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
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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, 152 pages, 15.2 x 22.9 cm
Published by
The MIT Press / Massachusetts
$44.00 $10.00 - Out of stock
In Liquidation World, Alexi Kukuljevic examines a distinctive form of subjectivity animating the avant-garde: that of the darkly humorous and utterly disoriented subject of modernity, a dissolute figure that makes an art of its own vacancy, an object of its absence. Shorn of the truly rotten illusion that the world is a fulfilling and meaningful place, these subjects identify themselves by a paradoxical disidentification—through the objects that take their places. They have mastered the art of living absently, of making something with nothing. Traversing their own morbid obsessions, they substitute the nonsensical for sense, the ridiculous for the meaningful.
Kukuljevic analyzes a series of artistic practices that illuminate this subjectivity, ranging from Marcel Duchamp’s Three Standard Stoppages to Charles Baudelaire’s melancholia. He considers the paradox of Duchamp’s apparatus in the Stoppages and the strange comedy of Marcel Broodthaers’s relation to the readymade; the comic subject in Jacques Vaché and the ridiculous subject in Alfred Jarry; the nihilist in Paul Valéry’s Monsieur Teste; Oswald Wiener’s interpretation of the dandy; and Charles Baudelaire as a happy melancholic. Along the way, he also touches on the work of Thomas Bernhard, Andy Kaufman, Buster Keaton, and others. Finally, he offers an extended analysis of Danny’s escape from his demented father in Stanley Kubrick’s The Shining.
Each of these subjects is, in Freud’s terms, sick—sick in the specific sense that they assume the absence of meaning and the liquidation of value in the world. They concern themselves with art, without assuming its value or meaning. Utterly debased, fundamentally disoriented, they take the void as their medium.
Alexi Kukuljevic is an artist and Lecturer in Art Theory at the University of Applied Arts in Vienna.
“With exuberantly mordant humor, Alexi Kukuljevic leads us to that place—Liquidation World—where we already are. This world turns out to be an atopia in which dissolute impersonators, caught between the first and third person, never find themselves a second, and where the epitome of happiness is to make oneself an object of absence from melancholic despair. It’s not so much that everything must go—just that everything does go. And, when it does, so do we. But we don’t go well. Thankfully, Kukuljevic is here to show us the pistols and the ropes.”
—Justin Clemens, Associate Professor, The University of Melbourne; author of Psychoanalysis is an Antiphilosophy
“Liquidation World is a shockingly clever but very kind book, treating its readers as well as its clumsy, incomplete, damaged, but well-meaning subjects as partners in a series of arty, thoughtful adventures in humor and absence. Embracing innumerable paradoxes, Kukuljevic nevertheless steers a steely course through ridiculousnesses of all kinds. It is the rigor of the madhouse, and what absurd fun.”
—Nina Power, Senior Lecturer in Philosophy, University of Roehampton; author of One Dimensional Woman
2013, English
Softcover, 100 pages, 203 x 130mm
Published by
Walther König / Köln
$32.00 - Out of stock
In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment on West 10th Street in New York City. Casual yet insightful, Duchamp mused on everything from paying taxes to his feelings about art dealers to his influence on younger generations of artists like Robert Rauschenberg and John Cage.
Those interviews became the source material for Tomkins’ profile of the iconic artist in The New Yorker, and later in his definitive 1996 biography, Duchamp. But they have never been edited and made public, until now.
In striking contrast to the mythic image established by decades of Duchampian scholarship, The Afternoon Interviews reveals him to be a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself.
This book includes never before published portraits of Duchamp recently discovered in the Philadelphia Museum of Art archive and an introductory interview with Tomkins reflecting on Duchamp as an artist, guide and friend.
2011, Japanese / French
Softcover (w. printed plastic jacket over reflective cover), 296 pages
1st Edition, Out of print title / used / very good
Published by
National Art Centre / Tokyo
$90.00 - Out of stock
First printing of this great exhibition catalogue from the National Art Centre Tokyo via Centre Pompidou Paris, on occasion of the most comprehensive Surrealist exhibition ever staged in Japan, “Le Surrealism: Exposition organisee par Le Pompidou a partir de sa Collection” at The National Art Center, Tokyo in 2011.
Housed in mirrored cover and profusely illustrated in colour with the work of André Breton, Victor Brauner, Rene Magritte, Joan Miro, Andre Masson, Francis Picabia, Claude Cahun, Hans Bellmer, Dorothea Tanning, Max Ernst, Salvador Dali, Toyen, Guilaume Apollinaire, Meret Oppenheim, Luis Buñuel, Jindrich Heisler, Andre Masson, Yves Tanguy, Alberto Giacometti, Man Ray, Marcel Duchamp, Jean Arp, Giorgio de Chirico, Wilhelm Freddie, and many others, alongside comprehensive documentation of major historical Surrealist exhibitions and documents/publications.
Very Good copy.
1968, Japanese / German
Softcover, 80 pages, 21 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Goethe-Instituts / Japan
Staalichen Museums für Moderne Kunst / Tokyo
$70.00 - Out of stock
1st pinting of this publication on Dada, published in Japan in 1968. Features the work of Marcel Duchamp, Hannah Höch, Sophie Taeuber-Arp, George Grosz, Kurt Schwitters, Max Ernst, Josef Albers, Hans Richter, Hans Arp, Man Ray, Francis Picabia, Raoul Hausmann, John Heartfield, Peter Agostini, Jean Tinguely, Karl Gerstner, and more reproduced alongside a collaged history of Dada across the globe (New York, Zürich, Cologne, Italy, Paris, Berlin, Hannover) w. reproductions of texts, illustrations, publications and ephemera.
Very Good copy.
1974, German
Softcover, 169 page, 20 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Städtisches Museum / Leverkusen
$65.00 $45.00 - In stock -
"Medium Fotografie" was published on the occasion of the exhibition of the same name held at Städtisches Museum, Leverkusen, 18 May - 5 August 1973.
Foreword by Rolf Wedewer; Artists featured include Herbert Bayer, Hans Bellmer, Anton Giulio, Marcel Duchamp, Theodor Fraenkel, Hannah Höch, Layos Kalsas, Lazlo Moholy-Nagy, George Mucha, Man Ray, Luigi Veronesi, Stuart Wiese, Christian Boltanski, Marcel Broodthaers, Hamish Fulton, Christoph Kohlhöfer, Ingrid Kohlhöfer, Sigmar Polke, Gerhard Richter, Johannes Theodor Baargeld, Tristan Tzara, El Lissitzky, John Heartfield, Raoul Hausmann, Jörg Immendorff, A.R. Penck, Edward Ruscha, Pablo Picasso,Gilbert & George, Walter de Maria, and many more. Heavily illustrated throughout, texts in German.
2010, English
Softcover, 112 pages, 15.2 x 21.6 cm
Published by
Afterall / London
The MIT Press / Massachusetts
$49.00 - Out of stock
Duchamp's famous last artwork, seen not as a summation of his work but as an invitation to endless interpretation.
Following Marcel Duchamp's death in 1968, the Philadelphia Museum of Art stunned the art world by unveiling a project on which he had been working secretly for twenty years, long after he had supposedly given up art for chess. Installed by the museum curators with the assistance of Duchamp's widow Teeny and stepson Paul Matisse, Étant donnés (known in English as Given, or, literally, “being given”) consists of a small room with a locked wooden door; through a peephole can be seen a landscape of trees, with a naked female figure at the front, her arm outstretched, holding a lamp. In this illustrated study, Julian Haladyn argues that Duchamp's intention in this final piece was similar to Raymond Roussel's in How I Wrote Certain of My Books: not, as many have maintained, to provide a neat summation of his career, but the opposite—to open his artwork (which he had made sure was fully represented in the Philadelphia Museum of Art's collection) to endless interpretation and reinterpretation. Duchamp's engagement with his legacy (by orchestrating first the purchase of his work and then the donation of those purchases to the museum) is a significant historical development in the critical relationship between artists and the institution of art—a relationship that would later be further explored by such artists as Andrea Fraser and Michael Asher. Additionally, Haladyn sees that the staging of Étant donnés—especially the way that Duchamp forces viewers to become aware of the act of looking and their bodily presence in the gallery space—foreshadowed strategies used by Minimalism as well as installation, spectatorship, and institutional critique.
About the author:
Julian Jason Haladyn is a writer and artist based in Canada. He teaches at the University of Western Ontario.
2010, English
Softcover, 496 pages, 18 x 22 cm
Published by
The MIT Press / Massachusetts
$84.00 - In stock -
The artist Francis Picabia -- notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist -- has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada.
In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade -- Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history -- and naming them -- for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his "painting" Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.
George Baker is Assistant Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.
2019, English
Hardcover, 136 pages, 14.5 x 10.9 cm
Published by
Verlag fur moderne Kunst / Nuremberg
$62.00 - Out of stock
Offering the first study of Jamaican-born American photographer Percy Rainford, this book draws from extensive archival research and interviews with the artist's family, showcasing his work and shedding light on his collaborations with Duchamp for View and Le Surréalisme.
Edited by Stefan Banz.
Text by Michael R. Taylor.
2018, English
Hardcover, 148 pages,
Published by
Verlag für moderne Kunst / Vienna
$48.00 - Out of stock
In this essay, curator Helen Molesworth pinpoints the significance of the return of the handmade in the later years of Duchamp’s oeuvre, positioning this paradigmatic shift away from the readymade as the focal point of academic debate for the very first time.
By Helen Molesworth.
Edited with preface by Stefan Banz.
2018, English
Softcover, 208 pages, 14 x 22.5 cm
$57.00 - Out of stock
Throughout the twentieth century, art history has been too narrowly focused on formalism. As a result, analyses regularly reduced works of art to their materials, texture, and composition. By contrast, art historian Sebastian Egenhofer takes Gilles Deleuze's readings of Spinoza, Nietzsche, and Bergson as the basis for a new resistance to the overly reductive account of art history. After laying out his argument for a new aesthetics of production in introductory chapters that discuss the work of Spinoza, Nietzsche, and Bergson, as well as Heidegger and Kant, Egenhofer applies this theoretical framework to case studies on Michael Asher, Marcel Duchamp, Thomas Hirschhorn, and Piet Mondrian. An aesthetics of production does not, he argues, imply a nostalgia for the artisanal or for a work of art's singularity, but a way to bring together elements of critical materialism with a thorough reevaluation of the modern art and abstraction.
2012, English
Softcover, 320 pages, 136 x 203 mm
Published by
The MIT Press / Massachusetts
$42.00 - Out of stock
Marcel Duchamp was a famous expatriate, a wanderer, living and working in Paris, New York, and Buenos Aires and escaping from each in turn. But exile, argues T. J. Demos in this innovative reading, is more than a fact in Duchamp's biography. Exile--in the artist's own words, a "spirit of expatriation"--infuses Duchamp's entire artistic practice. Duchamp's readymade constructions, his installations for surrealist exhibitions in Paris and New York, and his "portable museum" (the suggestively named La boite-en-valise), Demos writes, all manifest, define, and exploit the terms of exile in multiple ways. Created while the artist was living variously in New York, Buenos Aires, and occupied France during the global catastrophes of war and fascism, these works express the anguish of displacement and celebrate the freedom of geopolitical homelessness. The "portable museum," a suitcase containing miniature reproductions of Duchamp's works, for example, represented a complex meditation--both critical and joyful--on modern art's tendency toward itinerancy, whereas Duchamp's 1942 installation design entangling a New York gallery in a mile of string announced the dislocated status that many exiled surrealists wished to forget. Duchamp's exile, writes Demos, defines a new ethics of independent life in the modern age of nationalism and advanced capitalism, offering a precursor to our own globalized world of nomadic subjects and dispersed experience.
T. J. Demos is a Lecturer in the Department of History of Art, University College London and the author of The Exiles of Marcel Duchamp (MIT Press, 2007). His essays have appeared in such journals as Artforum, Grey Room, October, and Texte zur Kunst.
2003, English
Softcover, 288 pages, 18 x 23 cm
1st Edition, Out of print title / as new
Published by
The MIT Press / Massachusetts
$74.00 $60.00 - Out of stock
Surrealism in its late phase often abandoned neutral exhibition spaces in favor of environments that embodied subjective ideologies. These exhibitions offered startled viewers an early version of installation art before the form existed as such. In Displaying the Marvelous, Lewis Kachur explores this development by analyzing three elaborate Surrealist installations created between 1938 and 1942. The first two, the "Exposition Internationale du Surrealisme" (1938) and the "Dream of Venus" at the New York World's Fair (1939), dealt with the fetishization of the female body. The third, "First Papers of Surrealism" (1942), focused not on the figure but on the entire expanse of the exhibition space, thus contributing to the development of nonfigurative art in New York. Kachur presents a full visual and verbal reconstruction of each of the exhibitions, evoking the sequence that the contemporary viewer would have encountered.
The book considers Marcel Duchamp and Salvador Dali, two artists who are not usually compared, within a common framework. Duchamp specialized in frustrating the spectator, using his ironic wit to call into question the definition of the work of art. Dali was a master at disorienting the senses by establishing and then undermining everyday spatial and object properties. The Surrealist challenge, as voiced by Andre Breton, was to evoke the marvelous. Duchamp and Dali extended that challenge to the physical and commercial realm of the exhibition installation.
About the Author
Lewis Kachur is Associate Professor of Art History at Kean University, New Jersey.
“Lewis Kachur hands us a free time-travel ticket, with himself as marvelous pilot. Transporting us into the thick inventions of late Surrealist exhibitions, he gives us the ravishing gift of being there, present at the birthing and, as well, the seeding of so much installation and site-specific art to come decades later. For artists now who feel tied to Grandfather Marcel without having known him, Kachur's work vividly opens up the real moves of Duchamp's reinvention of what it is to be an artist. Revealing secret interior paths of communication among artists that flow synaptically across generations, this sumptuous work points to a new holistic way to understand art.”
—Mierle Laderman Ukeles, artist
“A splendid analysis of the late Surrealist exhibitions. Anyone interested in Surrealist art would want this book; anyone interested in the consideration of display in twentieth-century art must have this book.”
—Richard Martin (1945-1999), former curator, Metropolitan Museum of Art
“Perceptive, fascinating, and written with pleasure and delight. The reciprocal exchange between art work and its context is presented with a steady, at times inspired, sense of inquiry.”
—Brian O’Doherty, writer
Out-of-print
1966, English
Softcover, 148 pages, 21.5 x 22.5 cm
1st Edition, Out of print title / used / good
Published by
LACMA / Los Angeles
$55.00 - Out of stock
The great catalogue for a major exhibition held in Los Angeles in 1966 on the work of Man Ray. Published by LACMA for the occasion, this 148 page English catalogue is very generous in its content, with reproductions of much of Man Ray's work across painting, sculpture and photography, amongst much more, it also features an introduction byJules Langsner, Man Ray's writings on his own work and observations, texts about Man Ray by his friends (Paul Éluard, Marcel Duchamp, André Breton, Rrose Sélavy, Tristan Tzara, Hans Richter), plus other texts, catalogue of the exhibition, Chronology, Major Exhibitions, and Selected Bibliography.
Good-Very Good copy.
2014, English
Softcover, 296 pages, 15.2 x 22.9 cm
Published by
Columbia University Press / New York
$58.00 - Out of stock
Maya Deren (1917–1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films.
Maya Deren: Incomplete Control assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's overarching aesthetic is founded on principles of incompletion, contingency, and openness. Combining the contrasting approaches of documentary, experimental, and creative film, Deren created a wholly original experience for film audiences that disrupted the subjectivity of cinema, its standards of continuity, and its dubious facility with promoting categories of realism. This critical retrospective reflects on the development of Deren's career and the productive tensions she initiated that continue to energize film.
This book is a thorough review of Maya Deren's total oeuvre, offering a study of one of our most important filmmakers who has been more overlooked than one might expect. Further study of Deren from a distinct point of view, as Keller offers, is a vital contribution. (Bill Nichols, film critic and editor of Maya Deren and the American Avant-Garde)
Keller's truly excellent book considers both Deren's theoretical writings and cinematic work and places them within the context of her life and the difficulties she faced as an experimental artist (frequently unfunded and living on the edge). This volume fills a gap in scholarship on Deren with clear and elegant writing. (Lucy Fischer, University of Pittsburgh)
Maya Deren: Incomplete Control is a tour de force of historical and critical scholarship that explores new primary research material from Maya Deren's voluminous and complex archive to assert the significance of incompletion and process as central to Deren's artistic and intellectual production. Keller's clear, erudite prose offers brilliant new readings of Deren's extant films, including canonical works like Meshes of the Afternoon, and comprehensively explores Deren's incomplete projects―films, research projects, writings―to draw out Deren's radical imaginings of art and culture. (Michael Zryd, York University)
A required resource for serious examination of Deren's groundbreaking films.... Keller's smoothly organized, cleanly written text is perhaps the most comprehensive single volume on Deren's work.... Essential. (Choice)
A must-read for scholars of experimental cinema, women filmmakers, and Maya Deren. (Film Criticism)
About the Author
Sarah Keller is assistant professor of Art and cinema studies at the University of Massachusetts–Boston. She is coeditor, with Jason Paul, of Jean Epstein: Critical Essays and New Translations.
2016, English
Hardcover, 360 pages, 17.8 x 25.4 cm
Published by
The MIT Press / Massachusetts
$75.00 - Out of stock
This groundbreaking and richly illustrated book tells a new story of the twentieth century’s most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp’s art through activities not normally seen as artistic—from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework.
Drawing on many rarely seen images, Filipovic traces a variety of practices and projects undertaken by Duchamp from 1913 to 1969, from his invention of the readymade to the release of his last, posthumous work. She examines Duchamp’s note writing, archiving, and quasi-photographic activities, which resulted in the Box of 1914 and the Green Box; his art dealing, marketing, and curating that culminated in experimental exhibitions for the Surrealists and his miniature museum, The Boîte-en-valise; and his administrative efforts and clandestine maneuvering in order to posthumously embed his Étant donnés into a museum. Demonstrating how those activities reflect the artist’s questioning of reproduction and originality, as well as photography and the exhibition, Filipovic proposes that Duchamp’s “non-art” labor, and in particular his curatorial strategies, more than merely accompanied his more famous artworks; in a certain sense, they made them.
Through Duchamp’s elusive but vital activities he revised the idea of what a modern artist could be. With this fascinating book, Filipovic in turn revises the very idea of Duchamp.
About the Author
Elena Filipovic, an art historian, is Director and Chief Curator of the Kunsthalle Basel. Among her curatorial projects is the traveling retrospective “Marcel Duchamp: A Work That Is Not a Work ‘of Art'” (2008-2009).
Endorsements:
“In the 1970s Lucy Lippard remarked that Duchamp was already too much written about. How, then, is one to contribute effectively to the Duchamp literature today, given that it has become all the more voluminous since? In The Apparently Marginal Activities of Marcel Duchamp Elena Filipovic finds a way, and does so with great intelligence. She claims, rightly, that the dominant readings of Duchamp have led to an occlusion of the ‘fugitive actions’ undertaken by Duchamp vis-à-vis the institution of art, and it is there that she locates her incisive study—specifically on ‘his role as administrator, archivist, art advisor, curator, publicist, reproduction maker, and salesman.’ Rather than see these activities as ancillary to his life as an artist, Filipovic locates them, brilliantly, at its center; they are indeed only ‘apparently marginal.’ This is just the book to reanimate discourse around Duchamp.”
—Hal Foster, Townsend Martin Class of 1917 Professor, Princeton University, author of Compulsive Beauty and Prosthetic Gods
“When an artist becomes a curator today, the exhibition is often treated like an extension of the artist’s medium. A century ago when Duchamp, having ceased to consider himself a professional artist, undertook to help out his friends by designing their exhibitions, did he think like a modernist fixated on medium specificity? This is the classic question that lies behind Elena Filipovic’s careful research in the archives. In light of her new syntheses, she rewrites the question to read: just how did Duchamp open up new possibilities for curators? The answer: the medium was not his message. Duchamp worked without professing, in a series of small, nonretinal steps; he avoided creating a single, prototypical model. He left behind a panorama of new ideas. Filipovic has collected them into a book that curators will come to regard as a resource.”
—Molly Nesbit, Professor of Art History, Vassar College, author of Their Common Sense
“In 1959, Marcel Duchamp referred to himself as ‘a non-artist.’ Exactly what he meant by this has never been fully explained until now, a lacuna in the vast literature on this artist that finally has been filled by Elena Filipovic’s marvelous new book, the first to deal with the various activities that preoccupied Duchamp when he wasn’t making art, particularly in the realm of curating (not only his own work, but that of his fellow artists in various exhibitions that he oversaw). Filipovic argues that these activities occur with such frequency and consistency in Duchamp’s life that they must be considered an integral component of his creative endeavors. The result is an entirely new way to look at the work of this important and highly influential artist.”
—Francis M. Naumann, author of The Recurrent, Haunting Ghost
“Yes, another Duchamp book. The one we least expected, but perhaps the one that we now need the most. Elena Filipovic’s brilliant book locates a ‘curatorial’ logic at the heart of Duchamp’s (deeply fascinating, often confusing, and impossibly disparate) activities. But more crucial even than its tracing of a long-ignored curatorial modernism, this book will in turn challenge what it might mean to curate today, at precisely the moment curators increasingly claim an artistic dimension for their own work.”
—George Baker, Professor of Art History, UCLA, author of The Artwork Caught by the Tail
1990, English
Softcover, 76 pages, 23 x 33 cm
1st Edition, Out of print title / used / good
Published by
Tension / South Yarra
$30.00 - Out of stock
Tension 21 (June 1990) features "The Readymade Disaster" by John Sampson, "Paraculture" by Chris McAuliffe, Neil Dawson by Jim and Mary Barr and Robert Leonard, Sydney and Melbourne Film Festivals by John Sampson, 8th Biennale of Sydney : Certain Relations in 20th Century Art by Catharine Lumby, Christina Davidson, Max Delany, John Young and Dale Frank, Marcel Proust by Gerald Murnane, Martin Heidegger by Fergus Armstrong, Giorgio de Chirico by Tony Clark, Marcel Duchamp by Peter Tyndall, Surrealism by Rosslynd Piggott, Peter Ellis, and Jon Cattapan, "Rock'n'Roll" by Kevin Murray, Roger Taylor, Chris Dyson and Jon Campbell, "New Wave Cinema" by Ross Harley and Scott Murray, "Gilles Deleuze and Cinema" by Adrian Martin, Tim Jones by Ashley Crawford, reviews, and much more.
TENSION (1983-1990) was one of the central "popular" culture arts periodicals to come out of Melbourne in the 1980s, emerging from the ashes of Virgin Press. Independently published and edited by critic Ashley Crawford, Tension magazine lasted for 25 bi-monthly issues dedicated to Art, Music, Fashion, Theatre, Film, Photography, across reviews, interviews, reports, critical essays and artist pages. Now an important document of culture in Australia, and especially Melbourne in the 1980s, issues featured the writing and contributions of Paul Taylor, McKenzie Wark, Mike Parr, John Nixon, Catharine Lumby, Philip Brophy, Adrian Martin, Ashley Crawford, Peter Tyndall, Jean Baudrillard, Timothy Leary, Gerard Malanga, Keith Haring, Gerald Murnane, and many more. In 1985 Crawford, with John Buckley, staged an exhibition issue of the magazine, 'Visual Tension', at ACCA featuring the work of Howard Arkley, Marianne Baillieu, Peter Booth, Paul Boston, Peter Cripps, Richard Dunn, Maria Kozic, John Lethbridge, Geoff Lowe, Linda Marrinon, John Matthews, John Nixon, Stieg Persson, Robert Rooney, Gareth Sansom, Vivienne Shark LeWitt, Imants Tillers, Peter Tyndall, Jenny Watson, John Young.
2018, English
Softcover, 128 pages, 15 x 19 cm
Published by
Imperfect Publishing / Point Reyes
$34.00 - Out of stock
Artists do myriad things. Six of these things are discussed in this modest book. This limited sampling is intended to emphasise how, in totality, the work of artists is different in substance, spirit, and methodology from that of most other professions. Highlights from the lives and work of seven seminal New York-based artists [Marcel Duchamp, John Cage, Christo and Jeanne-Claude, Donald Judd, On Kawara, and Richard Serra] are used to illustrate these six things.
2017, English
Printed card box containing publications and 2 posters
Published by
Ugly Duckling Presse / New York
$125.00 - Out of stock
Introduction by Sophie Seita. Translations by Elizabeth Zuba.
The Blind Man was a key magazine of the early 20th century, the product of a rich network of proto-Dada, modernist and other avant-garde New York salons and publications that introduced audiences to Dada in the US.
Produced by Marcel Duchamp, Beatrice Wood and Henri-Pierre Roché, only two issues of the Blind Man ever appeared, but these included a who’s who of the New York and Paris avant-gardes: Mina Loy, Walter Conrad Arensberg, Francis Picabia, Gabrielle Buffet, Allen Norton, Clara Tice, Alfred Stieglitz, Charles Demuth, Charles Duncan, Erik Satie, Carl Van Vechten and Louise Norton all appeared in its pages.
Allegedly, the fate of the Blind Man was decided in a chess game between Roché and Picabia (who was about to put out his own Dada publication, 391). And the magazine went out with a bang-its final issue has gone down in art history for featuring Stieglitz’s iconic photograph of Duchamp’s "Fountain" and a defense of that work, seen now as perhaps the most important artwork of the 20th century.
The Blind Man: New York Dada, 1917 brings back the magazine in a facsimile reprint, along with reproductions of the Ridgefield Gazook and the poster for the Blind Man’s Ball designed by Beatrice Wood, all packaged together in a handsome boxed set.
1974, English
Softcover, 104 pages, 30.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Studio International / London
$50.00 - In stock -
February 1974 issue of Studio International with specially designed covers by Robert Natkin. Includes articles : "The situation of the artist in Yugoslavia since 1945" by Cyril Barrett, "'Art-Language' at the Lisson Gallery" by Paul Wood, "Ivan Karp on Marcel Duchamp / an interview with Moira Roth", "Definition and theory 'Of the current avant garde / materialist / structural film" by Peter Gidal, "Edvard Munch: scene, symbol and allegory" by Frank Whitford, "Profile : Hans Haacke", "The shape of colour" by Patrick Heron, and the first of a three-part major article series on the work of Robert Ryman titles "Unfinished 1 (Materials)" by Barbara Reise. Reviews section. Correspondence. Much more.
An issue from the great Peter Townsend as editor years.
As editor of Studio International magazine from the mid-1960s to the mid-1970s, Peter Townsend oversaw its transformation from a mainstream Britain-centric publication into a vanguard journal chronicling some of the most radical artistic endeavours in the UK and internationally.
Robert Natkin (November 7, 1930 – April 20, 2010) was an American born abstract painter whose work is associated with Abstract expressionism, Colour field painting, and Lyrical Abstraction.
Very Good copy, with light general wear.
2005, English / German
Softcover, 270 pages, 19 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Neues Museum Weserburg Bremen / Bremen
$150.00 - Out of stock
This large, detailed catalogue forms a unique and important document, which was produced to accompany an exhibition at Neues Museum Weserburg Bremen, Bremen, 21.8. - 27.11.2005 and Museu d'Art Contemporani de Barcelona, Barcelona, 16.5. - 1.10.2006 showcasing a selection of some 800 pieces from the collection of Guy Schraenen. The main of this collection comprises vinyl records and covers by artists, musicians and poets in LP, single and other formats, alongside other sound media (tapes and CDs). Posters and books are also included. The exhibition shows artists (such as Hanne Darboven, Jean Dubuffet, Dieter Roth, Joseph Beuys, Laurie Anderson, John Cage, Yoko Ono, Yves Klein, Roman Opalka, Lawrence Weiner, Mike Kelley, Öyvind Fahlström, Art & Language and Hermann Nitsch) and artistic movements of the second half of the twentieth century through this complex medium of the vinyl cover, with its dual visual and audible components. Here Guy Schraenen has edited together an extensive visual catalogue of these historical objects.
A wonderful book for anyone interested in the history of modern sound art and the artistic medium of the vinyl sleeve, especially in the fields of Avantgarde, Electro-Acoustic, Modern Classical, Musique Concrète, Sound-Poetry, Art Rock, Industrial, Power-Electronics....
Henri Chopin, A.R. Penck, Brion Gysin, George Brecht, Marcel Duchamp, Arman, Karel Appel, Öyvind Fahlström, Pierre Henry, Art & Language, Peter Brötzmann, Red Krayola, Ernst Jandl, Vito Acconci, Hanne Darboven, Jean Dubuffet, Dieter Roth, Joseph Beuys, Laurie Anderson, Yves Klein, Roman Opalka, Hermann Nitsch, Yoko Ono, Tony Conrad, Andy Warhol, John Cage, Pierre Schaeffer, Derek Bailey, Han Bennink, Jean Tinguely, Steve Reich, Meredith Monk, Terry Fox, Terry Riley, Sun Ra, Pandit Pran Nath, Albrecht/d., Robert Ashley, Bob Cobbing, Lawrence Weiner, Philip Glass, La Monte Young, Marian Zazeela, Poly Bury, Charlemagne Palestine, Carl Andre, Brian Eno, Mike Kelley, Sonic Youth, Henry Flynt, Jon Gibson, Michael Snow, Roland Topor, Michael Nyman, Harold Budd, Robert Filliou, Nam June Paik ... just the tip of the iceberg.
Very Good copy of the rare first printing from Bremen.
2018, English
Softcover, 179 pages, 22 x 28 cm
Published by
A+A / Melbourne
$35.00 - Out of stock
Apostrophe Duchamp is the first book in A+a Document Series. The book explores the effect of the touring exhibition of Marcel Duchamp’s work through-out Australia and New Zealand had on local artistic practice and debate.
Editor: Edward Colless
Authors: Donald Brook, Rex Butler, Edward Colless, A.D.S Donaldson, Monique Fong, Marcus Moore, Tom Picton-Warlow, Terry Smith, Daniel Thomas
In 1967 and 1968 an exhibition of Marcel Duchamp’s ground-breaking avant-garde art, from the Mary
Sisler Collection, toured New Zealand and Australia. The exhibition included some of the most famous of Duchamp’s readymades, such as the Bicycle Wheel and the inverted urinal, Fountain. The exhibition’s arrival in Sydney and Melbourne in 1968 coincided with the visit of the eminent and controversial US art critic Clement Greenberg, who delivered the first Power Lecture at the University of Sydney. In his lecture, Avantgarde Attitudes, Greenberg swiped at Duchamp’s ready-mades for being ‘easy’ art. The same year the National Gallery of Victoria re-opened on St Kilda Road with The Field, an exhibition of so-called colour field painting.
The following year Donald Brook delivered a riposte to Greenberg, and to the critical theory sustaining post-painterly abstraction, in his Power Lecture, Flight from the Object. A battleground had formed. This book, the first in the series of Documents from Art+Australia, charts the dramatic juncture of these competing and combative artistic orientations, and the stakes in what increasingly became, with the emergence of conceptual art and expanded artistic media, a challenge to modernist orthodoxy.
Contributors:
Donald Brook was active in establishing the Tin Sheds workshop, as Professor of Visual Arts at Flinders University, Adelaide, he established the Experimental Art Foundation.
Rex Butler is Professor of Art History and teaches in the Faculty of Art Design and Architecture at Monash University, Melbourne. He has recently completed a history of UnAustralian art with A.D.S. Donaldson.
Edward Colless is a senior lecturer in Critical and Theoretical Studies at the Victorian College of the Arts, University of Melbourne.
Monique Fong moved from Paris to the United States in 1951, where she met Marcel Duchamp. She wrote her first text on Duchamp in 1966, and then translated Octavio Paz’s first essay on Duchamp, ‘The Castle of Purity’, and later his second essay on the artist, ‘Appearance Stripped Bare’.
Marcus Moore earned his PhD in art history on the topic of Marcel Duchamp and New Zealand art, subsequently curating the important historical exhibition Peripheral Relations: Marcel Duchamp and New Zealand Art 1965–2011 (Adam Art Gallery, Wellington, 2012).
Tom Picton-Warlow is a consultant in business analytics and strategy, program and project management and innovation in the areas of oil and gas, mining, e-commerce, merchant and retail banking, health, nutrition and exercise.
Terry Smith, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and professor in the Division of Philosophy, Art and Critical Thought at the European Graduate School.
Daniel Thomas AM became a curator (eventually chief curator) at the Art Gallery of New South Wales, Sydney, in 1958. In 1978, he became founding head of Australian art at the National Gallery of Australia, Canberra, and from 1984 to 1990 was director of the Art Gallery of South Australia, Adelaide. He is now based in Tasmania and writes occasionally on Australian art.
A+A Publishing, Art + Australia’s small book imprint, has been established to provide a new platform for critical writing around contemporary art and culture and to consider new ways of writing and reading art history. Publications out of A+A Publishing are speci cally conceived to to provoke debate about signi cant moments in the development of art in this country and to bring aspects of Australian visual culture to light, for both local and international audiences.
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by
U.M.I. Research Press / Michigan
$50.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.
2018, English
Hardcover, 432 pages, 25x 31 cm
Published by
Getty Publications / Los Angeles
$126.00 - Out of stock
Texts by Glenn Phillips, Doris Chon, Pietro Rigolo, Philipp Kaiser
Harald Szeemann is associated with some of the most important artistic developments of the postwar era. A passionate advocate of avant-garde movements like conceptualism and post minimalism, he collaborated with artists such as Joseph Beuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected his sweeping vision of contemporary culture.
Szeemann once stated that his goal as an exhibition maker was to create a "Museum of Obsessions." This richly illustrated volume is a virtual collection catalogue for that imaginary institution, tracing the evolution of his curatorial method through the materials he collected and produced while researching and organising his exhibitions, including letters, drawings, personal datebooks, installation plans, artists' books, posters, photographs, and handwritten notes.
This book documents all phases of Szeemann's career, from his early stint as director of the Kunsthalle Bern, where he organized the seminal Live in Your Head: When Attitudes Become Form (1969); to documenta 5 (1972) and the intensely personal exhibition he staged in his own apartment using the belongings of his hairdresser grandfather (1974); to his reinvention as a freelance curator who realised projects on wide-ranging themes until his death in 2005.
The book contains essays exploring Szeemann's curatorial approach as well as interviews with collaborators. Its more than 350 illustrations include previously unpublished installation photographs and exhibition documents as well as many other materials from the curator's archive.
1947, French
Softcover, 142 pages, 24 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Maeght Editeur / Paris
$480.00 - Out of stock
Very scarce copy of the legendary "Le Surréalisme en 1947 : Exposition Internationale de Surréalisme présentée par André Breton et Marcel Duchamp", published by Maeght Editeur, Paris, in conjunction with an important exhibition of Surrealist artists in 1947. Features the cover design by Marcel Duchamp - a photographic reproduction by Rémy Duval of "Prière de toucher (Please touch)", the famous Duchamp rubber breast edition, created with Italian-born painter Enrico Donati, that adorned the first 999 copies of the catalogue. This gorgeous catalogue features the work of artists from 24 countries including Victor Brauner, Max Ernst, Leonora Carrington, Jacqueline Lamba, Jacques Hérold, Wilfredo Lam, Joan Miró, Hans Bellmer, Marcel Jean, Maria Martins, Yves Tanguy, Dorothea Tanning, Hans Arp, Hector Hyppolite, Serge Brignoni, Alexander Calder, Bruno Capacci, Elizabeth van Damme, Jacques Halpern, Julio de Diego, Enrico Donati, Francis Bouvet , David Hare, Iaroslav Serpan, Jacqueline Lamba, Taro Okamoto, Roberto Matta, Kay Sage, Toyen, Vilhelm Bjerke-Petersen, Leonard Baskin, Jindrich Heisler, Jeanne Reynal, Roger Brielle, Jindrich Styrsky, Bruno Capacci, Jean Guerin, Isamu Noguchi, Gerome Kamrowski, Eugenio Granell, Francis Picabia, Remedios Varo, Hans Richter, Arshile Gorky, and many more,, along with the folding sheet catalogue loosely inserted.
Good copy considering age. Very tanned edges and wear to corners, edges and spine.