafont, Jonathan Lasker, Jac Leirner, Zoe Leonard, Eugène Leroy, Via Lewandowsky, Bernd Lohaus, Ingeborg Lüscher, Attila Richard Lukacs, James Lutes, Marcel Maeyer, Brice Marden, Cildo Meireles, Ulrich Meister, Thom Merrick, Gerhard Merz, Mario Merz, Marisa Merz, Meuser, Jürgen Meyer, Liliana Moro, Reinhard Mucha, Matt Mullican, Juan Muñoz, Christa Näher, Hidetoshi Nagasawa, Bruce Nauman, Max Neuhaus, Pekka Nevalainen, Nic Nicosia, Moshe Ninio, Jussi Niva, Cady Noland, Manuel Ocampo, Jean-Michel Othoniel, Tony Oursler, Panamarenko, Giulio Paolini, A. R. Penck, Michelangelo Pistoletto, Hermann Pitz, Stephen Prina, Richard Prince, Martin Puryear, Royden Rabinowitch, Rober Racine, Philip Rantzer, Charles Ray, Martial Raysse, readymades belong to everyone, José Resende, Gerhard Richter, Ulf Rollof, Erika Rothenberg, Susan Rothenberg, Ulrich Rückriem, Thomas Ruff, Stephan Runge, Edward Ruscha, Reiner Ruthenbeck, Remo Salvadori, Joe Scanlan, Eran Schaerf, Adrian Schiess, Thomas Schütte, Helmut Schweizer, Maria Serebriakova, Mariella Simoni, Susana Solano, Ousmane Sow, Ettore Spalletti, Haim Steinbach, Pat Steir, Wolfgang Strack, Thomas Struth, János Sugár, Yuji Takeoka, Robert Therrien, Frederic Matys Thursz, Niele Toroni, Thanassis Totsikas, Addo Lodovico Trinci, Mitja Tušek, Luc Tuymans, Micha Ullman, Juan Uslé, Bill Viola, Henk Visch, James Welling, Franz West, Rachel Whiteread, Christopher Wool, KeunByung Yook, Heimo Zobernig, Gilberto Zorio, and Constantin Zvezdochotov.
Very Good condition volumes in hardcover (much less common edition than usual softcover), preserved in their original illustrated slipcase (with common repaired splitting and bumping damage).
1995, English
Hardcover (cloth w. dust jacket), 194 pages, 25 x 26 cm
Out of print title / used / very good
Published by
Edition Stemmle / Zürich
$100.00 - Out of stock
Beautiful and essential monographic hardcover book on Louise Bourgeois, edited by Peter Weiermair and published by Edition Stemmle, Zürich. First produced in German language in 1989 to accompany an exhibition of work by Louise Bourgeois (1911-2010) held at Frankfurter Kunstverein, Frankfurt, this is the first English edition published in 1995. 194 pages with 188 plates perfectly documenting the work of Louise Bourgeois in colour and black and white. Includes essays by leading American art historians including Lucy R Lippard, Robert Storr and Rosalind Krauss who approach her work from different perspectives.
An almost as-new copy with tanning to spine of original dust jacket.
1987, English
Softcover, 44 pages, 25.4 X 17.8 cm
1st Edition, Out of print title / used / good
Published by
Kent Fine Art Inc. / New York
$40.00 - Out of stock
Long out of print catalogue published to accompany the exhibition "Assemblage", at Kent Fine Art, New York, May 12-July 2,1987.
Assemblage is an attempt to explore and address the development of assemblage from its beginnings in Dada, with an eye towards the future in a historical climate of developing interest in minimalism and conceptualism. Addressing the West Coast propensity to recycle emotionally-charged detritus, the works in this exhibition reveal an ongoing relevancy of the synthesized by-product, which continues to shape different artist’s personal languages. Including works by: Edward Kienholtz, Bruce Conner, Llyn Foulkes, Arman, Jean Arp, Wallace Berman, Louis Bourgeois, Joseph Cornell, Marcel Duchamp, Max Erst, Eva Hesse, Ed & Nancy Keinholz, Jannis Kounellis, Man Ray, Robert Rauschenberg, Kurt Schwitters, Dorothea Tanning, Tom Wesselmann, and others. Works selected and compiled by D.K. Walla. Includes full page bio, plus double-page plate spread in full-colour for each artist.
First, only edition.
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1978, English
Out of print title / Used*
Published by
Collier Books / New York
$35.00 - Out of stock
Book edition of Linda Nochlin's famous essay "Why Have There Been No Great Women Artists?", that first appeared in the January 1971 issue of ARTnews, together with the follow-up essay "GREAT WOMEN ARTISTS" by Thomas B. Hess. Together these texts are followed by a collection of ten essay replies to "Why Have There Been No Great Women Artists?", including "Dialogue" by Elaine de Kooning with Rosalyn Drexler; "The Hermaphrodite" by Bridget Riley; "Do Your Work" by Louise Nevelson; "Women without Pathos" by Eleanor Antin; "The Double-Bind" by Suzi Gablik; "Healthy Self-Love" by Sylvia Stone; "Moving Out, Moving Up" by Marjorie Strider; "Social Conditions Can Change" by Lynda Benglis; "Artists Transgress All Boundaries" by Rosemarie Castoro; "SEXUAL ART-POLITICS" by Elizabeth C. Baker; and "IN THE UNIVERSITY" by Lee Hall. Five sections of the book are made up of exemplary art works by Agnes Martin, Eva Hesse, Mary Bauermeister, Lee Hall, Nancy Graves, Dorothea Rockburne, Lee Bontecou, Jo Baer, Niki de St. Phalle, Kiki Kogelnik, Deborah Remington, Joan Snyder, Louise Nevelson, Lynda Benglis, Eleanor Antin, Sylvia Stone, Suzi Gablik, Joan Mitchell, Bridget Riley, Sylvia Sleigh, Jean Follett, Charmion Von Wiegand, Louise Bourgeois, Marcia Marcus,Marisol, Louisa Matthiasdottir, Chryssa, Mary Frank, Perle Fine, Elaine de Kooning, Roslyn Drexler, and many more.
2016, English
Hardcover, 240 pages, 26.5 x 20 cm
Published by
Hatje Cantz / Berlin
Kunstmuseum Basel / Basel
$82.00 - Out of stock
What new paths have sculptors opened up since the end of World War II? Based on late works by Constantin Brancusi and Alberto Giacometti, this comprehensive volume illustrates the exciting and multifaceted developments in this dynamic art form. The long list of the first-class artists presented ranges from Pablo Picasso, Henry Moore, and Jean Tinguely to Franz West, Damien Hirst and Monika Sosnowska. Sculpture on the Move demonstrates how the classic notion of form and sculpture was set in motion, became more abstract, came closer to the ordinary everyday object, dissolved spatial or conceptual boundaries, and even reconstituted itself, returning to figurative traditions. On the basis of selected works from the Kunstmuseum Basel and from international museums and private collections, the book opens up a dense, extremely rich world of contrasts. Featured artists include Absalon, Carl Andre, Jean Arp, Max Bill, Louise Bourgeois, Constantin Brancusi, Alexander Calder, John Chamberlain, Eduardo Chillida, Peter Fischli und David Weiss, Katharina Fritsch, Alberto Giacometti, Robert Gober, Duane Hanson, Eva Hesse, Damien Hirst, Donald Judd, Mike Kelley, Jeff Koons, Mario Merz, Henry Moore, Bruce Nauman, Claes Oldenburg, Gabriel Orozco, Pablo Picasso, Charles Ray, Richard Serra, Monika Sosnowska, David Smith, Jean Tinguely, Oscar Tuazon, Danh Vo and Franz West.
2014, English
Softcover, 240 pages, 145 x 210 mm
$43.00 - Out of stock
Edited by Antony Hudek
Artists increasingly refer to “post-object-based" work while theorists engage with material artifacts in culture. A focus on “object-based" learning treats objects as vectors for dialogue across disciplines. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. This anthology surveys such reappraisals of what constitutes the “objectness" of production, with art as its focus.
Among the topics it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object’s transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, repetition in the replicated or multiple object, loss in the absent object, and abjection in the formless or degraded object. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance. The object becomes a prism through which to reread contemporary art and better understand its recent past.
Artists surveyed include
Georges Adéagbo, Art in Ruins, Iain Baxter, Louise Bourgeois, Pavel Büchler, Lygia Clark, Claude Closky, Brian Collier, Jimmie Durham, Fischli & Weiss, Luca Frei, Meschac Gaba, Isa Genzken, Gruppe Geflecht, Eva Hesse, Mike Kelley, John Latham, Antje Majewski, Gustav Metzger, Cady Noland, Gabriel Orozco, Adrian Piper, Falke Pisano, Eva Rothschild, Aura Satz, Kenneth Snelson, Hito Steyerl, Josef Strau, Alina Szapocznikow, Joelle Tuerlinckx, Erwin Wurm
Writers include
Homi K. Bhabha, Jack Burnham, Ewa Lajer-Burcharth, Lynne Cooke, Gillo Dorfles, Jean Fisher, Ferreira Gullar, Charles Harrison, Paulo Herkenhoff, Julia Kristeva, Bruno Latour, Bracha Lichtenberg-Ettinger, Jean-Fran?ois Lyotard, Lev Manovich, Ursula Meyer, Bruno Munari, Georges Perec, Hans-Jorg Rheinberger, Dieter Roelstraete, Howard Singerman, Nancy Spector, Marcus Steinweg, Anne Wagner, Gérard Wajcman, Slavoj Zizek
2014, English
Softcover, 240 pages, 145 x 210 mm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$52.00 - Out of stock
It has been argued, most notably in psychoanalytic and modernist art discourse, that the production of works of art is fundamentally driven by sexual desire. It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art.
This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the “informe,” or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm.
Artists surveyed include:
Vito Acconci, Assume Vivid Astro Focus, Lynda Benglis, Louise Bourgeois, Gerard Byrne, George Chakravarthi, Judy Chicago, Vaginal Davis, Wim Delvoye, Elmgreen & Dragset, Valie Export, Félix González-Torres, Guillermo Gómez-Peña, Harmony Hammond, Claudette Johnson, Mary Kelly, Yayoi Kusama, Robert Legorreta, Paul McCarthy, Sarah Maple, Shirin Neshat, Lorraine O’Grady, Yoko Ono, Catherine Opie, Orlan, William Pope.L, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Barbara Smith, Annie Sprinkle, Alina Szapocznikow, Del LaGrace Volcano, Hannah Wilke, David Wojnarowicz
Writers include:
Malek Alloula, Norman O. Brown, Judith Butler, Douglas Crimp, Angela Dimitrakaki, Michel Foucault, Daniel Guérin, Eleanor Heartney, Jonathan D. Katz, Rosalind Krauss, Julia Kristeva, Paweł Leszkowicz, Herbert Marcuse, Kobena Mercer, Laura Mulvey, Lawrence Rinder, Jacqueline Rose, Eve Kosofsky Sedgwick, Susan Sontag, Trinh T. Minh-ha, Stephen Whittle
About the Editor
Amelia Jones is Grierson Chair in Art History and Communication Studies at McGill University. Her books include Irrational Modernism: A Neurasthenic History of New York Dada (MIT Press), Self/Image: Technology, Representation and the Contemporary Subject, and Seeing Differently: A History and Theory of Identification and the Visual Arts.
2013, English
Softcover, 328 pages (183 color and 41 b/w ills.), 17.5 x 23 cm
Published by
Sternberg Press / Berlin
$50.00 - Out of stock
The artist’s house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including Jorge Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art.
Design by Joseph Logan