World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
1969, English
Softcover (stapled), 20 pages, 20.5 x 26.5 cm
1st Edition, Out of print title / used / good
Published by
NGV (National Gallery of Victoria) / Victoria
$20.00 - In stock -
Wonderful and scarce catalogue for the exhibition "The Art of Drawing", a major survey of drawing through the centuries, held in 1969 at the National Gallery of Victoria.
Introduction by Ursula Hoff with full exhibition check-list across blue textured paperstock. Illustrated pages featuring works by William Blake, Andreas del Sarto, Parmigianino, Jacques de Gheyn, Giovanni Benedetto Castiglione, Annibale Carracci, Aert de Gelder, Rembrandt, Thomas Gainsborough, François Boucher, Pablo Picasso, William Dobell. Exhibition also included Eric Thake, Henri Matisse, Arthur Boyd, Carlo Maratta, Annibale Carracci, Russell Drysdale, Jacob Epstein, Rupert Bunny, Eduardo Paolozzi, John Brack, Percy Wyndham Lewis, Jan Brueghel The Elder, Jean Francois Millet, Hans Heysen, Ben Nicholson, Auguste Rodin, Robert Klippel, Inge King, Henry Moore, Albert Dürer, Léon Bakst, Margaret Stones, and many others.
Ursula Hoff (1909-2005) was an Australian scholar, academic, curator, writer, critic, and lecturer. She was Deputy Director of the National Gallery of Victoria, Melbourne (1968–1973).
Good-Very Good ex-Australian National Gallery reference copy.
1972, German
Hardcover, 216 pages, 24.5 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Georg Wenderoth Verlag / Kassel
$60.00 $40.00 - Out of stock
documenta - Dokumente 1955 - 1968 (Four International Exhibitions of Modern Art), was published by Georg Wenderoth Verlag, Kassel in 1972. This clothbound hardcover book of texts (by Dieter Westecker, Carl Eberth, Werner Lengemann, Erich Müller) and photographs of the first four documenta exhibitions, is quite a unique publication. Written at the suggestion of former students and collaborators of Documenta initiator Arnold Bode, it does not replace a documenta chronicle or a scientific study of individual facts. On the contrary, the textual and pictorial material is selected from a technical point of view, processed and presented in a comprehensible form to stimulate detailed investigations into the exhibition-presentations. The bulk of the photographic documentation is of visitor reception and interaction with the installations of artworks, including those of Hans Arp, Constantin Brancusi, Lee Bontecou, Victor Pasmore, Marino Marini, Jean Dubuffet, Konrad Klapheck, George Segal, Robert Indiana, Claes Oldenburg, Walter de Maria, Eduardo Paolozzi, Phillip King, Erich Hauser, Ernest Trova, Michelangelo Pistoletto, Carl Andre, William Tucker, Peter Brüning, David Smith, Edward Keinholz, Dan Flavin, Morris Louis, Sol Lewitt, Robert Morris, Frank Stella, Tom Wesselmann, James RosenquisThomas Lenck, Francis Bacon, Horst Antes, Shinkichi Tajiri, Christo, Jackson Pollock, Karel Appel, Bernard Schultze, Otto Herbert Hajek, Jacques Lipchitz, Lynn Chadwick, Paul Delvaux, Helen Frankenthaler, Wassily Kandinsky, Fernand Leger, Max Bill, Joan Miro, Henry Moore, Pablo Picasso, Robert Rauschenberg, Giogio de Chirico, Victor Vasarley, Zoran Music, Giuseppe Capogrossi, and many others.
Texts in German. First and only edition.
Vert Good copy with original dust jacket.
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by
U.M.I. Research Press / Michigan
$50.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.
2018, English
Hardcover, 464 pages, 31.8 x 31.8 cm
Published by
Fraenkel Gallery - Editions Antoine De Beaupré / San Francisco
$135.00 - Out of stock
Art & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual art. This beautifully designed and printed publication is the first book to focus in-depth on works of art created specifically for an album, composer or musician.
With reproductions of more than 200 LPs from the mid-20th century to the present, Art & Vinyl traces the trajectory of how the record album has been considered by artists as material for a work of art. The book begins with Pablo Picasso’s 1949 depiction of the dove of peace, printed directly on an audio disc. Significantly, the recording was Paul Robeson’s Chante Pour La Paix (Singing for Peace). Art & Vinyl also includes works by artists as disparate and wide-ranging as Ed Ruscha, Marlene Dumas, Cy Twombly, Yoko Ono, Jean-Michel Basquiat, Barbara Kruger, Robert Rauschenberg, Sol LeWitt, Sophie Calle and Andy Warhol.
Highlights include Gerhard Richter’s extraordinary oil painting made directly on a recording of Glenn Gould’s Bach: The Goldberg Variations (1984), as well as Allan Kaprow’s LP How to Make a Happening (1966). Also featured are albums of original recordings by Joseph Beuys, Yves Klein, Jean Dubuffet, Christian Marclay and Wolfgang Tillmans, among others. Some of the better-known artists’ covers for rock, pop and jazz albums featured here are Jann Haworth and Peter Blake’s Sgt. Pepper’s Lonely Hearts Club Band; Jim Dine’s cover for The Best of Cream; Lee Friedlander’s portrait of Miles Davis for In a Silent Way; Warhol’s cover for Sticky Fingers and Robert Frank’s Exile on Main Street; Mapplethorpe’s classic Patti Smith portrait for Horses; Robert Longo’s cover for Glenn Branca’s The Ascension; Fischli/Weiss’s Liliput; and Alec Soth’s cover for Dolorean’s The Unfazed.
Art & Vinyl has been assembled over the course of nearly a decade by curator and collector Antoine de Beaupré, author of Total Records and founder of Librarie Galerie 213 in Paris.
2017, English
Softcover, 256 pages, 15.5 x 21 cm
Published by
Park Books / Zürich
$69.00 - Out of stock
New and revised edition of Iñaki Ábalos’s highly acclaimed book on seven iconic 20th-century houses, some of them actually built, others merely imagined or realized as film sets.
What is the role of architecture if not to realize a shared vision of the "good life," a vision that in the age of architectural modernism shaped - and was shaped by - a range of ideas about the home?
With The Good Life, Iñaki Ábalos serves as our guide for a tour of seven iconic twentieth-century homes that represent various concepts for living. Some of the homes were actually built, while others were merely planned, painted, or created as part of a film set. We see Mies van der Rohe's House with Three Patios, Martin Heidegger's cabin in the Black Forest, Picasso's Villa La Californie in Cannes, and the New York loft that Andy Warhol called The Factory. From the ultramodern geometric houses and gardens in Jacques Tati's Mon Oncle, we travel to the famed hobby-kit house in Buster Keaton's One Week and on to the sunny swimming pool and home in David Hockney's painting A Bigger Splash. Ábalos guides readers through the key philosophical precepts that likely guided the creation of these homes, making insightful points about the relationship between ideas about a particular modern way of living and approaches to architecture and design. What he concludes is that modernism marks less a coherent triumph of positivism, as is often assumed, than a loose celebration of the radical pluralism of the twentieth century. A fascinating work by one of Spain's most prominent architects, The Good Life presents a powerful picture of the concerns that guided the course of architectural modernism.
1947, English
Softcover (staple-bound), 24.5 x 18.5 cm, 64 pages
1st Edition, Out of print title / used / good
Published by
Victorian Artists Society / Melbourne
$25.00 - Out of stock
The Australian Artist was founded in 1947 by Richard Haughton James, aka Jimmy James, a legendary figure in the history of Australian design and art, and published quarterly by The Victorian Artists Society in East Melbourne. It was available for three shillings and sixpence.
This issue (Volume One, Part Two: Personality in Art) is filled with articles such as "The Anatomy of Vulgarity" by Clive Turnbull; "Art and Sanity" by Alice Barber; "Sculpture Shown at The Victorian Artists Society"; "The Art of Children" by Frances Derham; and a feature on Pablo Picasso by Paul Haefleiger, alongside many other commentaries, illustrations (Pablo Picasso, Jacques Lipchitz, Rembrandt, Rodin, Georges Rouault, Cassandre, Aubrey Beardsley, Honoré Daumier, etc.) advice, "Food for Thought" and advertisements from late 1940s Melbourne.
General age wear, foxing and tanning to book edges and corners, otherwise bright and clean throughout.
1969, English / French
Softcover, 76 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$55.00 - In stock -
Art International, Vol. XIII/6 Summer 1969
Published and Edited by James Fitzsimmons
Advisory Editors: Umbro Apollonio, Jean-Christophe Ammann, R. C. Kenedy, James Mellow.
Features: Bridget Riley, Barnett Newman, Tess Jaray, Oskar Kokoschka, Roland Topor, Tony Smith, Richard Linder, Jules Olitski, Karel Appel, Hans Bellmer, Horst-Egon Kalinowski, Louise Nevelson, Luciano Fabbro, George Brecht, Man Ray, Fernand Leger, Kenneth Noland, Lyonel Feininger, Herbert Ferber, George Sugarman, Walter de Maria, Edgar Negret, Richard Anuzkiewicz, Nicholas Krushenick, John Healey, Rodolfo Arico, Marco Cordioli, Edival Ramosa, Riccardo Emma, Livio Marzot, Pablo Picasso, Heinz Mack, and many more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
1981, German
Hardcover (w. dust jacket), 286 pages, 22 x 28 cm
Out of print title / used / average
Published by
Benteli Verlag / Bern
$30.00 - Out of stock
Large hardcover exhibition catalogue published in conjunction with show held in Switzerland in 1980. Illustrated in colour and black and white throughout, with many examples of artists from the exhibition. Artists included in the exhibition: Josef Albers, Cuno Amiet, Carl Andre, Jurij Annenkow, Alexander Archipeno, Arman, Gerd Arntz, Hans Arp, Richard Artschwager, Giacomo Balla, Ernst Barlach, Willi Baumeister, Bodo Baumgarten, Walter Bodmer, Lee Bontecou, Carl Buchheister, Erich Buchholz, Alexander Calder, Anthony Caro, Carlo Carrà, John Chamberlain, Eduardo Chillida, Christo, Joseph Cornell, Joseph Csaky, Robert Delaunay, Jim Dine, Theo van Doesburg, César Domela, Jean Dubuffet, Marcel Duchamp, Raymond Duchamp-Villon, Max Ernst, Dan Flavin, Adolf Fleischmann, Lucio Fontana, Otto Freundlich, Naum Gabo, Paul Gaugin, Julio Gonzalez, Jean Gorin, Gotthard Graubner, Oto Gutfreund, Nigel Hall, August Herbin, Adolf von Hildebrand, Robert Irwin, Robert Jacobsen, Marcel Janco, Jasper Johns, Paul Joostens, Donald Judd, Zoltan Kemény, Edward Kienholz, Yves Klein, Käthe Kollwitz, Norbert Kricke, Gary Kuehn, Berto Lardera, Henri Laurens, Fernand Léger, Wilhelm Lehmbruck, Sol LeWitt, Jacques Lipchitz, El Lissitzky, Vilhelm Lundstrøm, René Magritte, Aristide Maillol, Manolo, Man Ray, Piero Manzoni, Henri Matisse, Gordon Matta-Clark, Joan Miró, Laszlo Moholy-Nagy, François Morellet, Henry Moore, Robert Morris, Louise Nevelson, Ben Nicholson, Claes Oldenburg, Eduardo Paolozzi, Victor Pasmore, Laszlo Peri, Antoine Pevsner, Jean Peyrissac, Pablo Picasso, Anne und Patrick Poirier, Iwan Puni, David Rabinowitch, Robert Rauschenberg, James Reineking, Erich Reusch, August Renoir, George Rickey, Auguste Rodin, Ulrich Rückriem, Christian Schad, Oskar Schlemmer, Karl Schmidt-Rottluff, Jan Schoonhoven, Emil Schumacher, Kurt Schwitters, Arthur Segal, George Segal, Richard Serra, Gino Severini, Joel Shapiro, Richard Smith, Jesus Raphael Soto, Giuseppe Spagnulo, Daniel Spoerri, Henryk Stazewski, Frank Stella, Sophie Taeuber-Arp, Antonio Tàpies, Wladimir Tatlin, Jean Tinguely, Joaquin Torres-Garcia, Ilya Tschaschnik, Leon Tutundjan, Günter Uecker, Bernar Venet, Friedrich Vordemberger-Gildewart, Fritz Wotruba.
Written contributions by Felix A. Baumann, Sabine Kricke-Güse, Ernst Gerhard-Güse, Carola Giedion-Welcker, Sigrid Braunfels-Esche, Margit Rowell, Wulf Herzogenrath, Willy Rotzler, Eduard Trier, and Thomas Deecke. Text in German.
Ex library copy with usual stamps and general wear, bumping, wrinkling, in good original dust jacket.
1963, Swedish
Softcover, 76 pages, 16.5 x 24 cm
1st Edition, Out of print title / used / average
Published by
Moderna Museet / Stockholm
$55.00 - Out of stock
Önskemuseet: The Museum of Our Wishes (December 26, 1963 - February 16, 1964), was a unique and very ambitious exhibition initiated by director Pontus Hultén and Moderna Museet staff that gathered together a collection of modernist art from private owners, in order to present to the public and political administration their vision of what a museum collection could actually be. The exhibition featured works from private collections alongside a “wish list” of works that were still available on the market, calling for the government to allocate funds for purchasing new works for the museum. The request was acknowledged and the Museum received a one-off allocation of five million kronor, a substantial amount in today’s currency, which enabled the purchase of several works that now constitute the core of the collection, positioning Moderna Museet as one of the most dynamic and committed contemporary art institutions of the 1960s.
This is a copy of the first and only edition of the catalogue for the exhibition, which makes up a visual checklist of the artworks and artists featured in this enormous exhibit, taking it's form from art history guides that had started to be created after the war.
Includes introduction by Gerard Boniier as well as additional text by Olle Granath, K.G. Hulten, Ulf Linde and Karin Bergqvist Lindegren. Features works by Henri Matisse, Georges Rouault, Raoul Dufy, Emil Nolde, Edwin Ludwig Kirchner, Erich Heckel, Oscar Kokoschka, Max Beckmann, Chaim Soutine, Wassily Kandinsky, Kasimir Malevich, Pablo Picasso, Georges Braque, Jacques Villon, Raymond Duchamp-Villon, Henri Le Fauconnier, Fernand Léger, Robert Delaunay, Roger de la Fresnaye, Henri Laurens, Amédée Ozenfant, Juan Gris, Alexander Archipenko, Jacques Lipchitz, Giacomo Balla, Ardengo Soffici, Carlo Carrà, Umberto Boccioni, Gino Severini, Francis Picabia, Jean Arp, Marcel Duchamp, Man Ray, Kurt Schwitters, Piet Mondrian, El Lissitzky, Theo van Doesburg, Antoine Pevsner, Georges Vantongerloo, Sophie Tauber-Arp, Naum Gabo, Lazlo Moholy-Nagy, Alexander Calder, Charles Despiau, Andre Derain, Maurice Utrillo, Amedeo Modigliani, Otto Dix, Ben Shahn, Marie Laurencin, Constantin Brancusi, Julio Gonzales, Paul Klee, Giorgio de Chirico, Marc Chagall, Max Ernst, Juan Miró, Andre Masson, René Magritte, Yves Tanguy, Alberto Giacometti, Wilfredo Lam, Victor Brauner, Salvador Dali, Sebastian Matta, Henry Moore, Roger Bissière, Jean Bazaine, Maurice Esteve, Alfred Manessier, Nicolas De Staël, Auguste Herbin, Serge Poliafkoff, Victor Pasmore, Barnett Newman, Richard Mortensen, Jean Fautrier, Lucio Fontana, Henri Michaux, Jean Dubuffet, Germaine Richier, Francis Bacon, Wols, Asger Jorn, Alberto Burri, Antonio Tapies, Karel Appel, Mark Tobey, Fritz Hundertwasser, Mark Rothko, Archile Gorky, Willem de Kooning, Jackson Pollock, Jean-Paul Riopelle, Sam Francis, Robert Jacobsen, Robert Rauschenberg, Enrico Baj, César, Jasper Johns, Richard Stankiewicz, Jean Tinguely, Arman, and Yves Klein.
All texts in Swedish. The bulk of the reproductions are in black-and-white with several larger, tipped-in images in color.
Ex-library copy with stamps, stickers and covering. Otherwise a good copy.
2016, English / Italian
Softcover (w. French-folds and inserted booklets), 200 pages, 19.5 x 25.4 cm
Published by
Marsilio / Venice
$85.00 - Out of stock
Edited by Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson.
Exhibition curated by Danh Vo and Caroline Bourgeois
Texts by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion
Photography by Heinz Peter Knes
Danh Vo’s conceptual artworks and installations often draw upon elements of personal lived experience (his own, the lives of his parents and other family members) to explore broader historical, social or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. The works shown in this book—closely related to an exhibition at the Pinault Foundation in Venice—in addition to Vo’s site-specific installations, include some curious old works of art from Venetian museums and collections, provocatively chosen by Vo to establish an unprecedented dialogue between past and present.
Beautifully designed, comprehensive exhibition catalogue with two inserted booklets (text book with words by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion; and exhibition guide/artist profile book and work list), with the main book entirely made up of elegant colour photographic imagery by Heinz Peter Knez of the exhibition itself and the wonderful collection of works assembled. Profusely illustrated with installation views, works and details, featuring the work of Leonor Antunes, Nairy Baghramian, Giovanni Bellini, Constantin Brancusi, Marcel Broodthaers, Giovanni Buonconsigliodetto Il Marescalco, Hubert Duprat, Michael Elmgreen & Ingar Dragset, Luciano Fabro, Peter Fischli and David Weiss, Felix Gonzalez-Torres, Petrit Halilaj, David Hammons, Roni Horn, Peter Hujar, Tetsumi Kudo, Bertrand Lavier, Zoe Leonard, Francesco Lo Savio, Lee Lozano, Robert Manson, Piero Manzoni, Sadamasa Motonaga, Jean-Luc Moulène, Henrik Olesen, Pablo Picasso, Sigmar Polke, Carol Rama, Charles Ray, Auguste Rodin, Cameron Rowland, Andres Serrano, Nancy Spero, Sturtevant, Alina Szapocznikow, Paul Thek, Harald Thys & Jos Degruyter, Danh Vo, David Wojnarowicz, Martin Wong.
2000, German
Revised edition, Out of print title / used*
Published by
Hatje Cantz / Berlin
$150.00 - Out of stock
The huge and now highly collectable, revised catalogue raisonné of Pablo Picasso's sculptural work.
For years Pablo Picasso's sculptural oeuvre was one of the best-kept secrets of 20th century art. It was only through retrospectives in Paris, London and New York during the 1960's that Picasso the sculptor became known to a larger public who discovered a complexity and variety in his sculptures that easily rivals that of his paintings and drawings. Pablo Picasso: The Sculptures is a catalogue raisonné of Picasso's sculptures, a seminal work informed by conversations between the author, Picasso specialist Werner Spies, and Picasso himself. This now highly collectable 2000 edition was thoroughly revised and includes numerous colour illustrations of important pieces. In all this volume features over 740 works by the artist, ranging from miniature paper figures to constructions from metal, wood, and found objects, from folding sculptures made from tin to massive, at times monumental works. A definitive statement on Picasso's sculptural oeuvre, this book provides a key to understanding and appreciating works that, in their ingenuity and their inventiveness, still provide an inexhaustible source of inspiration for today's artists.
Texts in German.
1958, English
Softcover (stapled), 24 pages, 19 x 25 cm
1st Edition, Out of print title / Used*,
Published by
MoMA / New York
$15.00 - Out of stock
Art Bulletin (XXV, No. 4, 1957)/catalogue supplement published to accompany an exhibition in 1957 at The Museum of Modern Art in New York, to showcase their recent Painting and Sculpture collection acquisitions. Features work by Fernand Léger, Odilon Redon, Egon Schiele, Robert Motherwell, Robert Delaunay, Arshile Gorky, Pablo Picasso, Piet Mondrian, Jackson Pollock, Paul Klee, George Grosz, Giorgio de Chirico, David Smith, Gustav Limpt, Otto Dix, and many others, illustrated in black and whit throughout.
1971, English / German / French
Hardcover (cloth-bound), 242 pages, 24 x 30.5 cm
Out of print title / used / very good
Published by
The Graphis Press / Zürich
$65.00 - Out of stock
One of the best of the great Graphis Annual collection. Published in 1971/1972 by The Graphis Press in Zürich, this profusely illustrated, cloth-bound volume continues one of the world's leading design showcases. Each "International Annual of Advertising Graphics" profiles in colour and black and white the best design of everything from book jackets to record covers to television commercials to trade marks and letterheads. All texts are in English, German and French. Edited by Walter Herdeg, this edition features the works of Alan Aldridge, Saul Bass, Herb Lubalin, Push Pin Studio, Dick Bruna, Peter Bentley, Maciej Żbikowski, Raymond Bertrand, Jerzy Flisak, Salvador Dali, Jean-Michel Folon, Milton Glaser, Roy Lichtenstein, Enzo Mari, Peter Max, Pablo Picasso, Paul Rand, Raymond Savignac, Saul Steinberg, Tomi Ungerer, Tadanori Yokoo, Masamichi Oikawa, and hundreds more.
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1970, English
Softcover, 352 pages, 21 x 14 cm
Out of print title / Used*,
Published by
Studio Vista / London
$25.00 - Out of stock
"Renderings : Critical Essays on a Century of Modern Art" is a collection of forty-three essays, originally published in The Nation, Artforum, Art International and elsewhere, organized in six sections, "Revisitations Within the Modern Tradition"; "American Art and the Generation of the Second World War"; "Essays in Modern Sculpture"; "Current Art: Options and Responses"; "Sketches in the Aesthetics of Photography" and "The Methodology of Criticism". Illustrated sections reproduce selected works by the many artists featured throughout the texts collected here, including Gustave Courbet, Claes Oldenburg, Edward Kienholz, Robert Rauschenberg, Jasper Johns, Toulouse-Lautrec, Jackson Pollock, Pablo Picasso, David Smith, Rene Magritte, Mark Rothko, Camille Pissarro, Henri Matisse, Frank Stella, Robert Motherwell, Édouard Manet, Pierre Bonnard, Alberto Giacometti, Joseph Cornell, Medardo Rosso, Francis Bacon,Julio Gozalez, John Chamberlain, Ronald Bladen, Jacques Henri Lartigue, Larry Poons, Diane Arbus, Marcel Duchamp, and many others.
Max Kozloff (born 1933) is an American Art Historian, art critic of modern art and photographer. He has been art editor at The Nation, and Executive Editor of Artforum. His essay, "American Painting During the Cold War" is of particular importance to the criticism on American Abstract Expressionism.
2016, English
Hardcover, 240 pages, 26.5 x 20 cm
Published by
Hatje Cantz / Berlin
Kunstmuseum Basel / Basel
$82.00 - Out of stock
What new paths have sculptors opened up since the end of World War II? Based on late works by Constantin Brancusi and Alberto Giacometti, this comprehensive volume illustrates the exciting and multifaceted developments in this dynamic art form. The long list of the first-class artists presented ranges from Pablo Picasso, Henry Moore, and Jean Tinguely to Franz West, Damien Hirst and Monika Sosnowska. Sculpture on the Move demonstrates how the classic notion of form and sculpture was set in motion, became more abstract, came closer to the ordinary everyday object, dissolved spatial or conceptual boundaries, and even reconstituted itself, returning to figurative traditions. On the basis of selected works from the Kunstmuseum Basel and from international museums and private collections, the book opens up a dense, extremely rich world of contrasts. Featured artists include Absalon, Carl Andre, Jean Arp, Max Bill, Louise Bourgeois, Constantin Brancusi, Alexander Calder, John Chamberlain, Eduardo Chillida, Peter Fischli und David Weiss, Katharina Fritsch, Alberto Giacometti, Robert Gober, Duane Hanson, Eva Hesse, Damien Hirst, Donald Judd, Mike Kelley, Jeff Koons, Mario Merz, Henry Moore, Bruce Nauman, Claes Oldenburg, Gabriel Orozco, Pablo Picasso, Charles Ray, Richard Serra, Monika Sosnowska, David Smith, Jean Tinguely, Oscar Tuazon, Danh Vo and Franz West.
2014, English
Hardcover (cloth-bound), 208 pages, 19 x 26 cm
Published by
ICA / London
Roma / Amsterdam
$60.00 - Out of stock
This publication is dedicated to the first two decades of the Institute of Contemporary Arts (ICA) in London, presenting a thorough history of the organisation’s roots in post-war Britain, its mission of providing a physical base for the avant-garde, and its laying the groundwork for a continuing contribution to the evolution of contemporary art. Anne Massey’s account is comprehensive in its scope, emphasising the ICA’s being openly fluid and responsive to fluctuations in artistic culture with groundbreaking exhibitions and very personal approach. Besides a foreword by executive director Gregor Muir, the book includes numerous archival images and a detailed chronology.