World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Softcover, 297 pages, 17.5 x 24.6 cm
Published by Walther König / Köln
$49.00 - In stock -
Zu Lebzeiten umstritten setzte mit seinem frühen Tod eine einzigartige Erfolgsgeschichte ein. Die großen Museen der Welt, wie z. B. die Tate Modern, das MoMA und die Nationalgalerie Berlin, richteten Retrospektiven ein, in denen Kippenberger vorwiegend als Maler und Zeichner gewürdigt wurde. XYZ widmet sich erstmals der Sprache des Ausnahme-Künstlers, der so gut wie alles machte: Kunst, Performances, Skandale, Feiern, Reisen, Punkrock, Kolumnen, Wortwitze, Einladungskarten, Plakate und Bücher.
1991, English / Japanese
Softcover, 36 pages, 22.5 x 29.5 cm
Ed. of 1,500, 1st edition, Out of print title / used*,
Published by AC&T Corporation / Tokyo
$140.00 - Out of stock
Fine copy of this very scarce Japanese Martin Kippenberger catalogue, published on the occasion of the exhibition "New Editions", held in 1991 by AC&T Corporation, Tokyo. With an introductory text by Jutta Koether (in English and Japanese) written especially for the occasion entitled "I HAD A VISION" - "YO TOO?", this catalogue is illustrated throughout with works in print, rubber relief, assemblage, cardboard box, etc., all of which were made specifically for this exhibition in 1991 by Tokyo's Edition Works, and rarely seen elsewhere! Includes portrait of Kippenberger working in the Edition Workshop during his visit, as well as a biography. Also comes with an inserted copy of the printed exhibition price-list.
Published in an edition of 1,500 copies.
1996, English / German
Softcover, 144 pages, 16.7 x 24 cm
1st Edition, Out of print title / Used*,
Published by Cantz Verlag / Berlin
$150.00 - Out of stock
The great Martin Kippenberger artist's book "Vergessene Einrichtungsprobleme in der Villa Hügel (Villa Merkel) / Forgotten Interior Design Problems at Home", published in 1996 in an edition of 1,900 copies on the occasion of his 1996 Villa Merkel exhibition. Profusely illustrated throughout with photographs of Kippenberger's exhibition at Villa Merkel interspersesd with photographs from his great series "Sixteen Years of Beds". Texts in English and German.
Entry number 140 in Uwe Koch's "Annotated catalogue raisonné of the Books by Martin Kippenberger 1977 - 1997"
Published by Cantz Verlag.
Softcover, 200 pages, 21 x 13.6 cm
Ed. of 650 copies,
Published by Taka Ishii Gallery / Tokyo
$83.00 - In stock -
This catalogue, published in an edition of 650 copies on the occasion of the exhibition "Martin Kippenberger" at Taka Ishii Gallery, Tokyo, January 10-February 7, 2015,
is a great piece of documentation of the exhibition. Through 192 photographs spanning 200 pages, this book takes in each and every work and installation view in great detail.
This solo exhibition of works by German artist Martin Kippenberger (1953–1997) , made possible in collaboration with the Estate of Martin Kippenberger and Galerie Gisela Capitain, was the artist’s first major solo exhibition in Japan. Kippenberger was one of the most influential artists to come out of postwar Germany and he played a pivotal role in establishing the postmodernism aesthetic between the late 1970s and 1990s. He was an artist, actor, dancer, heavy drinker, novelist, musician, and traveller. His unique and wild lifestyle was matched by his prolific and varied output, which spanned multiple media including paintings, sculptures, collages, posters, photographs, performances, installations, multiples, and books. The core of the Taka Ishii exhibition was a large-scale installation, which was originally produced in the 1990s and comprises 38 multiples, six posters, one painting, and three hotel drawings.
Text by Minoru Shimizu (English and Japanese), plus a list of all works in the exhibition.
Softcover, 224 pages, 23.8 x 31.8 cm
Published by Walther König / Köln
$60.00 - In stock -
HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT, includes more than 100 works by Cosima von Bonin, ranging from her earliest to completely new works.
This retrospective exhibition also shows how von Bonin’s work has moved more and more in the direction of installations that increasingly come to take possession of the space they are placed in.
Another typical feature of her work is a complex network of relations between the fine arts and music that she has established, including longstanding colleagues and friends in her exhibition projects.
At mumok Vienna, Tocotronic and Phantom Ghost accompany the exhibition with concerts, and two further new formations from von Bonin’s circle of friends and acquaintances, The 3 Ypsilons and The Ypsilon Five, perform at the exhibition. The mumok museum facade gains a new balcony for this exhibition, with a figure standing on it and retching.
Appearances by Isa Genzken, Mike Kelley, Carl Andre, Martin Kippenberger, Christophe Verfaille, Okka-Esther Hungerbühler, Cady Noland, Helmut Baar, Colin de Land, Paul Thek, Michael Krebber...
Published on the occasion of the exhibition Cosima von Bonin: HIPPIES USE SIDE DOOR. THE YEAR 2014 HAS LOST THE PLOT at mumok, Vienna, 4 October 2014 – 18 January 2015.
Edited by Karola Kraus
Texts by Clara Drechsler, Diedrich Diederichsen, Manfred Hermes.
Softcover, 236 pages, 21.5 x 27.5 cm
1st Edition, Out of print title / Used*,
Published by Wolf & Sohn / Munich
$60.00 - Out of stock
"Möbel als Kunstobjekt" ("Furniture as Art Object") was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky... and so many more.
1991, English / German / French
Softcover, 160 pages, 23 x 30 cm
1st edition, Out of print title / used*,
Published by Taschen / Cologne
$100.00 - Out of stock
In 'Ten Years After' (1991) publishers Angelika Muthesius and Benedikt Taschen published the first major retrospective monographic study of the work of their friend, the artist Martin Kippenberger. Alongside the numerous texts (all in English, German and French), this book is profusely illustrated in colour throughout with Kippenberger's paintings, sculptures, drawings, editions, publications, posters, installations and public/social life. Includes an extensive biography, bibliography and list of exhibitions.
Long out of print.
Martin Kippenberger (25 February 1953 – 7 March 1997) was a German artist known for his extremely prolific output in a wide range of styles and media, superfiction as well as his provocative, jocular and hard-drinking public persona.
Kippenberger was "widely regarded as one of the most talented German artists of his generation," according to Roberta Smith of the New York Times. He was at the center of a generation of German enfants terribles including Albert Oehlen, Markus Oehlen, Werner Büttner, Georg Herold, Dieter Göls, and Günther Förg.
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by Prestel / Munich
$130.00 - In stock -
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
Softcover, 368 pages, 21.3 cmx 28.4 cm
1st edition / out of print title,
Published by Walther König / Köln
$70.00 - In stock -
Artwork by Alex Katz, Martin Kippenberger.
Edited by Uwe Koch, Roberto Ohrt.
Text by Diedrich Diederichsen.
Roberta Smith called him the “madcap bad boy of contemporary German art” and also “one of the three or four best German artists of the postwar period.” Martin Kippenberger disrupted the status quo throughout his brief, excessive life, not just by making art of every variety and medium but also by conducting an extended performance in the vicinity of art that involved running galleries, organizing exhibitions, collecting the work of his contemporaries and overseeing assistants. He published books and catalogues, played in a rock-and-roll band and cut records, ran a performance-art space during his early years in Berlin, became part owner of a restaurant in Los Angeles during six months he spent there preparing for an exhibition, and collaborated extensively with other artists. This particular volume considers his output of artist's books, as well as his exhibition catalogues and all the publications whose content he either created or edited. More than just documentation, this publication makes accessible for a wider public the multiple aspects of Kippenberger's books, with all the complexity and consequence of his oeuvre intact.
2013, English / French
Softcover, 257 pages (b&w ill.), 240 x 175 mm
Published by May Revue / Paris
$27.00 - In stock -
Newest issue of Paris' MAY Revue, and already out of print.
May #11 features:
An Introduction to a Juridical Legal Analysis of Contemporary Art — Judith Ickowicz
The Reappearances of Cady Noland and the Theatre of Law — Judith Ickowicz, Elvan Zabunyan, David Perreau
A Revolution “First-Hand”: Seth Siegelaub’s Journey to Portugal in May 1975 — Sara Martinetti
Zero Dark Thirty: The Aesthetics of Narcissism — Maija Timonen
Friend of the Devil. On Michael Krebber, “The ridiculized snails” at CAPC, Bordeaux — Mark von Schlegell
On Martin Kippenberger, “Sehr Gut | Very Good” at Hamburger Bahnhof, Berlin — Jay Chung
Life, like networking, is a group show. On Tanja Widmann, “eine von euch” at Grazer Kunstverein, Graz, Badischer Kunstverein, Karlsruhe, Saprophyt, Vienne, tranzitdisplay, Prague — Tonio Kröner
Another image, a different song. On Mathias Poledna at Secession, Vienna — Benjamin Hirte
Get Rid of Capitalism. On Bernadette Corporation, “2000 Wasted Years” at ICA, London — Josefine Wikström
Participation, Penetration, and Phoniness. On Tobias Kaspar, “Life and Lies” at Galerie Marcelle Alix, Paris — Andrea Legiehn
On “The Issues of Our Time” at Castillo/Corrales, Paris — Seyoung Yoon
“Living in Your Head”. On “When Attitudes Become Form: Bern 1969/Venice 2013” at Prada Foundation, Venice — Elvan Zabunyan
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
Softcover, 110 pages (75 color ill.), offset, 270 x 215 mm
Published by Baden-Baden Kunsthalle / Germany
$34.00 - In stock -
For more than 70 years Janette Laverriére has designed furniture and mirrored objects, which have managed to attain museal status in France. The starting point for this book is the wardrobe she designed for an actress in 1947, an early example of her exploration of the possibilities of and tension between the functional object and the independent artwork.
Using photographs of the work and installations, the catalogue documents room installations of the artist's work, which has been intensely involved in the fundamental discourse on the terms art and design, applied art and functionality over the last few decades.
Alongside these historical and radical installations are contributions from Tobias Rehberger, Richard Artschwager, Nairy Baghramian, Marc Camille Chaimowicz, Cosima von Bonin, Fischli and Weiss, Claes Oldenburg, Meuser, Martin Kippenberger, Carlo Mollino, and Franz West.
English and German text
Softcover, 544 pages (225 colour ill.), 18 x 23 cm
Published by Yale University Press / New Haven
$55.00 - Out of stock
Helen Molesworth; With essays by Johanna Burton, William Horrigan, Elisabeth Lebovici, Kobena Mercer, Sarah Schulman, and Frazer Ward.
Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art historically aware. Published in association with the Museum of Contemporary Art, Chicago, this fascinating book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an increasingly commodified world. The major developments of the decade—the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of color, and the ascension of new media—are illuminated in works by Sophie Calle, Nan Goldin, Jeff Koons, Lorna Simpson, Leigh Bowery, Jimmy De Sana, Carroll Dunham, Jimmie Durham, Alex Garry, Robert Gober, Nan Goldin, Mike Kelley, Paul McCarthy, Annette Messager, Cady Noland, Albert Oehlen, Richard Prince, Cindy Sherman, Julian Schnabel, Rosemarie Trockel, Jeff Wall, Charlie Ahearn, Gretchen Bender, Black Audio Film Collective, Jennifer Bolande, Gregg Bordowitz, Eugenio Dittborn, Gran Fury, Group Material, Guerrilla Girls, Hans Haacke, David Hammons, Jenny Holzer, Alfredo Jaar, Barbara Kruger, Louise Lawler, Donald Moffett, Lorraine O’Grady, Paper Tiger Television, Adrian Piper, Lari Pittman, Tim Rollins and K.O.S., Christy Rupp, Doris Salcedo, Juan Sánchez, Tseng Kwong Chi and Keith Haring, Carrie Mae Weems, Christopher Williams, Krzystof Wodiczko, Judith Barry, Ashley Bickerton, Deborah Bright, Marlene Dumas, Felix Gonzales-Torres, Peter Hujar, G. B. Jones, Isaac Julian, Rotimi Fani Kayode, Mary Kelly, Silvia Kolbowski, Louise Lawler, Sherrie Levine, Jack Leirner, Robert Mapplethorpe, Richard Prince, Marlon Riggs, David Robbins, Laurie Simmons, Haim Steinbach, David Wojnarowicz, Dotty Attie, Robert Colescott, General Idea, Robert Gober, Jack Goldstein, Pater Halley, Mary Heilmann, Candy Jernigan, Mike Kelley, Martin Kippenberger, Louise Lawler, Sherrie Levine, Christian Marclay, Allan McCollum, Peter Nagy, Raymond Pettibon, Stephen Prina, Martin Puryear, Gerhard Richter, David Salle, Doug + Mike Starn, Tony Tasset, James Welling, and Christopher Wool, among others. Essays by leading scholars provide unique perspectives on the decade's competing factions and seemingly contradictory elements, from counterculture to the mainstream, radicalism to democracy and historical awareness, conservatism to feminist politics.
Complete with critical texts on each work, This Will Have Been brings into focus the full impact of the art, artists, and political and cultural ruptures of this paradigm-shifting decade. More than 200 full-color reproductions of works in a range of media, including drawing, painting, photography, and sculpture, illustrate this ambitious guide to a period of artistic transformation.