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
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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Australian Art
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'Pataphysics / Oulipo
Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2017, English
Softcover, 196 pages, 20 x 28 cm
Published by
Capricious / New York
$75.00 - In stock -
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
1976, English
Hardcover (ring-bound), 86 pages + programme, 2.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Art Gallery of New South Wales / Sydney
$200.00 - In stock -
Beautiful and rare historical catalogue published on the occasion of the 1976 Biennale of Sydney, Recent International Forms in Art, held at the Art Gallery of New South Wales, Nov 13—Dec 18, 1976. With exceptional uncredited povera design, the catalogue is printed entirely on thick kraft paper and metal ring-bound between thick corrugated cardboard covers. An incredible second year of the Sydney biennale, heavy with international representation of conceptual, Art Povera, environmental, minimal, Mono-ha artists, includes the work of Ant Farm, Giovanni Anselmo, John Armstrong, Robert Arneson, Lynda Benglis, Joseph Beuys, Tony Coleing, Gianni Colombo, John Davis, Agnes Denes, Jan Dibbets, Koji Enokura, Robert Grosvenor, Marr Grounds, Noriyuki Haraguchi, Noel Hutchison, Robert Kinmont, Gloria Kisch, Kyubei Kyomizu, Lee U-Fan, John Lethbridge, Les Levine, Loren Madsen, Yutaka Matsuzawa, Michael McMillen, James Melchert, Kevin Mortensen, Clive Murray-White, Tsuneo Nakai, Natsuyuki Nakanishi, Fujiko Nakaya, Ti Parks, Giuseppi Penone, Insik Quac, Terry Reid, Ron Robertson-Swann, Fred Sandback, Joel Shapiro, Moon-Seup Shim, Morio Shinoda, Robert Smithson, Stelarc, Kishio Suga, Noboru Takayama, Kakuzo Tatehata, William Tucker, Greer Twiss, Ken Unsworth, William T. Wiley, Gilberto Zorio, and many more... Organised with the guidance of people like John Stringer (New York, previously Australia, managed The Field at the NGV in 1968), Gerald Forty and Ian Barker (UK), Tommaso Trini (Italy), Joseph Love. S.J. (Korea, Japan), Philip Linhares (California), and many more under the direction of Thomas G. Cullough.
This copy includes a folded handbill programme for the Biennale, also on kraft paper and including information on performances, installations, lectures and other public works.
Very Good copy with some wear.
2022, English
Softcover, 456 pages, 16.8 x 23.1 cm
Published by
Karma / New York
$52.00 - Out of stock
Conversations with leading women artists, composers and writers from Judy Chicago, Anohni and Lynne Tillman to Ellie Ga, Tauba Auerbach and Renee Green.
This massive volume comprises over 80 interviews published across a 13-year span of Lauren O’Neill-Butler’s career as a writer, educator, editor and cofounder of November magazine. The majority of the interviews first appeared on Artforum.com’s interviews column, which O’Neill-Butler edited for 11 years. The book is divided into two sections, “Q&A” and “As Told To”—the first comprising interviews in a traditional format and the second recast by O’Neill-Butler in the interviewee’s voice.
Interviewees include: Judy Chicago, Shannon Ebner, Carolee Schneemann, Lucy R. Lippard, Joan Semmel, Liz Deschenes, Eleanor Antin, Andrea Fraser, Anohni, Claudia Rankine, Lorrie Moore, Adrian Piper, fierce pussy, Nan Goldin, Nell Painter, Frances Stark, Sara Greenberger Rafferty, Alex Bag, Agnès Varda, Lisi Raskin, Mary Mattingly, Carol Bove, Jennifer West, Aki Sasamoto, Mary Ellen Carroll, Rebecca Solnit, Rita McBride and Kim Schoenstadt, Karla Black, Julia Bryan-Wilson, Lynda Benglis, Sturtevant, Rachel Foullon, Ellie Ga, Lisa Tan, Mira Schor, Jo Baer, Ruby Sky Stiler, Suzanne Lacy, Rebecca Warren, Katy Siegel, Marlene McCarty, Rachel Mason, Mary Kelly, Dianna Molzan, Lynne Tillman, Polly Apfelbaum, Jesse Jones, Dorothea Rockburne, Sarah Crowner, Lucy Skaer, Sophie Calle, Mary Beth Edelson, W.A.G.E., Mary Heilmann, Pauline Oliveros, Kathryn Andrews, Jessamyn Fiore, Aura Rosenberg, Lucy McKenzie, Rhonda Lieberman, Lucy Dodd, Hong-Kai Wang, Sakiko Sugawa, Beverly Semmes, Virginia Dwan, Jeanine Oleson, Tauba Auerbach, Renee Green, Iman Issa, Monir Shahroudy Farmanfarmaian, Joan Jonas, Yoko Ono, Donna J. Haraway and more.
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.
2019, English
Softcover, 678 pages, 21.5 x 27.5 cm
Ed. of 2000,
Published by
Primary Information / New York
$89.00 - Out of stock
Out of print.
Edited by Walter Robinson, Edit DeAk, and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. Through hundreds of interviews, reviews, statements, and projects for the page—as well as artist-focused and thematic issues on video, painting, performance, and artists’ books—Art-Rite’s sharp editorial vision and commitment to spotlighting the work of artists stands as a meaningful and lasting contribution to the art history of New York City and beyond.
All issues of Art-Rite are collected and published here.
Featured artists include Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Judy Rifka, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri, and Irene von Zahn.
2015, English
Softcover, 208 pages, 15.6 x 23.4 cm
Published by
Bloomsbury Academic / London
$59.00 - Out of stock
In four decades of abstract art practice, Lynda Benglis has not merely challenged the status quo. She has tied it in knots, melted it down and poured it across the floor, cast it in glass, clay and bronze. Daring and sometimes outrageous, her intense and provocative practice has produced some of the most iconic pieces of art from the late twentieth century. Richmond gives serious critical attention to work often dismissed as trivial and rootless, recovering the themes that link the different phases of the artist's quest to capture the 'frozen gesture'. Whether challenging popular tastes and definitions of art with her 1970s abstract knotwork or mocking puritanical aesthetics of gender with her colourful latex pourings and their allusions to corporeal topographies, Benglis never failed to provoke. Her sculptures commemorate and celebrate the processes of creation themselves, combining architectonic abstraction and feminized sensuality in a haunting, visceral theme of the strangeness of the body that runs through all her experiments in glass, video, metals, ceramics, gold leaf, paper and plastics.
Lynda Benglis: Beyond Process examines in depth the work and critical neglect of an artist who, perhaps more than any of her contemporaries, changed the face of American art in the 1960s and 1970s, and continues to fetishise, provoke and demand your attention.
1990, English
Softcover, 389 pages, 29 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Whitney Museum of American Art / New York
$100.00 - Out of stock
The bountiful exhibition catalogue published to accompany the first large-scale assessment of the work of ten American sculptors working during a critical period in postwar American art; held at the Whitney Museum of American Art, New York, 20 February to 3 June, 1990. Organised by Richard Armstrong and Richard Marshall, this extraordinary exhibition brought together the work of Lynda Benglis, Eva Hesse, Barry Le Va, Bruce Nauman, Alan Saret, Richard Serra, Joel Shapiro, Robert Smithson, Keith Sonnier, and Richard Tuttle, to survey a radical and widely misunderstood chapter in the history of American art. Twenty-five years after its heyday, Process Art or antiform or Post-Minimalism, as this work is generally called, still exuded a sense of fierce radicality, as it does to this day. This incredible, over-sized, profusely illustrated book presents countless examples of work by each participating artist (in colour and b/w), an illustrated chronology of their exhibitions, bibliography, alongside texts by Richard Armstrong, John G. Hanhardt, Robert Pincus-Witten, Lucy R. Lippard, Jane Livingstone, Rosalind E. Krauss, Cindy Nemser, Emily Wasserman, Philip Leider, Klaus Kertess, Max Kozloff, Gregoire Müller, Fidel A. Danieli, Richard Marshall, Jeremy Gilbert-Rolfe, James Collins, Thomass Hess, Lizzie Borden, Ellen Lubell, Lawrence Alloway, Barbara Rose, Willoughby Sharp, Marcia Tucker, and texts by/interviews with the artists themselves, making it an extraordinary resource.
Very Good copy with some edge and reading wear/marking.
1973, English
Softcover (denim-bound, stitched and silk-screened), 96 pages, 24 x 22 cm
1st Edition, Out of print title / used / good
Published by
NGV (National Gallery of Victoria) / Victoria
$150.00 - In stock -
The art catalogue wearing denim! Fantastic, scarce exhibition catalogue from 1973 for "Some Recent American Art", a major contemporary survey exhibition that toured Australia and New Zealand, organised under the auspices of the International Council of the Museum of Modern Art New York with the assistance of Graeme Sturgeon, David Sampietro, and Peter Cripps. Wrapped in jeans denim covers (screen-printed and stitched), and profusely illustrated throughout in colour and b/w with the work of exhibiting artists Vito Acconci, Carl Andre, John Baldessari, Lynda Benglis, Mel Bochner, Dan Flavin, Eva Hesse, Robery Irwin, Donald Judd, Joseph Kosuth, Sol LeWitt, Brice Marden, Agnes Martin, Robert Morris, Bruce Nauman, Dorothea Rockburne, Robert Ryman, Richard Serra, Keith Sonnier, William Wegman, and Lawrence Weiner. Each artist section includes a list of works, biographical information and text(s) from the artist. Opening text by curator Jennifer Licht, acknowledgments by NGV director Gordon Thomson, with further sections on exhibited Video Tapes, bibliography and artist index.
Good copy, with tanning/fading to spine and some light fraying to cover edges.
2019, English
Softcover, 272 pages, 17 x 24 cm
Published by
Valiz / Amsterdam
$58.00 - Out of stock
Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not object-based, creates challenges in exhibiting or re-exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonization.
The aim of the book is not to offer clear-cut practical solutions, but to raise awareness of the issue and the different ways of dealing with it within the traditional curatorial field. It is relevant for students of art and culture (particularly in museum and curatorial studies), art and museum professionals, and everyone interested in the art of the 1960s and 1970s.
Nathalie Zonnenberg is an art historian and curator. She holds a PhD in Art History from Vrije Universiteit, Amsterdam (NL). Zonnenberg regularly writes on contemporary art, and she lectures at the post-graduate Curatorial Studies programme at KASK/the Royal Academy of Fine Arts in Ghent (BE).
1973, English
Softcover (denim-bound, stitched and silk-screened), 96 pages, 24 x 22 cm
1st Edition, Out of print title / used / very good
Published by
NGV (National Gallery of Victoria) / Victoria
Art Gallery of New South Wales / Sydney
Art Gallery of South Australia / Adelaide
City of Auckland Art Gallery / Auckland
$200.00 - In stock -
The art catalogue wearing denim! Fantastic, scarce exhibition catalogue from 1973 for "Some Recent American Art", a major contemporary survey exhibition that toured Australia and New Zealand, organised under the auspices of the International Council of the Museum of Modern Art New York with the assistance of Graeme Sturgeon, David Sampietro, and Peter Cripps. Wrapped in jeans denim covers (screen-printed and stitched), and profusely illustrated throughout in colour and b/w with the work of exhibiting artists Vito Acconci, Carl Andre, John Baldessari, Lynda Benglis, Mel Bochner, Dan Flavin, Eva Hesse, Robery Irwin, Donald Judd, Joseph Kosuth, Sol LeWitt, Brice Marden, Agnes Martin, Robert Morris, Bruce Nauman, Dorothea Rockburne, Robert Ryman, Richard Serra, Keith Sonnier, William Wegman, and Lawrence Weiner. Each artist section includes a list of works, biographical information and text(s) from the artist. Opening text by curator Jennifer Licht, acknowledgments by NGV director Gordon Thomson, with further sections on exhibited Video Tapes, bibliography and artist index.
This special copy also includes the inserted National Gallery of Victoria director's announcement for Yvonne Rainer's "Performance around an unfinished film", February 13, 1974, 8:30 pm at National Gallery of Victoria, Melbourne, during the exhibition. The stapled, 4-page letterhead announcement includes information on the performance, list of performances, list of technical assistants, texts on Rainer, biography, chronology, and selected reading.
Very Good copy, well preserved.
2016, English
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by
Prestel / Munich
$120.00 - Out of stock
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, Guyton/Walker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
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.
2009, English
15 postcard set (in plastic pocket), 10.8 x 16 cm
1st Edition, Out of print title / as new
Published by
SFMOMA / San Francisco
$40.00 - In stock -
In conjunction with Not New Work: Vincent Fecteau Selects from the Collection, 2009, SFMOMA commissioned Vincent Fecteau to create an artist's book, in which he chose to focus on a particular work in the exhibition—Christopher Wilmarth's plywood-and-glass sculpture New (1968). The publication consists of approximately a dozen loose postcards depicting Wilmarth's sculpture, enclosed in a plastic sleeve. Works from the exhibition photographed by way of Wilmarth's foregrounding sculpture are by Lynda Benglis, Judy Chicago, Friedel Dzubas, Max Ernst, Richard Faralia, Ralph Goings, Joe Goode, Charles Howard, Ralph Humphrey, Jess, Ron Nagle, Robert Overby, Dorothy Reid, Diego Rivera, Erio Rudd, George Segal, Wayne Thiebaud, Tom of Finland, H.C. Westermann, and Peter Young.
As New copies, long unavailable.
2016, English
Hardcover, 312 pages, 22 x 29 cm
Published by
Center for Curatorial Studies Bard College / New York
$67.00 - Out of stock
'Invisible Adversaries' was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.
With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.
This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.
2010, English / French
Hardcover, 552 pages, 20.2 x 26.2 cm
1st Edition, Out of print title / Used*,
Published by
Les Presses Du Reel / Paris
$115.00 - Out of stock
The huge reference retrospective monograph: a complete overview of Lynda Benglis' work and life from the late 1960s to the present day, with more than 350 illustrations, about 20 historical or commissioned essays, an interview, famous and unseen archival material (magazine articles, photographs, letters, installation shots), and a complete chronology.
“Seeing Lynda Benglis's ad in Artforum in 1974 was one of the most pivotal moments of my career. I was in college in Buffalo & even the Albright-Knox Art Gallery which was one of the few local places to buy the magazine (and right across from where I went to school), had ripped out that page in the issues they were selling (I must have bought mine in NYC). She kicked ass!” - Cindy Sherman
Since more than 30 years, Lynda Benglis (born in 1941 in Lake Charles, Louisiana, lives and works in New York), one of America's most important artists, a leader of Post Minimalism along with Richard Serra, Eva Hesse and Bruce Nauman, explores in her work a wide range of techniques and mediums, from wax abstract painting, to latex, polyurethane or metal sculpture, through video and performance footage.
This formal diversity expresses a complex and radical thinking about body, gender identity, representation of women and male dominance, beyond her feminist icon status since a series of sulphurous advertisements published with Robert Morris in the 1970s, including the famous and controversial ad in Artforum featuring her aggressively posed with a giant dildo and wearing only a pair of sunglasses.
Texts by Dave Hickey, Cindy Sherman, Robert Pincus-Witten, Richard Meyer, Annette Messager, Elisabeth Lebovici, Judith Tannenbaum, Caroline Hancock, Franck Gautherot, Laura Hoptman, Ron Gorchov, Keith Sonnier, John Baldessari, Diana Franssen.
An incredible book on an artist unlike any other!
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.
1980, English
Softcover, 128 pages, 28 x 21.5 cm
Out of print title / used*,
Published by
Cornell Paperbacks / London
Phaidon / London
$38.00 $15.00 - Out of stock
"Edward Lucie-Smith, a critic and historian of art who is deeply immersed in the works and trends of the seventies here provides the first general survey of the decade. In a volume alive with visual images that are often surprising and sometimes disturbing, he analyzes the development both of old forms and of new ones, and provides a coherent framework for the general reader."
Contents: The Popular Arts; Post Pop and Mandarin Taste; Abstract Painting; Illusionary Art; Figurative Painting; Fetish Art and Happenings; Political Art; Art as Environment and Architecture; High-Tech and the Third World, plus a biographical list of the artists featured and a "further reading" list.
Includes the work of: Stephen Willats, Lawrence Weiner, Brice Marden, Robert Mapplethorpe, Vito Acconci, Jo Baer, Joseph Beuys, Lynda Benglis, Bob Law, Philip King, Alan Kessler, On Kawara, Douglas Huebler, John Kacere, Richard Long, Robert Mangold, Philip Guston, Hans Haacke, Nancy Grossman, Robert Grosvenor, Nancy Graves, Walter de Maria, U-Fan, Claude Viallet, Nancy Spero, Peter Saul, Robert Ryman, James Rosenquist, Joel Shapiro, Sylvia Sleigh, Robert Stackhouse, Paul Thek, Giulio Paolini, Nam June Paik, Bruce Nauman, Roman Opalka, Dennis Oppenheim, Tony Cragg, Judy Chicago, Larry Bell, Daniel Buren, Chuck Close, and many more.
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.
2010, English
Softcover, 96 pages, 152 x 229 mm
Published by
Walker Art Centre / Minneapolis
$18.00 - Out of stock
True to its title, the exhibition "Abstract Resistance" considers the metaphor of "resistance" as a complex political and compositional force defining art of the past half century.
Abstract Resistance (an exhibition held at the Walker Art Centre, Minneapolis, in 2010) proposes an alternative framework for aesthetically inventive, ethically engaged, and politically defiant art. The exhibition, drawn mostly from the Walker’s collection, highlights works in assemblage, collage, and photomontage by Francis Bacon, Lynda Benglis, Anthony Caro, Sarah Charlesworth, Bruce Conner, Willem de Kooning, Lucio Fontana, Hollis Frampton, Philip Guston, Rachel Harrison, Hirschhorn, Ellsworth Kelly, Paul McCarthy, Robert Motherwell, Bruce Nauman, Cady Noland, Charles Ray, Gedi Sibony, Kara Walker, Andro Wekua, and Cathy Wilkes.To accompany the exhibition, the Walker published this collection of essays by exhibition curator Yasmil Raymond, art historian Simon Baier, and philosopher Marcus Steinweg as well as artist statements by Thomas Hirschhorn, Gedi Sibony, and Cathy Wilkes.
2007, English
Hardcover, 400 pages, 235 x 263 mm
Published by
The MIT Press / Massachusetts
The Museum of Contemporary Art / Los Angeles
$88.00 - Out of stock
There had never been art like the art produced by women artists in the 1970s ;and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period ;Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovič, Ana Mendieta, Annette Messager, and others ;as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media ;from painting and sculpture to photography, film, installation, and video ;arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics ;including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism ;provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.
Essays by: Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni Sorkin.
Artists include: Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O'Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke.
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