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
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 Book 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.
$44.00 - In stock -
Edited by Kunsthalle Bern
Texts by Valérie Knoll, Sam Lewitt
Merlin Carpenter’s 2015 exhibition “MIDCAREER PAINTINGS” filled the Kunsthalle Bern’s seven rooms with twenty-two transit blankets hung on the wall, pulled like canvas around identically scaled stretcher frames. The transit blankets are the kind used to pack fragile goods. Inexpensive and disposable, they are manufactured from recycled materials, compressed into an insulating sheet used to preserve prized surfaces and materials more valuable than themselves. Each work in the show was post-dated to 2016, despite the exhibition’s opening date in September of the previous year. The works were titled after one of the Shepperton-based artist’s seven galleries, and were prominently displayed as “not for sale.”
The transit-blanket works are documented in the second half of this publication, the cover of which is embossed with each location of Carpenter’s seven galleries—New York, London, Los Angeles, Brussels, Berlin, Miami, Lisboa/Porto. The first half is composed of a black-and-white image feed, resembling collaged photocopies, of photos of the show’s installation, related gallery shows, and billboards advertising the show that displayed classic mid-to-late century consumer goods.
In addition, texts by Kunsthalle Bern director Valérie Knoll and artist Sam Lewitt examine the materiality of Carpenter’s works, the particular mix of playfulness and earnestness in his artistic output, and how the “paintings” thematize the limbo of the “midcareer” artist as well as the circulation of the artwork as a commodity that signifies material wealth or value.
Design by Non-Format
2000, English / German
Softcover, 80 pages (colour and b&w ill.), 215 x 270 mm
1st edition, Out of print title / As new,
Published by Walther König / Köln
$60.00 - In stock -
Michael Krebber's great "Apothekerman", published by Kunstverein Braunschweig and Walther König in 2000 and now long out of print. Features texts by Merlin Carpenter, Fritz Heubach, Mayo Thompson, and Karola Grässlin alongside a broad selection of Krebber's collected works to date.
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.
$42.00 - Sold
Contributions by Marie-Luise Angerer, Christoph Behnke, Ana Bogdanović, Larissa Buchholz, Sabeth Buchmann, Kathrin Busch, Bettina von Dziembowski, Daniel Falb, Paul Feigelfeld, Ulrike Gerhardt, Monica Greco, Erich Hörl, Cornelia Kastelan, Stefanie Kleefeld, Valérie Knoll, Roman Kräussl, Susanne Leeb, Hannes Loichinger, Sven Lütticken, Julia Moritz, Volker Pekron, Pierre Pénet, Dieter Roelstraete, Bettina Roggmann, Stefan Römer, Steffen Rudolph, Michael Sanchez, Magnus Schaefer, Stefanie Sembill, Christophe Spaenjers, Paul Stenner, Jeannine Tang, Olav Velthuis, Ulf Wuggenig
Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention.
This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore.
This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.
Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach
Copublished with Leuphana University of Lüneburg
Design and infographics by Sina Hurnik and Kerstin Warncke
Softcover, 208 pages, 21 x 27 cm
Published by Sternberg Press / Berlin
$46.00 - Sold
With contributions by Caroline Busta, George Baker
This book presents the work of London-based artist Merlin Carpenter. With essays by critic Caroline Busta and art historian George Baker, the book represents the final part of a series of exhibitions entitled, The Opening. These exhibitions were marked by the fact that all the paintings presented were produced at the galleries during the exhibition openings. Hundreds of photos of these opening events offer a fascinating view of the art world from 2007 to 2009. The paintings by the artist are also reproduced, as are numerous gallery invitations announcing Carpenter’s referential, at times irreverent, politically-charged painting actions.
Design by Non-Format
Softcover, periodical, 280 pages (colour/b&w ill.), 230 x 165 mm
Published by Texte Zur Kunst / Berlin
$38.00 - Sold
The "Artistic Research" issue.
Table of contents:
Preface; Tom Holert, Artistic Research: Anatomy of an Ascent; Lines of Wandering / Statement by Angela Melitopoulos; Kathrin Busch, Generating Knowledge in the arts - a philosophical daydream; Project for a Masquerade (Hiroshima) - from hard graft to happy accident / Statement by Simon Starling; Seven Questions on Arts as Research / An e-mail interview with James Elkins; The Hard Way to Enlightenment / Statement by Stephan Dillemuth; Elke Bippus An Aestheticization of Artistic Research; An Office Chair down on the street, a female passerby yells at her dog, or: researching the construction between images / Statement by Maya Schweizer; Isabelle Graw, The Knowledge of Painting. / Notes on thinking images, and the person in the product; Artistic Research / Statement by Thomas Locher; O.T., 2011 / Statement by Amelie von Wulffen; Grundlagenforschung: Umfrage zur künstlerischen Forschung/ Basic Research. Survey on artistic research; "Practice-Based PhD in Art and Writing", Goldsmiths University of London; "Troubling Research. Performing Knowledge in the Arts", Akademie der bildenden Künste Wien; "European Artistic Network" (EARN); "Model House - Mapping Transcultural Modernisms", Akademie der bildenden Künste Wien; "PhD Program", Centre for Cultural Studies, Goldsmiths University of London; "PhD in Practice", Akademie der bildenden Künste Wien; "Projektbüro Friedrich von Borries"; "PhD Program", Malmö Art Academy Bildstrecke; Ulrike Müller, Rotation; Martin Conrads Klingelt's? / Über "Welt in der Hand: Zur globalen Alltagskultur des Mobiltelefons" Liebe Arbeit Kino; Sven Lütticken Boxes, Lines, Rhythms / On "The Forgotten Space" by Allan Sekula and Noël Burch KLANG KÖRPER; Holger Schulze Utopie in Klang / Über die Pophörspiele und Audioeditionen "Der Process", „Im erwachten Garten" und "BeatTheater" Short Waves: Daniela Stöppel über Phyllida Barlow im Kunstverein Nürnberg / Marie Murraciole on Guy de Cointet at Le Quartier, Centre d´art contemporain de Quimper / Ilka Becker über "Afropolis. Stadt, Medien, Kunst" im Rautenstrauch-Joest-Museum, Köln / Miriam Kathrein über „Projects and Assignments" bei Saprophyt, Wien / Astrid Mania über „Trembling Bodies/ Körper in Aufruhr" in der daadgalerie, Berlin / Adam Kleinman on Christian Philipp Müller at Murray Guy, New York / Simon Baier über Sam Lewitt in der Galerie Buchholz, Berlin Besprechungen; Gestern wie heute wie morgen Astrid Wege über Ferdinand Kriwet in der Kunsthalle Düsseldorf; The Joke of Painting Alexander Alberro on David Hammons at L&M Arts, New York; Art For Life Rike Frank on Dorit Margreiter at the Museo Nacional Centro de Arte Reina Sofía, Madrid; Where Sensibility trumps sense Lisa Lee on Kai Althoff at Gladstone Gallery, New York; Attentäter und Klassiker Manuela Ammer über Franz Erhard Walther bei KOW Berlin; Wiedererkennung, ungesichert Stefanie Diekmann über Keren Cytter im Kunstverein München; Portrait of the Artist as Superhero Jonathan Griffin on Mike Kelley at Gagosian Gallery, Los Angeles; Mitteilungen an die Presse und für die Öffentlichkeit Manfred Hermes über Merlin Carpenter bei MD72, Berlin.....
Softcover, 352 pp, 140 x 210 mm
Published by The Institute of Social Hypocrisy / Paris
$26.00 - Sold
The Institute of Social Hypocrisy has invited an eclectic mix of artists, teachers, photographers, thinkers, writers and curators to provide essays, images and musings exploring the cultural influence of the internet on the way we absorb and share information.Edited by Victor Boullet, the resulting contributions reveal the disparate perspectives of the various up and downloaders. It illustrates how the internet is used and manipulated as a creative tool and as a font of information and communication at every level.Contributors include: Gilbert & George, Theodor Barth, Merlin Carpenter, Richard Parry, Keren Cytter, Guy Debord, Matias Faldbakken, Peter J. Amdam, Karl Holmqvist, Brian Kennon, Oliver Laric, David Lewis, Joe Scanlan, Edie McKay, Hans Ulrich Obrist and many more
June 2010, German/English
Softcover Journal, 262 pages (colour/bw ill.), offset, 230 x 165 mm
Published by Texte Zur Kunst / Berlin
$38.00 - Sold
Includes : Frédéric Monneyron - The Significance of Couturiers and fashion Magazines, fashion is Fun / An interview with Stefano Pilati by Merlin Carpenter, Isabelle Graw - Fashion and Vitality / A note on "Brigitte" without models, Elegant Discipline / An interview with Rick Owens by Monica Titton, Kim Gordon "Fossil Collections / On Rodarte", Monica Titton "Fashion in the City / Street-Style-Blogs and the Limits of Fashion's Democratization", "Global Fashion - Local Tradition. On the Globalization of Fashion" by Gurtrud Lehnert, Mahret Kupka "Uniform of the Slim / On the Persistence of a Silhouette", Heimo Zobernig, Rudolf Stingel, Andreas Fogarasi, Daniel Buren, Ed Ruscha, "Skin Fruit: Selections from the Dakis Joannou Collection", Allen Ruppersberg,Danica Dakic, Willem de Rooij, Michela Meise, "Crash Site/My_Never_Ending_Burial_Plot" by Juli Carson, "Donna - Avanguardia femminista negli anni '70 dalla Sammlung Verbund di Vienna", Diedrich Diederichsen - "Changing Channels. Kunst und Fernsehen 1963-1987", "2010 Whitney Biennial","Yves Saint Laurent. Rétrospective", much more.
One of the finest art journals, period. TEXTE ZUR KUNST stands for controversial discussions and contributions by internationally leading writers on contemporary art and culture. Alongside ground-breaking essays the quarterly magazine, founded in Cologne in 1990 by Stefan Germer (†) and Isabelle Graw and published in Berlin since 2000, offers interviews, roundtable discussions and extensive reviews on art, film, music, market and fashion as well as on art history, theory and cultural politics. Since 2006 the comprehensive main section section, each time devoted to a different topic, and selected reviews are published in both German and English.
Spring/Summer 2009, English
Softcover magazine, 96 pages, 31 x 23 cm
Published by Provence / Nice
$18.00 - Sold
Provence is one of our favourite publications.
"An Eight Issue Magazine Dedicated to Hobbies", edited by Daiga Grantina, Tobias Kaspar, and Hannes Loichinger. From Nice, France.
Issue P : FOOD, Ben Kinmont, Merlin Carpenter, business cards, Edgars Gluhovs, Folkways Records, Kaspar Müller, Living as Exhibition, "How to Cook a Wolf", painted leaves, Cerith Wyn Evans, Free Class Frankfurt, Richard Prince, American Gigolo 1980, Hinrich Sachs, I Can't Feel My Face, scans, re-prints, etc.
Softcover, 176 pages, 175 x 240 mm
Published by May Revue / Paris
$18.00 - In stock -
May Revue is a wonderful arts journal from Paris, edited by Catherine Chevalier and Eva Svennung.
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 advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
May #2 features texts and contributions by/on artists and critics, including Dahn Vo, Heimo Zobernig, Anthony Elms, Jay Chung, Elvan Zabunyan, Thomas Boutoux, Catherine Chevalier, Benjamin Thorel et Patricia Falguières, Elisabeth Lebovici, Natasa Petresin-Bachelez, Gallien Dejean, Bruno Serralongue, Seth Price, Lili Reynaud Dewar, Karl Holmqvist, Juliane Rebentisch, Hegel, Dork Zabunyan, Chicago, Merlin Carpenter, and more!!!
Softcover, 32 pages, 21 x 29.7 cm
Edition of 1000,
Published by The Institute of Social Hypocrisy / Paris
$11.00 - Sold
The Institute of Social Hypocrisy - 03
Twice a year, The Institute of Social Hypocrisy publishes a fanzine. These publications serve as a tool with a dual purpose. Primarily they are a means to put out developing art projects by a range of invited artists and contributors, throughout the duration of the ISH project.
They also play another role, and via their glossy design and print production they function as a vehicle to put the featured work and the existence of the Institute out into a new arena. To bring awareness to the project within a domain that is often restricted and to create a physical manifestation that will endure after the life of the ISH is extinguished.
These fanzines are neither publications for reference, nor books of completed projects. They are a means for artists to put their work in front of new audiences in order to invite input and discussion, thus helping the project to develop. They allow the artist to take a level of control and give a certain independence with regards to the traditional scope of the distribution of their work.