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, 134 pages, 21 x 27 cm
1st Edition, Out of print title / As New,
Published by Institute of Modern Art / Brisbane
$80.00 - In stock -
Institute of Modern Art 1975-1989 - A Documentary History, was edited by Bob Lingard, Sue Cramer in Brisbane in 1989, and takes an in-depth look at the history of a very important period of one of Australia's oldest contemporary art spaces. Through essays by Bob Lingard and Peter Anderson, exhibition photography, a full list of exhibitions, catalogues and bulletins, this publication retrospectively showcases the directorship years of Robert Jadin de Fronenteau, John Buckley, John Nixon, Barbara Campbell, Peter Cripps and Sue Cramer, exhibiting John Olsen, Robert MacPherson, Ian Hamilton, Sidney Nolan, John Baldessari, Peter Cripps, Gunter Christmann, David Hockney, Diane Arbus, Jenny Watson, Chuck Close, Joseph Kosuth, Paul Sharits, Mike Parr, Arthur Boyd, Robert Jacks, John Davis, Mario Merz, Peter Tyndall, Hilary Boscott, Imants Tillers, John Nixon, Elizabeth Gower, Janet Burchill, Tony Clark, Dale Frank, Henri Chopin, Scott Redford, Tim Johnson, Robert Mapplethorpe, Vivienne Shark Lewitt, Fiona McDonald, Fiona Hall, Joanna Flynn, Jan Nelson, Joanna Ritson, Robert Hunter, Stephen Roach,Dominique Gonzalez-Foerster, Lehan Ramsey, Hiram To, John Dunkley-Smith, Stieg Persson, Merilyn Fairskye, Linda Marrinon, Bill Henson, Fritz Rahman, Melinda Harper, Geoff Lowe, Lindy Lee, Eugene Carchesio, Diena Georgetti, Maria Kozic, Lyndal Jones, amongst many others!
"This publication documents the history of the Institute of Modern Art, Brisbane from its inception in 1975 until the present day (1989). In doing so, it provides a partial record, both visual and verbal, of the life of one particular institution and an insight into a ﬁfteen year history of exhibition-making within contemporary art. There can be no doubt that “Contemporary Art Spaces” (previously institutions such as the IMA were known as “alternative spaces”) have a crucial and unique role in supporting and developing contemporary art and curatorial practices within Australia. As the photographs of exhibitions, and the essays in this publication show, the Institute has played a signiﬁcant role over its ﬁfteen years as a venue not only for the exhibition of art that is being made in Brisbane itself, but also that of artists working elsewhere in Australia and overseas. It is worth remembering too that the Institute is the second oldest of the Contemporary Art Spaces in Australia. With this in mind, the Institute’s archive, from which this publication has been drawn, becomes a valuable resource in the study of recent art. The photographs published here oﬁer a visual record of individual works by many contemporary artists, a number of which may not have been published elsewhere. It is hoped therefore, that this publication might fruitfully be regarded as a source book from which more detailed projects of research can be undertaken. It is impossible in one publication to cover all of the activities and personalities, ideas, debates and discussions that have made up the life of the gallery. Alongside the exhibition program, the Institute has generated forums, lectures, ﬁlm screenings and publications as an important part of its activities..."
SUE CRAMER DIRECTOR, June 1989
Softcover (w. dust jacket), 84 pages, 14.5 x 20.5 cm
Ed. of 500, 1st edition, Out of print title / As New,
Published by Kerb Your Dog / Sydney
$100.00 - Out of stock
Kerb Your Dog was an artist-edited anthology of pages by contemporary Australian and International artists, published in Sydney, Australia. Edited by John Nixon and John Young and published in an edition of 500 copies, this volume from 1992 - "TEXTBOOK" - features pages by John Barbour, Eugene Carchesio, Tony Clark, Peter Cripps, Aleks Danko, John Dunkley-Smith, Clinton Garofano, Ross Harley, Tim Johnson, Lyndal Jones, Maria Kozic, Rosemary Laing, Shelley Lasica, Lindy Lee, Geoff Lowe, Robert Macpherson, John Nixon, Rose Nolan, Susan Norrie, David O'Halloran, Robert Owen, Mike Parr, Jacky Redgate, Carole Roberts, Vivienne Shark Lewitt, Peter Tyndall, Ken Unsworth, Geoffrey Weary, Wood / Marsh Architecture Pty. Ltd., John Young, and an essay by Janet Shanks. An invaluable collection of artist's texts from Australia in this very scarce document.
Softcover, 224 pages, 21 x 30 cm
1st Edition, Out of print title / Used*,
Published by Biennale of Sydney / Sydney
$70.00 - Out of stock
Catalogue published on the occasion of the Fourth Biennale of Sydney 1982, 7 April – 23 May 1982. Under the artistic direction of William Wright the 1982 Biennale was titled "Vision in Disbelief" and featured the work of Jörg Immendorff, Dan Graham, Brian Eno, Sue Ford, Joan Jonas, Lyndal Jones, John Baldessari, Robert Ashley, Billy Apple, Gary Hill, Fiona Hall, Philip Guston, General Idea, Bill Henson, Slave Guitars, Michael Snow, Severed Heads, Martha Rosler, Nam June Paik, Mike Parr, Tony Oursler, Davida Allen, Dale Frank, Rebecca Horn, Gareth Sansom, Lucas Samaras, Pe Kirkeby, Maria Kozik, Laughing Hands, Bertrand Lavier, Liz Magor, Anne Marsh, Markus Lupertz, William Wegman, Bill viola, Niele Toroni, Ken Unsworth, Marina Abramovic, John Ahearn, Vivienne Binns, Ian Breakwell, Georg Baselitz, Frank Auerbach, Claus Bohmler, Sydney Ball, Anti-Music, Laurie Anderson, Terry Allen, →↑→ and many more.
This catalogue includes colour and black and white examples of the work of all participating artists alongside texts and biographies.
$30.00 - In stock -
Impresario: Paul Taylor, The Melbourne Years, 1981–1984 brings together a diverse body of texts focused on Paul Taylor, the Australian editor, writer, curator and impresario, and in particular his important and influential early years in Melbourne between 1981 and 1984. The dates of the texts included span some thirty years and take a variety of different forms — critical essays, reviews, short reflective texts, interviews, transcriptions of lectures — the combination of which seeks to analyse Taylor’s impact on Australian art history in the early 1980s, when he founded Art & Text and curated the landmark exhibition ‘POPISM’ at the National Gallery of Victoria, and the subsequent ripples that continue to encircle us in his wake, thirty years on.
Edited and introduced by Helen Hughes and Nicholas Croggon, and featuring contributions by Ashley Crawford, Adrian Martin, Charles Green & Heather Barker, Chris McAuliffe, David Chesworth & Jon Dale, David Pestorius, Graham Willett, Ian McLean, Judy Annear, Janine Burke, Juan Davila, Jonathan Holmes, John Nixon & David Homewood, Jenny Watson & Kelly Fliedner, Lyndal Jones, Merryn Gates, Maria Kozic, Philip Brophy, Paul Foss, Patrick McCaughey, Peter Tyndall, Rex Butler & Susan Rothnie, Ralph Traviati, Imants Tillers, Edward Colless, Russell Walsh, Sue Cramer, Denise Robinson and Vivienne Shark LeWitt.
Editors: Helen Hughes and Nicholas Croggon
Design: Brad Haylock
Softcover, 84 pages, 17.5 x 24 cm
1st Edition, Out of print title / used*,
Published by Art & Text / Prahran
$45.00 - Out of stock
ART & TEXT 9
Edited by Paul Taylor
"The Good Oil Company and the Bad Oil Company" by Stephen Muecke
"Laughs: The Misappropriated Jewels or a close shave for the Prima Donna" by Michel Serres
"Prediction Piece # 9" by Lyndal Jones
"What Made Mad Max Popular?" by Jon Stratton
"From Alpha Trainer to Subway" by Germano Celant
"On The Use Of Certain Words" by Patricio Marchant
Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.
Softcover, stapled, 16 pages (b/w ill.), 21 x 14.8cm
1st edition, Out of print title / As New,
Published by City Gallery / Melbourne
$40.00 - In stock -
Catalogue for the 1988 exhibition La Boheme at City Gallery, Melbourne. Curated by John Nixon, featuring Howard Arkley, Peter Cripps, Aleks danko, John Dunkley-Smith, Lyndal Jones, John Nixon, Peter Tyndall, Jenny Watson
John Nixon is an Australian artist born in 1949, his Experimental Painting Workshop EPW – founded in 1990 – is not a physical workshop but an intellectual as well as a practical visual investigation into non-representational painting.
$52.00 - Out of stock
By reviewing the adventurous projects and artworks of a significant group of women involved with the LIP Collective based in Melbourne in the 1970s and 80s, this exciting anthology co-published by Kunstverein Publishing Amsterdam and Macmillan Art Publishing: Melbourne discloses for the first time the scope of the movement. It published Lip: A Feminist Arts Journal; the Earthworks Poster Collective; The Women’s Theatre Group; The Women’s Film Group and a host of exhibitions and critical writings connecting Australian women artists with the activities of their counterparts overseas.
Among the many contributors are Janine Burke, Annette Blonski, Suzanne Davies, Helen Grace, Ponch Hawkes, Sue Johnston, Laleen Jayamanne, Suzanne Spunner and Ann Stephen.
As editor Vivian Ziherl writes:
“Lip magazine was self-published by women in Melbourne from 1976 to 1984 and stood as a lightning rod for Australian feminist artistic practice over the ‘Women Liberation’ era. The art and ideas expressed over Lip’s lifetime track, with ground-breaking moves into performance, ecology, social-engagement and labor politics, stood at an intersection with local realities. The Lip Anthology seeks a figuration of Lip as a composite feminist entity produced with relation to the situational conditions of its production.
The anthology selection is not proposed as a ‘best of’, but rather as cumulative array of materials indicating the range and dynamism of the Lip project. The diversity of the periodical is privileged across multiple disciplinary vantages, as well as among the varied feminist positions brought together through the discursive space afforded by Lip. Collecting and presenting the materials of Lip for the first time since their original appearance, the anthology seeks (re/de)construction and routes of (re)circulation towards points of (re)commencement.
Vivian Ziherl is a curator at If I Can’t Dance, I Don’t Want to Be Part Of Your Revolution, Amsterdam, as well as undertaking independent projects, research and writing. Recent projects include Landings (2013-14) – a research project co-curated with Natasha Ginwala that seeks cross-over readings of land history, geomorphology, rurality and corporeality; and StageIt! (2012-13), a performance series co-curated with Hendrik Folkerts at the Stedelijk Museum Amsterdam. Ziherl will be the seventh guest curator invited to the David Roberts Art Foundation ‘Curator Series’ for 2014.
‘The Lip Anthology’ is published by Kunstverein Publishing and Macmillan Art Publishing, co-produced with Grazer Kunstverein and with the support of the Australia Council for the Arts and the TEWRR.
Softcover, 84 pages (colour ill.), 200 x 170 mm
Published by Monash University Museum of Art / Melbourne
$20.00 - In stock -
Catalogue for the exhibition A Different Temporality which brought together feminist approaches to temporality in the visual arts, with a focus on late 1970s and early 1980s Australia. Rather than an encyclopaedic summation of feminist practice at that time, selected works reflected prevalent debates and modes of practice; with a focus upon the dematerialisation of the art object, the role of film theory, and the adoption of diaristic and durational modes of practice, including performance, photography and film.
Includes a major new contribution to the scholarship on Australian feminist art history from Dr Kyla McFarlane as well as important reviews and supporting texts from the 1970s and 80s, including notably, a previously unpublished interview conducted by Janet Burchill and Jennifer McCamley with the American conceptual artist, feminist, educator, and writer, Mary Kelly, in 1982.