World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Softcover (die-cut), 244 pages, 19 x 26 cm
Published by Walker Art Centre / Minneapolis
$88.00 - In stock -
Edited with text by Fionn Meade. Foreword by Olga Viso. Texts by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Robert Wiesenberger.
Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. It showcases 23 international artists who explore the political and social dimensions of interior architecture as well as its complicated relationship to history and their own backgrounds. The featured artists are Jonathas de Andrade, Uri Aran, Nina Beier, Marcel Broodthaers, Tom Burr, Alejandro Cesarco, Marc Camille Chaimowicz, Theaster Gates, Ull Hohn, Janette Laverrière, Louise Lawler, Nick Mauss, Park McArthur, Lucy McKenzie, Shahryar Nashat, Walid Raad, Seth Siegelaub, Paul Sietsema, Florine Stettheimer, Rosemarie Trockel, Cerith Wyn Evans, Danh Vo and Akram Zaatari.
The book and the exhibition it accompanies take as its guiding principle what Marcel Broodthaers termed “esprit décor”: a critique of ideas of nationality, globalization and the space of the institution through constructed interior scenes. Recasting our conception of interior space and design, the featured works exist between art, prop, and set or stage. Espousing this mise-en-scène approach, Question the Wall Itself plugs readers into material that expands the show in the form of book-as-exhibition. It includes an extensive photographic walk-through of the installations, and essays by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Fionn Meade, and Robert Wiesenberger, as well as contributions from participating artists.
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.
Hardcover (w. dust jacket), 288 pages, 15.2 x 24.1 cm
Published by University of Chicago Press / Chicago
$80.00 - In stock -
Douglas Crimp is the rare art critic whose work profoundly influenced a generation of artists. He is best known for his work with the "Pictures Generation" the very name of which Crimp coined to define the work of artists like Robert Longo and Cindy Sherman who appropriated images from mass culture to carry out a subversive critique. But while his influence is widely recognized, we know little about Crimp's own formative experiences before "Pictures."Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City during the late 1960s through the turbulent 1970s. Crimp participated in all of what made the city so stimulating in that vibrant decade. The details of his professional and personal life are interwoven with this the particularly rich history of New York City at that time, producing a vivid portrait of both the critic and his adopted city. The book begins with his escape from his hometown in Idaho, and we quickly find Crimp writing criticism for ArtNews while working at the Guggenheim where, as a young curatorial assistant, he was one of the few to see Daniel Buren's Peinture-Sculpture before it was removed amid cries of institutional censorship. We also travel to the Chelsea Hotel (where Crimp helped the down-on-his-luck couturier Charles James organize his papers) through to his days as a cinephile and balletomane to the founding of the art journal October, where he remained a central figure for many years. As he was developing his reputation as a critic, he was also partaking of the New York night life, from drugs and late nights alongside the Warhol crowd at the Max's Kansas City to discos, roller-skating, and casual sex with famous (and not-so-famous) men. As AIDS began to ravage the closely linked art and gay communities, Crimp eventually turned his attention to activism dedicated to rethinking AIDS. Part biography and part cultural history, Before Pictures is a courageous account of an exceptional period in both Crimp's life and the life of New York City. At the same time, it offers a deeply personal and engaging point of entry into important issues in contemporary art.
Includes the work of Cindy Sherman, Jack Goldstein, Daniel Buren, Charles James, Hiroshi Sugimoto, Agnes Martin, Dan Flavin, Peter Hujar, Eva Hesse, Bernardo Bertolucci, Walker Evans, Joseph Cornell, Alfred Hitchcock, Jack Tworkov, Robert Ryman, Jane Freilicher, Robert Smithson, Michael Snow, Stanley Kubrick, Cristobal Balenciaga, Christian Dior, Brice Marden, Ellsworth Kelly, Guilio Romano, Andrea Mantegna, Merce Cunningham, Joan Jonas, Yvonne Rainer, John Baldessari, Dan Graham, Vito Acconci, Alvin Baltrop, Divine, Gordon Matta-Clark, Edgar Degas, Louise Lawler, and so many others.
Softcover, 368 pages, 17.8 x 234 cm
Published by The MIT Press / Massachusetts
$80.00 - In stock -
On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists—Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe—but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin.
About the Author
Douglas Crimp is Fanny Knapp Allen Professor of Art History at the University of Rochester. He is the author of On the Museum’s Ruins and Melancholia and Moralism: Essays on AIDS and Queer Politics, both published by the MIT Press.
“Literate and provocative speculations about art, photography, postmodernism, homoeroticism, Rauchenberg and Mapplethorpe, museums and libraries.”
“Crimp's essays comprise one of the most interesting and incisive bodies of work on practices of contemporary art in relationships to art as institution.”
—Andreas Huyssen, Columbia University
Softcover, 21 x 28 cm, 320 pages
Published by Primary Information / New York
$59.00 - In stock -
REAL LIFE Magazine: Selected Writings and Projects 1979-1994 highlights a selection of writings and artists' projects from REAL LIFE magazine, which was originally edited by artist, writer, and curator, Thomas Lawson and writer, Susan Morgan. Published in twenty-three issues from 1979-1994 as an intermittent black and white magazine, REAL LIFE featured artists and art historians writing on art, media and popular culture interspersed with pictorial contributions. The development of the magazine through its 15 year history, traces the influences, development and transitions of artists through the 80s.
The anthology features writings by and about Dara Birnbaum, Eric Bogosian, Rhys Chatham, Mark Dion, Jack Goldstein, Felix Gonzalez-Torres, Kim Gordon, Dan Graham, Thomas Lawson, Louise Lawler, Sherrie Levine, Allan McCollum, John Miller, Dave Muller, Matt Mullican, Adrian Piper, Richard Prince, David Robbins, Ed Ruscha, Cindy Sherman, Laurie Simmons, Michael Smith, John Stezaker, Bernard Tschumi, Jeff Wall, Lawrence Weiner, and James Welling among others.
Table of Contents:
Thomas Lawson and Susan Morgan: Various Histories of REAL LIFE Magazine
Matthew Higgs: REAL LIFE
Susan Morgan: an interview with Robert Moskowitz, 1979
Valentin Tatransky: Collage And The Problem Of Representation: Sherrie Levine's new work, 1979
Grahame Shane: Crime as Function, 1979
Susan Morgan: an interview with Steve Gianakos, 1979
Barbara Kruger: Game Show, 1979
James Welling: Untitled, 1979
Thomas Lawson: Every Picture Tells A Story Don't It? 1979
Thomas Lawson: Fashion Moda, 1980
Richard Prince: Primary Transfers, 1980
Dan Graham: The Destroyed Room of Jeff Wall, 1980
Kim Gordon: Trash Drugs And Male Bonding, 1980
Thomas Lawson: Going Places, 1980
Susan Morgan: Michael Hurson, 1980
Barbara Kruger: Devils With Red Dresses On, 1980
Thomas Lawson: Long Distance Information, 1980
Joseph Bishop: Desperate Character, 1980
Richard Prince: Menthol Pictures, 1980
Laurie Simmons: Sam and Dottie Dance, 1980
Jim Bradley: Radical Genitalia, 1980
Allan McCollum: Matt Mullican's World, 1980
Michael Smith: Mike In... What Should I Do About The Car? 1980
Sherrie Levine: Two Photographs After Walker Evans, 1980
Kim Gordon: Honeymoon Habit, 1980
Post-Modernism: a symposium, 1981
Dan Graham: BOWWOWWOW (the Age of Piracy), 1981
Howard Singerman: The Artist as Adolescent, 1981
Elsa Bulgari: Your Everyday Critic, 1981
Thomas Lawson: Too Good to be True, 1981
Jenny Bolande: Elk Grazed as if Nothing Had Happened, 1981
David Robbins: Notes toward film, 1981
Eric Bogosian: Fascination, 1981
Fulton Ryder: Pissing on Ice, 1981
Joan Wallace and Geralyn Donohue: Edit deAk, 1982
Rex Reason: Democratism, 1982
The Holy Ghost Writers: Condensation and Dish-Placement, 1982-3
Howard Singerman: Paragraphs toward an essay entitled 'Restoration Comedies', 1982-3
John Roberts: Ruins in the Realm of Thought, 1983
Paul McMahon: From The Permanent Collection, 1983
Jo Baer and Bruce Robbins: Beyond the Pale, 1983
Kathi Norklun: Courage, 1983
Tim Rollins: Particles, 1980-1983, 1983-4
Doug Ashford: Kiss of Death, 1983-4
Thomas Lawson: Komar & Melamid, 1983-4
Robin Winters: The Secret Agent: an interview with Jacki Ochs , 1983-4
Robert C. Morgan: a conversation with Lawrence Weiner , 1983-4
Judith Kirshner: A Blinding Light , 1983-4
Rex Reason: Brie Popcorn: an interview with the directors of Nature Morte Gallery, 1983-4
John Miller: Morality and the Poetic, 1984
Susan Morgan: Portraits of the Artists/Composite Drawings, 1984
B.P. Gutfreund: Four Photographs, 1984
Susan Morgan: Each and Every One of You, 1985
Mark Dion: Tales From The Dark Side, 1985
Jeff Wall: Dan Graham's Kammerspiel Parts I and II, 1985
Jana Sterbak: Premeditated: an interview with Ed Ruscha, 1985
Walter Robinson: The Quest For Failure, 1985-6
Derek Boshier: John Dugger, 1985-6
John A.Walker: Unholy Alliance: Chairman Mao, Andy Warhol, and the Saatchis, 1985-6
Kellie Jones: David Hammons, 1986
John Miller: Swiss Family Robbins, 1986
Adrian Piper: An Open Letter to Donald Kuspit, 1987-8
Susan Morgan: when X does not equal Y , 1987-8
Thomas Lawson: Critical Art Ensemble, 1988-9
Christine N. Lea: Beyond Belief, 1988-9
Felix Gonzalez-Torres: Untitled 1988: Detail of a Sculpture (Endless Copies), 1988-9
Thomas Lawson: No Bull, 1990
Allan McCollum: Photo from TV (with Paintings), 1990
Dara Birnbaum: The Wondering Of Context, 1990
James Welling: Corridors, 1989, 1990
Michael Smith and R. Sikoryak: Mike, 1990
Felix Gonzalez-Torres: Untitled, 1990
Judith Barry: Drive-In or Walk-In Museum, 1990
Group Material: AIDS Timeline, 1990
David Robbins: Three Cancelled TV Families, 1990
Louise Lawler: Untitled 1988, 1990
Susan Morgan: Carlos Gutierrez-Solana, 1994
Josef Strau and Stephan Dillemuth: Friesenwall 120, 1994
David A. Muller: Three Day Weekend, 1994
Spencer Finch: Amnesia And Saying Nothing, 1994
$45.00 - In stock -
Edited by Helen Molesworth
With Taylor Walsh
Louise Lawler has devoted her art practice to investigating the life cycle of art objects. Her photographs depict art in the collector’s home, the museum, the auction house, and the commercial gallery, on loading docks, and in storage closets. Her work offers a sustained meditation on the strategies of display that shape art’s reception and distribution. The cumulative effect of Lawler’s photographs is a silent insistence that context is the primary shaper of art’s meaning. Informed by feminism and institutional critique, Lawler’s witty, poignant, and trenchant photos frequently pay attention to a host of overlooked details—almost Freudian slips—that ineffably and tacitly shore up what we conventionally think of as art’s “power.”
This book includes the earliest published text on Lawler’s work; an examination of her ephemera (Lawler produced, among other things, matchbooks and paperweights); a rare interview with the artist, conducted by Douglas Crimp; a conversation between George Baker and Andrea Fraser on Lawler’s work; and essays by writers including Rosalind Krauss, Rosalyn Deutsche, and Helen Molesworth, the volume’s editor. The book traces the changing reception of Lawler’s work from early preoccupations with appropriation to later discussions of affect.
About the Editor
Helen Molesworth is Chief Curator at the Institute for Contemporary Art, Boston. She edited Louise Lawler’s Twice Untitled and Other Pictures (looking back), published by the Wexner Center for the Arts and distributed by the MIT Press.
Softcover (stapled), 64 pages (colour & bw ill>), 21 x 27 cm
Published by If I Can’t Dance / Amsterdam
$30.00 - In stock -
Louise Lawler's 'A Movie Will Be Shown Without the Picture' (1979) presents a movie in a regular cinema environment, but without any moving images. This publication is the result of an extensive research project into 'A Movie' and its 2012 iteration, undertaken with researcher Sven Lütticken and Louise Lawler. The publication includes a research essay by Lütticken that places 'A Movie' in the context of cultural developments in the 1970s and works by the Pictures Generation, and contributions by art historians Debbie Broekers, Eve Dullaart, and Daniël van der Poel.
Softcover (spiral-bound w. flexidisc), 208 pages, 20 x 31 cm
Published by Walker Art Centre / Minneapolis
$85.00 - Out of stock
Despite its apparent throwaway status, the stock image comprises the primary commodity of a billion-dollar global industry with far-reaching effects in the marketplace and the public sphere. Taking this overlooked facet of contemporary life as a point of departure, "Ordinary Pictures" explores the photographic apparatuses and commercial interests that have given rise to our generic image culture through the conceptual image-based work of some 40 artists, including John Baldessari, Steven Baldi, Sarah Charlesworth, Anne Collier, Liz Deschenes, John Divola, Aleksandra Domanovi c, Hans-Peter Feldmann, Morgan Fisher, Hollis Frampton, Jack Goldstein, Rachel Harrison, Robert Heinecken, Leslie Hewitt, Elad Lassry, Louise Lawler, Sherrie Levine, Steve McQueen, Jack Pierson, Peter Piller, Seth Price, Amanda Rossotto, Ed Ruscha, Steven Shore, Sturtevant, Mungo Thomson, Wolfgang Tillmans, Tseng Kwong Chi, Julia Wachtel and Christopher Williams. Spanning generations, movements and artistic strategies from the 1960s to the present day, this publication brings together works by artists who have probed, mimicked and critiqued this aspect of our visual environment as well as its industrial modes of production and distribution. Through the work of these artists and a series of scholarly essays, the catalogue aims to examine different operations of the generic image in culture, namely its anonymous circulation and editorial uses, its adaptability and reproducibility, its technical processes of production, its claim to copyright and artistic license and its tendency toward abstraction. Featuring a unique, coil-bound design reminiscent of stock photo catalogues and a flexidisc recording by the artist Jack Goldstein, this highly collectible book ultimately reflects on contemporary art's own complicit function as an expanding industrial image economy.
Edited by Eric Crosby, texts by Lane Relyea and Thomas Beard.
$44.00 - Out of stock
This anthology provides a multivocal critique of the exhibition of contemporary art, bringing together the writings of artists, curators, and theorists. Collectively these diverse perspectives are united by the notion that although the focus for modernist discussion was individual works of art, it is the exhibition that is the prime cultural carrier of contemporaneity. The texts encompass exhibition design and form; exhibitions that are object-based, live, or discursive; projects that no longer rely on a physical space to be visited in person; artists’ responses to being curated and their reflections on the potential of acting curatorially. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition.
Artists surveyed include:
Rasheed Araeen, Art & Language, AA Bronson, Daniel Buren, Graciela Carnevale, Andrea Fraser, Piero Gilardi, Group Material, Richard Hamilton, Huang Rui, Laboratoire Agit-Art, Louise Lawler, Glenn Ligon, Konrad Lueg, Matsuzawa Yutaka, Palle Nielsen, OHO (Marko Pogagnik), Hélio Oiticica, Philippe Parreno, Victor Pasmore, Raqs Media Collective, Gerhard Richter, Ruangrupa, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Katsuhiro Yamaguchi
Judith Barry, Martin Beck, Charles Esche, Patricia Falguières, Elena Filipovic, Patrick Flores, Liam Gillick, Thelma Golden, Hou Hanru, Geeta Kapur, Pablo Lafuente, Lisette Lagnado, Lucy R. Lippard, Miguel A. López, Stuart Morgan, Chika Okeke-Agulu, Yvonne Rainer, Moira Roth, Seth Siegelaub, Wan-kyung Sung, El Hadji Sy, David Teh, Margarita Tupitsyn, Marion von Osten, Anton Vidokle, Peter Wollen
About the Editor:
Lucy Steeds is Pathway Leader in Exhibition Studies at Central Saint Martins, University of the Arts, London.
Softcover, 228 pages, 178 x 229 cm
Published by October Books / New York
$40.00 - In stock -
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.
Softcover, 128 pages, 17 x 21 cm
Published by MUMA / Victoria
$20.00 - Out of stock
Publication to accompany the exhibition "Reinventing The Wheel: The Readymade Century", 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.
Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.
Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tend