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:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
Art
Theory / Essay
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World Food Books Gift Voucher
World Food Book Bag
Australian Art
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Dada
'Pataphysics / Oulipo
Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
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Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
1980, English
Hardcover (w. dust jacket), 159 pages, 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Academy Editions / London
$90.00 - Out of stock
First UK hardcover edition published by Academy Editions in 1980, Images of Horror and Fantasy by art historian Gert Schiff expanded on a major group exhibition guest curated by Schiff at the Bronx Museum in 1977. The resulting publication is a perceptive critical and psychological analyses of a variety of nineteenth-and twentieth-century art that "unfolds simultaneously on the level of historical and social reality and on the level of dreams. Its purpose is to expose some of the principal anxieties of modern man and their resolution in utopian reveries and escapist fantasies."
Profusely illustrated in colour and b/w throughout with the works of Alfred Kubin, James Ensor, George Grosz, Paul Thek, Sibylle Ruppert, Henry Fuseli, Paul Delvaux, Nancy Grossman, Käthe Kollwitz, Max Beckmann, Fernand Khnopff, Rudolph von Ripper, Max Klinger, H. R. Giger, Jonah Kinigstein, Edward Keinholz, Jean Delville, Lucas Samaras, Miriam Beerman, Willem de Kooning, Man Ray, Oskar Kokoschka, Salvador Dali, Paolo Soleri, Jean Auguste Dominique Ingres, Georges Rouault, Otto Dix, Pablo Picasso, Philip Evergood, William Blake, Giorgio de Chirico, Ivan Albright, Yves Tanguy, Paul Klee, Jasper Johns, Germaine Richier, Francisco de Goya, Henri de Toulouse-Lautrec, Henri Matisse, Max Ernst, Francis Bacon, Rene Magritte, Illya Repin, Antoine Wiertz, Odilon Redon, Edward Burra, Larry Rivers, George Segal, Thomas Cole, Léon Frédéric, Matthias Grünewald, Rico Lebrun, Bruce Connor, Edvard Munch, and many more.
Gert Schiff (1926 — 1990, b. Oldenburg, Germany) was an art historian, critic, lecturer and professor at the Institute of Fine Arts of New York University. A specialist in the Romantic movement, particularly the work of Henry Fuseli and William Blake, Mr. Schiff was also very much involved with 20th-century art, organising many major exhibitions around his interests whilst authoring important studies on the arts from his dwellings at the Chelsea Hotel.
Very Good copy in VG dust jacket.
2017, English / French
Softcover, 280 pages, 29.3 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
McMaster Museum of Art / Ontario
$50.00 - In stock - Add to cart
First English and French bi-lingual edition. This fully illustrated publication explores the development and trajectories of Expressionism in art from the early 19th century to present day.
The term Expressionism is most often associated with art and social activism in Germany between 1905 and 1937. It encompasses visual art, literature, philosophy, theatre, film and photography, and architecture of that era. These original essays expand the view on the subject, showing how the impulses behind and results of Expressionism suggest that it remains relevant today. The relationship between artists and society, the visual expressions that circulate through shared hopes for social awareness and change across national borders, these all prompt artists to respond in the spirit of a moment and trigger impulses to express the human condition through art. Drawn from the extensive collection of the McMaster Museum of Art, the book features nearly 100 paintings, drawings, prints, books, camera work and video: from formative historical works of the 19th century by artists such as William Blake, Paul Gauguin, Edvard Munch, Egon Schiele and Wassily Kandinsky, through German Expressionists by the likes of Otto Dix, Emil Nolde, Erich Heckel, Kathe Kollewitz, George Grosz and Max Beckmann to contemporary works by Canadian artists such as Gershon Iskowitz, Gary Pearson, and Natalka Husar that underscore Expressionism's relevance in society today.
Very Good copy.
1981, Italian
Hardcover (w. dust jacket), 565 pages, 23 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Theorema Edizioni / Roma
$220.00 - In stock - Add to cart
Rare first edition of the colossal hardcover volume on Pasolini's cinematographic oeuvre; the legendary Corpi e Luoghi (Bodies and Places), published in Rome in 1981, starting from hypotheses expressed by Pier Paolo Pasolini in his archive of unpublished writings (1968-73) published here alongside the editors Michele Mancini and Giuseppe Perella's comprehensive atlas/analysis of 1734 reproductions of stills from his films. A book like no other.
For Pasolini, cinema was the art of discovering, indeed rediscovering, the sacred of bodies and places, their mythical content, lost in the desert of modernity.
Around 1980 in Rome, a small cooperative around film critics Michele Mancini and Giuseppe Perrella produced a mysterious, elaborate and yet effortless looking 565-page book of black-and-white photographs entitled Pier Paolo Pasolini: Corpi e Luoghi (Theorema 1981). According to some reviews of the time this is the most Pasolinian publication to date (Alberto Farrasino), an indispensable tool for future research (Tullio Kezich), not just an illustrated book but a unique model of critique (Adriano Aprà).
With its relentless and yet playful classification of some 2,000 film stills ranged under the categories of “bodies” and “places”, whatever page we turn to, Mancini and Perrella stage an ever-shifting space. With a hidden reference to Walter Benjamin and a correspondingly revolutionary attitude, quotation here is understood as a form of “appropriation”, as a practical use of an archive.
In keeping with the great filmmaker’s credo, Pier Paolo Pasolini: Corpi e Luoghi is a colossal attempt to take this enormous amount of material, in book form, where it wants to go. In the introduction, Mancini and Perrella describe their approach similar to the «analytic field» that they see in the film set: «Through film Pasolini is able to elicit out that sort of unconscious, never talked about code through which in daily life we operate and relate to the world. He makes visible a miscellany of aphasic and hidden practices, a ‹primitive› realm normally concealed from our ‹enlightened› societies.» Mancini and Perrella introduce their compilation of quoted images with a compilation of texts by Pasolini where he describes his own research of bodies and places for his films. These text were unpublished prior to Corpi e Luoghi.
All texts in Italian.
A Very Good copy of this historical book - a must for any fan of Pasolini. In Very Good original dust jacket.
1977, German
Softcover, 300 pages (approx) plus inserts, 24 x 23 cm
1st Edition, Out of print title / used / good
Published by
Neue Galerie Graz und Künstlerhaus / Graz
$200.00 - In stock - Add to cart
Rare catalogue published in the occasion of Trigon 77, 18 October–13 November 1977, Neue Galerie Graz und Künstlerhaus, Graz. The three-country project “trigon” was a biennial founded in Graz, Austria in 1963 that featured contemporary art from the regional neighbours Austria, Italy, and what was then Yugoslavia. Throughout its three-decade run, trigon sought to present the latest developments in art—and it was also one of the first international exhibition series to include artists from Yugoslavia. “The Creative Process” was the motto of trigon 77, held during the heyday of conceptual art—which opted for the total disintegration of conventional modes of artistic expression, transforming sculpture into a process by which to dematerialize both form and matter. Heavily illustrated throughout with work and texts by exhibiting artists : Giovanni Anselmo, Dadamaino, Zvi Goldstein, Fabio Mauri, Aldo Tagliaferro, Grazia Varisco, Nanda Vigo, Giancarlo Zen, Gilberto Zorio, Jovan Cekić, Boris Demur, Goran Djordjević, Mladen Galić, Julije Knifer, Ante Rasić, Šempas family, Predrag Ristić, Andraz Šalamun, Damir Sokic, Josef Bauer, Gottfried Bechtold, Hans Bischoffshausen, Wolfgang Buchner, Karl Hikade, Edelbert Köb, Ferdinand Penker, Arnulf Rainer, Ingo Springenschmid, Ingeborg Strobl... Includes both the (usually missing) foil sheet and frosted acetate sheet inserts edition by Italian artist Nanda Vigo.
Good copy with edge wear and tanning/marking to cover. A small indentation to back cover, inserts edge-worn due to being slightly larger than book dimensions.
1987, English
Softcover (staple-bound), 40 pages, 21 x 15 cm
Ed. of 250 copies,
1st Edition, Out of print title / used / very good
Published by
IMA / Brisbane
$55.00 - In stock - Add to cart
Now scarce, historical publication, from a series published by the Institute of Modern Art, Brisbane, in 1986—1987, initiated and handsomely designed by (then) IMA director Peter Cripps and typeset by Ian Hodgkiss, in an edition of only 250 copies each. Peter Cripps Interviews... (edited by Peter Cripps) comprises nine short interviews with eight artists (Robert MacPherson, Peter Tyndall, Vivienne Shark LeWitt, Tim Johnson, Geoff Lowe, Bronwyn Clark-Coolee, Scott Redford, Mark Webb) who had all exhibited at the IMA, and one with curator Robyn McKenzie, whose exhibition "The Gothic: Perversity and Its Pleasure" was held at the institute in 1986. Includes source references.
VG copy, moderate cover age, light tanning.
2012, English / German
Softcover, 104 pages, 20.3 x 24.8 cm
1st Edition, Out of print title / as new
Published by
Walther König / Köln
Collection de l'Art Brut / Lausanne
$120.00 - In stock - Add to cart
Scarce out-of-print monograph on the work of Morton Bartlett, one of only a couple of books on the artist, published by Collection de l'Art Brut Lausanne and Walther Koenig in 2012 and quickly sold out.
When the freelance photographer and graphic designer Morton Bartlett (1909–1992) died at the age of 83, his relatives found 15 chests among his possessions. Each chest contained a half-life-size doll and its accessories: 12 girls and three boys, a wardrobe of hand-sewn clothes, black-and-white photographs of each doll as well as countless studies and archival materials. Bartlett began designing these dolls in the mid-1930s, studying anatomy books and histories of costume, and learning to sew and mold with clay to make them as true to life as possible. Each doll entailed a huge amount of labor, taking up to a year to complete; Bartlett created costumes and wigs for each one and then staged them in lifelike scenarios and photographed them, documenting a family he had never had and creating a body of work that would remain unexhibited during his lifetime. The third installment in the Bahnhof Museum’s series on outsider artists, this volume examines Bartlett’s extraordinary lifelong obsession.
Edited and with foreword by Udo Kittelmann, Claudia Dichter. Text by Lee Kogan.
As New copy.
2018, English
Hardcover, 136 pages, 29.5 × 24.5 cm
1st Edition, Out of print title / used / fine
Published by
NGV (National Gallery of Victoria) / Victoria
$220.00 - In stock - Add to cart
Robert Hunter was arguably Australia’s pre-eminent Minimalist painter. In 1968, at age twenty-one, he was the youngest artist represented in The Field, the inaugural and now-legendary exhibition at the new National Gallery of Victoria, which announced the arrival of late modernist abstraction in the Australian context. Hunter was also one of very few Australian artists to participate in an international art movement, exhibiting in Eight Contemporary Artists at the Museum of Modern Art, New York in 1974, and continuing to be involved in significant exhibitions in Australia and internationally throughout his career.
Published in an edition of only 500 copies and immediately out of print, this comprehensive publication, which coincided with the fiftieth anniversaries of The Field and Hunter’s first solo exhibition at Tolarno Galleries in 1968, surveys Hunter’s unswerving commitment to a singular aesthetic position, evident in his earliest white-on-white paintings through to the mature works for which he is best known. Heavily illustrated throughout, with essays by Jane Devery, Tom Nicholson, Ann Stephen and Jennifer Winkworth.
NF-As New copy.
1984, English / German / French
Softcover, 512 pages, 19.6 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Greno / Nördlingen
$240.00 - Out of stock
First edition of the extensive and beautifully compiled companion book to Wender's road trip masterpiece from 1984, 'Paris, Texas', starring Harry Dean Stanton, Nastassja Kinski, Dean Stockwell, and others. This heavy, comprehensive book (over 500 pages) includes 150 double page colour photographic stills illustrating every scene from the film, accompanied by the movie's script, information about the cast and crew and on-set photographs. A truly special film book, for a special film. Text in German, English and French.
“It is a story of the United States, a grim portrait of a land where people like Travis and Jane cannot put down roots, a story of a sprawling, powerful, richly endowed land where people can get desperately lost.“
Very Good copy, only light general wear.
1977, English
Softcover (staple-bound), 47 pages, 27.7 x 20.5 cm
1st Edition, Out of print title / used / average
Published by
Art Metropole / Toronto
$180.00 - In stock - Add to cart
Exceptionally rare, excellent reference work on artists' publications issued in 1977 by Art Metropole in Toronto, the first large-scale distributor of artists' books and publications in North America. This valuable catalogue, featuring "European titles, publications, periodicals, records, special editions, videos and films", offers works by European and American artists such as Beuys, Rainer, Polke, Art & Language, Hans Haacke, Terry Riley, Lamonte Young, Marian Zazeela, Douglas Huebler, Broodthaers, Kaprow, Piper, Buren, Reich, Cage, Snow, Darboven, Matta-Clark, Dibbets, Brion Gysin, Simone Forti, General Idea, Claes Oldenburg, Jimmy De Sana, Vito Acconci, Gilbert & George, Robert Filliou, Sol Lewitt, Ehrenberg, Filliou, Fulton, Graham, Rebecca Horn, Mel Bochner, William Burroughs, Ugo La Pietra, Urs Luthi, Hansjörg Mayer, Merz, Robert Cumming, Willats, Al Hansen, Richard Long, Philip Glass, George Brecht, Image Bank, Robert Barry, Nannucci, Donald Judd, Maria Reiche, Dennis Oppenheim, Dieter Rot, Kurt Schwitters, Giorgio Ciam, Daniel Spoerri, Ed Ruscha, Ray Johnson, Philip Corner, Bob Cobbing, Lawrence Weiner, Klaus Rinke, Les Levine, Lea Vergine, Baldessari, Ant Farm, Emmett Williams, Robert Wilson, UFO Group, Vostell, etc. with each item concisely described, and for the books, essential bibliographical information is provided. Publications from Art Metropole, periodicals, records, and videos are also listed for sale, with prices. Cover artwork features Viennese actionist Rudolf Schwarzkogler's Portfolio of the 3rd Action, which is among the selections of European artists' books. Selected b/w illustrations throughout of items listed, and full-page ads for Art Metropole's "FETISH" t-shirt and General Idea's FILE magazine.
Issued privately as a mail-out catalogue, this copy includes the AM ink stamp and Canadian postage stamp on the verso, posted in 1977 to American conceptualist photographer Les Krim, in Buffalo, New York.
Average—Good copy, some chipping to extremities, small closed tear to top-left corner of cover, generally tanned/aged newsprint.
1991, German
Softcover (loose-leaf), unpaginated, 42 x 30 cm
1st Edition, Out of print title / used / fine
Published by
Stiftung für Konkrete Kunst / Reutlingen
$140.00 - Out of stock
Rare, over-sized, loose-leaf catalogue published in the occasion of the exhibition, Eikon = das Bild / Christliche Ikonen und moderne Kunst, Stiftung für Konkrete Kunst, Reutlingen, 1991/1992. Beautifully designed, the entire publication places Christian icon artworks into dialogue with modern artworks by Arman, Bernard Aubertin, Joost Baljeu, Stephen Bambury, Dadamaino, Margarete Dreher, Helmut Federle, Aurelie Nemours, John Nixon, Gerhard Richter, Peter Roehr, Klaus Staudt, Günter Uecker, Günter Wizemann. Ancient and modern face off on each page spread, with occasional full-bleed installation photography of the exhibition. Text by Renate Gebeßler und Gabriele Kübler. Wrap-around cover artwork by John Nixon.
New Fine—As New copy.
1989, English
Softcover (loose-leaf tabloid), 40 pages, 40 x 29 cm
1st Edition, Out of print title / used / very good
Published by
Agenda / Parkville
$70.00 - In stock - Add to cart
Issue No. 6, August 1989 of Melbourne's contemporary arts newspaper, Agenda, edited by the great artistic director, curator and writer, Juliana Engberg. An incredible issue with cover artwork by John Nixon, with heavily illustrated articles by contributors McKenzie Wark, Deb Ely, Jacqueline Riva, May Lam, Juliana Engberg, Nicholas Baume, Harriet Edquist, Virginia Trioli, Leon van Schaik, Stuart Koop, Stephen O'Connell, Andrew Hopkins, Alex Selenitsch, Anna Clabburn, James Hurley, covering Bill Henson, Chantal Akerman, Robin Boyd, Melbourne gallery Store 5, Wes Placek, Jon Campbell, the Andy Warhol Collection, Graeme Hare, Tolarno Gallery, Lisa Lewis, Australian Perspecta 1989, and much more. Published with the assistance of the great George Paton Gallery, Melbourne House, Melbourne University.
Very Good copy with light aging.
1991, English
Softcover (loose-leaf tabloid), 32 pages, 43 x 29 cm
1st Edition, Out of print title / used / very good
Published by
Broadsheet / Adelaide
$50.00 - Out of stock
Vol. 20 No. 4, December 1991, of Broadsheet. Not the crappy Melbourne yuppy consumer guide, the 90's Adelaide arts newspaper, founded in the late 1980's to run throughout the 1990's. With cover artwork by John Nixon and centre-spread collage artwork by Bronia Iwanczak. Heavily illustrated (and uncensored) articles and reviews throughout, this issue features contributors Catherine Lumby, Kevin Murray, Shane McNeill, Leon Marvel, Leonie Neilson, Manne Schulze, John McConchie, Michelle Prak, Carolyn Barnes, Louise Dauth, and others covering Juan Davila, the exhibition history of Melbourne's Store 5, Georges Bataille, Archeology of Gnostic cinema, Gareth Samson, Jeff Koons' collaborations with Cicciolina (Ilona Staller), Australia's first Museum of Modern Art, the new Mitsubishi Magna, Australian film maker Ross Gibson, Adelaide's Critical City Project, and much more.
Very Good copy with light aging.
1988, English
Softcover (staple-bound), 44 pages, 26 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Sylvester’s Studios / Redfern
Art Unit / Alexandria
$70.00 - In stock - Add to cart
Published in 1988, 'Final Verse' is the rare self-published epitaph of Sydney's Art Unit, an artists’ space that formed out of Experimental Art Foundation (EAF) in Adelaide and Side FX in Sydney, issued on the occasion of their retrospective poster show at Sylvester Studios, Redfern. An important document of the history of radical performance art in Australia in the 1980's, Final Verse is illustrated throughout with documentation of the activities of Art Unit spanning 1982—1985 (from Severed Heads to Grotesquis Monkey Choir to All Out Ensemble to Blackrose Anarchist Bookshop), a full chronology of the projects, and accompanying essays by Juilee Pryor, Robert McDonald, Julie Ewington, Catriona Moore, Robert Miller, Terrance Maloon, Ann Finegan, Nicholas Tsoutas. Edited by Juilee Pryor and Robert McDonald.
"Art Unit was an artists' facility, located in Alexandria, Sydney; incorporating exhibition venues, a performance venue, dark room, silkscreen printing studio, sound studio and a site for collision and collusion of artistic practice, unrepresented in Sydney in the early 1980s. The origins of Art Unit began in 1978-79 in both Sydney and Adelaide. The Experimental Art Foundation (EAF) in Adelaide was the site of extended performance programmes by a hard-core group of artists and students. In Sydney, Side FX in Darlinghurst was operating intermittently as live in studio, cabaret venue and presenting shows by a large collective of artists. Here existed 2 examples of operative artistic management, viewed from active participation in the former (EAF) and passive observation of the latter. The EAF approaching institutionalisation and Side Fx approaching dissolution. In 1980 as a final year thesis at the South Australian School of Art a model was hypothesized that would locate itself between both operative artists projects - anonymously called 'Art Unit'. The model was determined for operations in Sydney in the early 1980s. Most of 1981 was spent working in factories, to raise a working capital and to research locations for Art Unit. By 1982 two derelict factories were found in Alexandria, and Juilee Pryor, myself (Robert McDonald) and friends commenced initial renovations. Art Unit opened its doors on Good Friday 9th April 1982. It closed its doors finally on the 3rd February 1985. What occurred between is arranged as our programme of activities and appears in this book at the end of the essays."—Robert McDonald (from the introduction)
Very Good copy with only light wear to spine and cover extremities, otherwise Near Fine throughout.
1972, English
Softcover, 96 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / good
Published by
The Seventies Press / Minnesota
$40.00 - In stock - Add to cart
Rare inaugral issue of The Seventies, Spring 1972, "The Three Brains", edited by American poet, essayist, and activist, Robert Bly (1926 –2021), featuring the poetic works, criticism, essays of Federico Garcia Lorca, Cesar Vallejo, Blas de Otero, Allen Ginsberg, Gary Snyder, Jerome Rothenberg, Shinkichi Takahashi, John Weiners, Rainer Maria Rilke, Tom Pickard, and others. Lots of bi-lingual Spanish and English, with many works translated to English from Spanish here for the first time.
Good copy, with wear to cover edges, some marking/stains.
1981, German
Softcover (staple-bound), 68 pages, 20.5 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Staatliche Museen / Berlin
$80.00 - Out of stock
Wonderful and scarce catalogue published on the occasion of the two-person exhibition, Daumier & Heartfield — Politische Satire im Dialog, placing the social commentary of artists Honoré Daumier and John Heartfield in dialogue with one another, held in 1981 at the Staatliche Museen in Berlin. Heavily illustrated throughout many great examples of each artist, with texts in German, illustrated biographies, full catalogue of works and bibliography.
Honoré Daumier (1808—1879) was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the second Napoleonic Empire in 1870. His career was one of the most unusual in the history of nineteenth-century art. Famous in his time as France's best-known caricaturist, he remained unrecognized in his actual stature--as one of the period's most profoundly original and wide-ranging realists. Even today, his essential quality may not be fully understood; the marvels of his pictorial inventions are half-hidden in the profusion of his enormous lithographic work, the sharp truths of his observation overshadowed by his comic genius and penchant for monumental stylization. Honoré Balzac's remark, "There is a lot of Michelangelo in that fellow," was perceptive, though probably made in a spirit of friendly condescension.
John Heartfield (1891—1968) was a 20th-century German visual artist who pioneered the use of art as a political weapon. Some of his most famous photomontages were anti-Nazi and anti-fascist statements. Heartfield also created book jackets for book authors, such as Upton Sinclair, as well as stage sets for contemporary playwrights, such as Bertolt Brecht and Erwin Piscator.
Very Good copy with NGV (National Gallery of Victoria) library rubber stamp to bottom of first page.
2017, English / German
Softcover, 72 pages, 20 x 28 cm
Published by
Sternberg Press / Berlin
$45.00 - Out of stock
For her first institutional solo Darja Bajagić turns to the murky terrain where real and staged violence bleed into each other with an ease both unsettling and alluring. This has been a key undercurrent to a practice that spans painting, sculpture, video, and installation. Following the lure of the fringes, the artist culls her imagery from fan-gore magazines, true-crime TV shows, fetish websites, obscure online forums, and hidden chat rooms tucked away in the darker reaches of the Web. She handles these disparate source materials with a dose of humor, working them into densely layered compositions that are at once confrontational and poetically fragile. Bajagić explores loaded questions of embodiment, viewership, and power relations, all the while interrogating our need to hold images accountable.
The catalogue is published on the occasion of the artist’s first institutional exhibition, “Unlimited Hate,” which was shown at Künstlerhaus, Halle für Kunst & Medien in the summer of 2016.
Edited by Sandro Droschl, Künstlerhaus, Halle für Kunst & Medien
Texts by Alissa Bennett, Franklin Melendez, Natalia Sielewicz
Design by Nik Thoenen and Maia Gusberti
1993/1994, English
Softcover (looseleaf tabloid), 24 + 20 pages, 42 x 29 cm
1st Edition, Out of print title / used / good
Published by
Untitled / London
$25.00 - In stock - Add to cart
Rare lot of two issues of Untitled: A Review of Contemporary Art, No. 3 (Winter 1993/94) and No. 4 (Spring 1994). Untitled was the independent British tabloid newspaper of articles, reviews and opinions published and founded by John Stathatos and Mario Flecha following the demise of Artscribe in 1992. Contributors included Yves Abrioux, Tony Godfrey, David Alan Mellor, et al. Illustrated in b/w throughout, featuring Gordon Matta-Clark, Günther Förg, Rachel Whiteread, Art & Language, Candida Höfer, Hiroshi Sugimoto, Vong Phaophanit, Artists' Books, Medardo Rosso, Julian Opie, and much more.
Very Good copies, folded.
1998,
Audio Compact Disc
1st Edition, Out of print title / as new
Published by
Document Records / Sydney
$40.00 - Out of stock
Rarely heard sound recordings by Danish Constructivist painter Albert Mertz, recorded in Paris c. 1970, and issued by Australian artist John Nixon in 1998. Mertz – Sound Experiments comprises "Drinking Glass, Pencil, Saw, Coins, Block Of Wood" and "Voice". This limited edition private-issue was co-ordinated by Lone Mertz and John Nixon in 1998 for Nixon'e Document Records in Sydney.
Albert (Axel Tonndorff) Mertz (1920—1990) was a Danish painter, early experimental film maker and art theorist. He was a renowned figure in the Danish Constructivist scene and co-founder of the Linien II artists association in 1947. He had his debut exhibition at only thirteen years old in 1933 and started at the Royal Danish Academy of Fine Arts in 1936. Several years later he became a teaching professor at the same institution from 1979 until his death in 1990. Mertz was the first Danish artist to work with film, as early as the ’40s. In the late 1950s, he associated with the German-born Arthur Köpcke who opened a gallery in Copenhagen which became popular with artists working with Fluxus and Neo-Dada. From 1962 to 1976, Martz lived in France where he painted in his typical reds and blues, while in the 1980s, he created installations with Lone Mertz in Paris and Munich.
2003,
Audio Compact Disc
Published by
Freewaysound / Melbourne
$40.00 - In stock - Add to cart
Live recording of A Handful Of Dust (Bruce Russell and Alastair Galbraith) in Melbourne, Punters Club, 1999. For Patti Smith was recorded by and issued on Melbourne artist Marco Fusinato's Freewaysound label in 2002. Comprises "I Am God's Finger" (26:17) and "(From A Soundtrack To) Babelfield" (17:31). Artwork by Marco Fusinato and photograph by Chris Smith.
1967, German
Softcover (staple-bound), 44 pages, 27 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Wolkfgang Ketterer / Munich
$50.00 - In stock - Add to cart
Early 1967 Ernst Fuchs catalogue published on the occasion of an exhibition at Galerie Wolfgang Ketterer, Münich, 1967. Includes fold-out invitation to the exhibition of works enclosed from the gallery, along with a further illustrated advertisement for Hans Bellmer, whom the gallery also represented. Illustrated throughout with Fuchs' exceptional early graphic works, accompanied by extensive catalogue information and further information, portrait, etc. Also includes additional single page addition of works.
Ernst Fuchs (1930 – 2015) was an Austrian artist and draughtsman of Jewish descent, engraver and sculptor, architect and stage designer, master of visionary painting and book illustration, as well as a composer and poet. At the Academy of Fine Arts in Vienna (1945), he met Arik Brauer, Rudolf Hausner, Fritz Janschka, Wolfgang Hutter, and Anton Lehmden, together with whom he later founded what has become known as the Vienna School of Fantastic Realism. He was also a founding member of the Art-Club (1946), as well as the Hundsgruppe, together with Friedensreich Hundertwasser and Arnulf Rainer. Between 1950 and 1961, Fuchs lived mostly in Paris, and made a number of journeys to the United States and Israel, his work informed by the sermons of Meister Eckehart, the symbolism of the alchemists and Jung's Psychology of Alchemy, along with the paintings of the Symbolists and the Old Masters. In 1958 he founded the Galerie Fuchs-Fischoff in Vienna to promote and support the younger painters of the Fantastic Realism school. Fuchs was a important influence on younger generations of artists including his student in Paris, Australian artist Vali Myers. Painters Mati Klarwein and H.R. Giger were also devoted followers of his work, Giger once saying "If I had not seen his work when I was young, I would never have begun to paint myself."
Very Good copy, light wear. Fine invite and Bellmer leaflet inclosed.
1997, English / Japanese
Hardcover, 188 pages, 19 x 26 cm
1st Edition, Out of print title / used / good
Published by
Yokohama Museum of Art / Japan
$140.00 - Out of stock
Rare Japanese monograph on Louise Bourgeois produced to accompany the major retrospective exhibition at Yokohama Museum of Art in 1997-1998.
Very handsomely designed and printed in Japan, this book is profusely illustrated with Bourgeois' artworks from the 1940s to the mid-1990s, including her drawing, sculpture and installations, pictured throughout the book in full-colour and black and white photographs. Features three major texts by Taro Amano (exhibition curator), Robert Storr and Louise Neri, all in both English and Japanese, alongside a full biography and bibliography and illustrated history.
Designed by Yoshinobu Kuwahata.
Good copy with tanning to edges and light wear to covers.
1970, Italian / English
Softcover, 116 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Editoriale Domus / Milan
$65.00 - In stock - Add to cart
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 485 Aprile 1970
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames, Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
features :
architectural projects by Kenzo Tange; Bruno Morassutti; Fabrizio Carola; Francisco Javier Sáenz de Oiza; George Gardner, Ted Judson, Philip Monteleoni, Jeremy Scott Wood; new Tecno showroom in Rome by Osvaldo Borsani, Marco Fantoni, Eugenio Gerli; department store display by Sergio Asti; Tobia Scarpa works for Flos, Cassina; new design objects from Mario Zanuso, Gio Pomodoro; Richard Feigen Gallery New York by Hans Hollein; Vienna feature w. Haus-Rucker-Co, Walter Pichler, Heinz Frank, Coop Himmelb(l)au, Helmut Richter, Max Peintner; book reviews; and much more.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
Good copy with edge wear and corner bumping from age.
1971, Italian / English
Softcover, 116 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Editoriale Domus / Milan
$60.00 - In stock - Add to cart
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 505 Dicembre 1971
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames, Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
features :
architectural projects by Vittorio Gregotti, Valentino Parmini, Franco Paulis; Lorenzino Cremonini; Angelo Mangiarotti; Alberto Salvati, Ambrogio Tresoldi; Ugo de Pietra; Claudio Dini, Valerio Di Battista; Cini Boeri for Gavina; design objects bby Richard Sapper; Tom Ahlström, Hans Enrich; interiors by Arne Jacobsen; Shiro Kuramata; Gérard-Roger Ifert, Rudolf Meyer; furniture by Angelo Mangiorotti; Kho Liang Ie; Cini Boeri; Joseph Beuys; book reviews; and much more.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
Good copy with edge wear and foxing/page edge damages from age.
1970, Italian / English
Softcover, 116 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Editoriale Domus / Milan
$65.00 - Out of stock
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
domus No. 488 Luglio 1970 (EURODOMUS 3 Issue)
Editor : Gio Ponti
This special issue is entirely dedicated to the incredible EURODOMUS 3. Introduced by Gio Ponti and featuring a who's who of European design and art in 1970, all the presentations, environments, exhibitions and products are featured here, including the work of Michelangelo Pistoletto, Piero Gilardi, Gino Marotta, Joe Colombo, Charles and Ray Eames, Mario Bellini, Cino Boeri, Ugo La Pietra, Cesare Leonardi, Rodolfo Bonetto, Giorgio De Ferrari, Marc Berthier, Vico Magistretti, Raymond Loewy, César, Pierre Cardin, Guido Crepax, Bruni Munari, Olivier Mourgue, Fabio Mauri, Marc Held, Pierre Paulin, Enzo Mari, Alberto Rosselli, Claudio Salocchi, Ettore Sottsass jr., Giuseppe Rossi, Afra and Tobia Scarpa, De Pas, D'Urbino, Lomazzi, and so many more, plus new products from Brionvega, Olivetti, Kartell, Cassina, Artemide, Gufram, Zanotta, Henry Miller, Flexform, Artifort, Stilnovo, Roche e Bobois, Sintesis, Tenco, Driade, and so many more.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks.
Good copy with edge wear and corner bumping from age.