World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1980, English
Hardcover (w. dust jacket), 159 pages, 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Academy Editions / London
$90.00 - Out of stock
First UK hardcover edition published by Academy Editions in 1980, Images of Horror and Fantasy by art historian Gert Schiff expanded on a major group exhibition guest curated by Schiff at the Bronx Museum in 1977. The resulting publication is a perceptive critical and psychological analyses of a variety of nineteenth-and twentieth-century art that "unfolds simultaneously on the level of historical and social reality and on the level of dreams. Its purpose is to expose some of the principal anxieties of modern man and their resolution in utopian reveries and escapist fantasies."
Profusely illustrated in colour and b/w throughout with the works of Alfred Kubin, James Ensor, George Grosz, Paul Thek, Sibylle Ruppert, Henry Fuseli, Paul Delvaux, Nancy Grossman, Käthe Kollwitz, Max Beckmann, Fernand Khnopff, Rudolph von Ripper, Max Klinger, H. R. Giger, Jonah Kinigstein, Edward Keinholz, Jean Delville, Lucas Samaras, Miriam Beerman, Willem de Kooning, Man Ray, Oskar Kokoschka, Salvador Dali, Paolo Soleri, Jean Auguste Dominique Ingres, Georges Rouault, Otto Dix, Pablo Picasso, Philip Evergood, William Blake, Giorgio de Chirico, Ivan Albright, Yves Tanguy, Paul Klee, Jasper Johns, Germaine Richier, Francisco de Goya, Henri de Toulouse-Lautrec, Henri Matisse, Max Ernst, Francis Bacon, Rene Magritte, Illya Repin, Antoine Wiertz, Odilon Redon, Edward Burra, Larry Rivers, George Segal, Thomas Cole, Léon Frédéric, Matthias Grünewald, Rico Lebrun, Bruce Connor, Edvard Munch, and many more.
Gert Schiff (1926 — 1990, b. Oldenburg, Germany) was an art historian, critic, lecturer and professor at the Institute of Fine Arts of New York University. A specialist in the Romantic movement, particularly the work of Henry Fuseli and William Blake, Mr. Schiff was also very much involved with 20th-century art, organising many major exhibitions around his interests whilst authoring important studies on the arts from his dwellings at the Chelsea Hotel.
Very Good copy in VG dust jacket.
1967, Japanese
Softcover, 6 page card fold-out w. insert, 23.8 x 23.8 cm
1st Edition, Out of print title / used / very good
Published by
Tokyo Gallery / Tokyo
$100.00 - In stock -
Incredibly scarce catalogue published on the occasion of the 1967 exhibition "19 Surrealists" held at Tokyo Gallery, Japan. Fold-out catalogue with insert, illustrated with the exhibited works (along with biographies in Japanese) by Enrico Baj, Hans Bellmer, Victor Brauner, Salvador Dali, Paul Delvaux, Max Ernst, Wifredo Lam, Felix Labisse, René Magritte, Man Ray, Andre Masson, Roberto Matta, Joan Miro, Taro Okamoto, Francis Picabia, Kurt Schwitters, Max-Walter Svanberg, Yves Tanguy, Wols.
Very Good with light wear and mild spotting and a couple of pencil notations in Japanese. Preserved in sleeve.
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$60.00 - In stock -
July 1972 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1979, Japanese
Hardcover (w. dust jacket), 236 pages, 20.4 x 20.3 cm
1st Edition, Out of print title / used / average
Published by
Self-published / Kobe City
$65.00 - Out of stock
First and only edition of this stunning privately-issued 1979 Japanese hardcover collection of erotic fantasy art, edited and written by Yoshiki Yamamoto. Upon retiring from the Sanyo Electric Railway Company in 1976, Yamamoto devoted himself to the art that he loved and to complete an intimate book study that traces an important lineage of artists of "eros fantasy", focussing on 16 key artists through profusely illustrated chapters, linking artists of the fin de siècle, symbolism, surrealism, and their descendants. A total labour of love. There is no other book like it. "Artists Who Decorate My Secret Room" features profusely illustrated full chapters on Gustave Moreau, Félicien Rops, Gustav Klimt, Franz von Bayros, Egon Schiele, Paul Delvaux, Hans Bellmer, Felix Labisse, Pierre-Yves Trémois, Leonor Fini, Paul Wunderlich, Ernst Fuchs, Tomi Ungerer, H.R. Giger, Raymond Bertrand, Gilles Rimbault, including profiles, many artworks, portraits and texts by Yamamoto, closing with a chronology of further artists and authors through the centuries.
Average—Good copy due to the back hardcover board being reattached. Good dust jacket with the usual wear and tanning of this title, otherwise the book block is VG throughout — crisp and clean.
1971, English
Softcover, folded card, 46 x 20 cm (unfolded)
1st Edition, Out of print title / used / good
Published by
Staempfli / New York
$25.00 - In stock -
Rare folding card invitation/catalogue published on the occasion of the two-artist exhibition of Belgian painter Paul Delvaux (1897—1994) and German painter and graphic artist Paul Wunderlich (1927—2010) at Staempfli, New York, February 16—March 20, 1971. Offset printed in Switzerland, the catalogue features a colour reproduction of each artist's work in oil on canvas on the subject of the fantastic nude, with full exhibition catalogue on verso. The exhibition comprised a large number of works in oil on canvas by each artist, the earliest of which by Delvaux from 1943.
Good copy, light wear/marking.
1968, Japanese / French
Softcover, 228 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$110.00 - Out of stock
Revue de Érotologie, Homosexualité, Sadisme, Masochisme, Fétischisme, Narcissime, Infantilisme, Magie, Occultisme, Humour Noir, Complexe Psychisme. What more could you ask for? Le Sang Et La Rose is a masterpiece of the Japanese underground. A groundbreaking, powerful, yet short-lived Japanese arts and literary journal published in Tokyo from late 1968—mid 1969, published in a total of four luxurious, now collectible, volumes. The first three issues were edited by Tatsuhiko Shibusawa (1928—1987), a legendary, controversial Japanese novelist, art critic, translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade, and specialist in medieval demonology. The importance of this magazine to the Japanese avant-garde and radical culture cannot be overstated.
Born from a period of political, social and economical turmoil in Japan, Le Sang Et La Rose may be understood as a emblematic distillation and product of the late ‘60s student rebellion and anti-authoritarian underground culture. Wilfully politically subversive, the publication drew upon a vast range of perspectives - from criticism, literature, obscure esoteric sciences, art, eroticism, radical avant-garde and a historical-rooted Japanese counterculture; featuring literature, theory, art, photography, illustration and graphic design from the most innovative and subversive Japanese and international (predominately French) artists, authors and critics, spanning the themes above. As instigator, Tatsuhiko Shibusawa in effect formulated the magazine’s design to be a spiritual and political operative that would weaponize its readers minds. This stance was made clear in the 1969 manifesto text — "My 1969" — in which Shibusawa discuss' how he perceived the ‘60s as being the age of ideas, ideas as weapons, and outlined a distain towards systems of power, moralism, State oppression, sanitised and harmless liberalism, dogmatic academic sciences and an outright distrust for ideological, progressive literary scholars who advocate "freedom of expression", but have never caused friction with the judicial power. The magazine sketched out an aim to push towards a new kind of personal freedom, intellect, autonomy and moral compass. Here, the concept of ‘erotism’ — as discussed by Georges Bataille in his highly influential 1957 book "Erotism: Death and Sensuality" — acts as a critical force.
Issue no. 1 (1968) sets the scene perfectly, opening with Japanese author Yukio Mishima depicted as Saint Sebastian by photographer Kishin Shinoyama in a pictorial feature "Les Morts Masculines", a photographic homage to Georges Bataille that also features the photography of Eikoh Hosoe, Ikkō Narahara, Masahisa Fukase, and Osamu Hayasaki, with models including Butoh founder Tatsumi Hijikata, actor Akira Mita, author Tatsuhiko Shibusawa, actor Jin Nakayama, playwright Jūrō Kara, and others. Other features include " All Japanese are Perverse" — stories by Japanese writers including Yukio Mishima, Taruho Inagaki, Yutaka Haniya, Shinji Sōya; Henry Miller's letters to Anais Nin; a colour gallery of artwork by Belgian painter Paul Delvaux; articles on Vampire fantasy in the arts (including many original illustrations; Witches (illustrated by James Ensor); Oriental Eros, Ancient Indian poetry; Kama Sutra; female bi-sexuality; the history of gay (Danshoku) theatre in Japan; the full-colour art gallery "Masturbation Machine", featuring avant-garde artists Natsuyuki Nakanishi, Masuo Ikeda, Setsu Nagasawa, Carlos Marchioli, Kuniyoshi Kaneko, Masakazu Horiuchi, Tadanori Yokoo, Koji Suzuki, Tommy Ungerer; the fully illustrated museum supplement "Pain and Pleasure : On Torture" by Tatsuhiko Shibusawa with artworks throughout history; pornographic stories by Guillaume Apollinaire and Nicolas Restif de la Bretonne (who coined the term "Pornographer"); fiction by Pierre Morion (pseudo. André Pieyre de Mandiargues); critic Jin'ichi Uekusa on the controversial writings of Roger Peyrefitte, illustrations by Ernst, Bellmer, Labisse, Fini, Lam, and much more.
Tatsuhiko Shibusawa (1928—1987), was a well-known and controversial Japanese novelist, art critic, and translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defense, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa, whose essays on black magic, demonology and eroticism were popular reading in Japan, and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
Good copy with some spine damage and tanning/wear.
1979, English
Softcover, 159 pages, 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Harry N. Abrams / New York
$50.00 - Out of stock
Published by Abrams in 1978, Images of Horror and Fantasy by art historian Gert Schiff expanded on a major group exhibition guest curated by Schiff at the Bronx Museum in 1977. The resulting publication is a perceptive critical and psychological analyses of a variety of nineteenth-and twentieth-century art that "unfolds simultaneously on the level of historical and social reality and on the level of dreams. Its purpose is to expose some of the principal anxieties of modern man and their resolution in utopian reveries and escapist fantasies." Profusely illustrated in colour and b/w throughout with the works of Alfred Kubin, James Ensor, George Grosz, Paul Thek, Sibylle Ruppert, Henry Fuseli, Paul Delvaux, Nancy Grossman, Käthe Kollwitz, Max Beckmann, Fernand Khnopff, Rudolph von Ripper, Max Klinger, H. R. Giger, Jonah Kinigstein, Edward Keinholz, Jean Delville, Lucas Samaras, Miriam Beerman, Willem de Kooning, Man Ray, Oskar Kokoschka, Salvador Dali, Paolo Soleri, Jean Auguste Dominique Ingres, Georges Rouault, Otto Dix, Pablo Picasso, Philip Evergood, William Blake, Giorgio de Chirico, Ivan Albright, Yves Tanguy, Paul Klee, Jasper Johns, Germaine Richier, Francisco de Goya, Henri de Toulouse-Lautrec, Henri Matisse, Max Ernst, Francis Bacon, Rene Magritte, Illya Repin, Antoine Wiertz, Odilon Redon, Edward Burra, Larry Rivers, George Segal, Thomas Cole, Léon Frédéric, Matthias Grünewald, Rico Lebrun, Bruce Connor, Edvard Munch, and many more.
Gert Schiff (1926 — 1990, b. Oldenburg, Germany) was an art historian, critic, lecturer and professor at the Institute of Fine Arts of New York University. A specialist in the Romantic movement, particularly the work of Henry Fuseli and William Blake, Mr. Schiff was also very much involved with 20th-century art, organising many major exhibitions around his interests whilst authoring important studies on the arts from his dwellings at the Chelsea Hotel.
Very Good copy.
1978, English
Hardcover (clothbound w. dust jacket), 160 pages, 24.5 x 32 cm
1st Edition, Out of print title / used / very good
Published by
Octopus / London
$65.00 - Out of stock
English edition of the great "Surrealist Drawings", edited by František Šmejkal, designed and printed in Czechoslovakia. A beautiful clothbound hardcover folio of drawings by artists affiliated with Surrealism. What makes this lovely collection special is the inclusion of many of the Czech Surrealists, and a generally broad European scope of artists. Czech art historian František Šmejkal has collated a wonderful selection of works on paper by Toyen, Jindřich Štyrský, Wolfgang Paalen, Giorgio de Chirico, Hans Bellmer, Alfred Kubin, Francis Picabia, Jacques Hérold, Yves Tanguy, Man Ray, Josef Istler, Max Ernst, André Breton, František Muzika, Paul Delvaux, Wilfredo Lam, Richard Oelze, Mikuláš Medek, Joan Miró, Josef Sima, Kurt Seligmann, Odilon Redon, Andre Masson, Max Walter Svanberg, Salvador Dali, Arshile Gorky, Victor Brauner, Rene Magritte, and many more.
Highly recommended.
Very Good copy with light edge wear. Very Good dust jacket.
2015, English
Hardcover (w. dust jacket), 160 pages, 27 x 31 cm
Published by
Marot / Brussels
$90.00 - Out of stock
From the start, the Belgian Surrealists—among them René Magritte, Paul Delvaux, Paul Nougé, E.L.T. Mesens and Marcel Mariën—distinguished themselves from their Parisian counterparts with their dry wit, brilliant conceptualism and knack for combining the fantastical and the everyday (e.g., Magritte's bowler-hatted men, or Marcel Mariën's iconic single-lensed spectacle), and their disinclination to issue Breton-style manifestos.
This revelatory volume celebrates the Surrealist movement in Belgium through a group of more than 250 paintings, drawings, photographs, prints and books by artists such as Rachel Baes, Paul Delvaux, Camille Goemans, Jane Graverol, Tom Gutt, Jacques Lacomblez, René Magritte, Marcel Mariën, Jacques Matton, Edouard (E.L.T.) Mesens, Paul Nougé, Gilbert Senecaut, Louis Scutenaire, Max Servais, Armand Simon, André Stas Raoul Ubac, Louis Van de Spiegele, Rogier Van de Wouwer and Robert Willems.
1977 / 1984, English
Hardcover (w. dust jacket), 88 pages, 29 x 21 cm
1st UK Edition, Out of print title / used / very good
Published by
Bracken Books / London
$45.00 - Out of stock
Hardcover edition of Fantastic Painters by Simon Watney, first published in 1977, this 1984 edition published by Bracken Books, London. Includes the work of Hieronymus Bosch, Max Ernst, Lyonel Feininger, Luigi Russolo, Paul Delvaux, Arnold Böcklin, Odilon Redon, Gustave Moreau, Salvador Dali, Rene Magritte, Caspar David Friedrich, Henri Rousseau, Paul Klee, Georde Frederic Watts, Giovanni Segantini, Edward Burne-Jones, John Anster Fitzgerald, Pieter Bruegel the Elder, Richard Dadd, Francisco de Goya, Henry Fuseli, Jean Auguste Dominique Ingres, Hubert Robert, William Blake, François de Nomé (Monsù Desiderio), Giuseppe Arcimboldo, Jacopo Pontormo, Matthias Grünewald, Luca Signorelli, David Hockney, and more.
Very Good in VG dust jacket.
1968, Italian / English
Softcover, 98 pages, 32.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Editoriale Domus / Milan
$65.00 - Out of stock
Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting generations of radical, practical, and beautiful production, both local and across the world. Amongst a seemingly endless archive of contributions and features, domus frequently covered the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more.
No. 466 Settembre 1968
Editor : Gio Ponti
Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames,
Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, Hans Hollein, and more.
features :
Archizoom; Lucio Fontana; "Tatlin" by Agnoldomenico Pica; "Apartment Building in Ramat Gan Tel Aviv" by architects Alfred Neumann, Zvi Hecker, Eldar Sharon, "The 18th Aspen Design Conference" by Hans Hollein; Olivetti store in Buenos Aires by architect Gae Aulenti; XIV Triennial of Milan "Il Grande Numero" (Arata Isozaki); "Venice Biennale 1968: A Failure in Attempted Suicide" by Pierre Restany; "For a New Biennale" by Tommaso Trini; Book reviews; and much more.
Beautifully printed in Italy and heavily illustrated throughout with vivid colour and black and white photography across multiple paper stocks, page crops and fold-out spreads.
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.
1996, English
Softcover, 238 pages, 23 x 30.5 cm
Out of print title / used*,
Published by
Rizzoli / New York
$70.00 - Out of stock
"The influence of Surrealism on fashion and its ancillary arts lasted decades longer than the movement itself. This catalog, accompanying a 1987 exhibition at Fashion Institute of Technology, explores the extravagances of visual language as social and political comment, a revolution in perception."--The Library Journal.
"The love affair between fashion and Surrealism began in the Paris of the 1920s when Surrealist artists plundered fashion's imagery for their art, raising fashion beyond the level of mere style to an important expression of culture. This text reveals the extravagent and ingenious creations resulting from this collaboration. It ranges from the shocking Surrealist dresses of Schiaparelli and Dali, and photographic experiments with Surrealist techniques by Horst P. Horst, Cecil Beaton and George Hoyningen-Huene to the work of younger fashion designers, including Olivier Guillemin and Vivienne Westwood, who have all brought Surrealist imagery into clothing and accessories."
This bountiful, visually lavish volume, published to accompany a 1987 exhibition at Fashion Institute of Technology, features the garments, paintings, sculptures, illustrations, window displays, fashion advertisements, costume designs and photography of Man Ray, Cecil Beaton, Issey Miyake, Horst P. Horst, Cinzia Ruggeri, Vivienne Westwood, Thierry Mugler, Krizia, Giorgio De Chirico, Meret Oppenheim, Max Ernst, Donatella, Rene Magritte, Comme des Garcons, Enrico Donati, Elsa Schiaparelli, Salvador Dali, Marcel Rochas, Jaques Griffe, Adelle Lutz, Marina Killery, Dominique Lacoustille, Emme, Stephen Jones, Louise Bourbon, Bill Cunningham, Germaine Vittu, Eric Braagaard, Karl Lagerfeld, Candy Pratts Price, Serge Lutens, Antonio, Linda Fargo, Claude Montana, Georgina Godley, Olivier Guillemin, Yves Tanguy, Christian Lacroix, Valentine Hugo, Paul Colin, Francoise Lesage, Yves Saint Laurent, Jean Cocteau, Adam Kurtzman, Herbert Bayer, Mel Odom, Jean-Paul Gaultier, Alfa Castaldi, Leo Malet, Jorge Silvetti, Gabriella Giandelli, Givenchy, Marcel Jean, Jean-Charles de Castelbajac, Michael Roberts, Marcel Vertés, Bert Stern, John Galliano, Danuta Riyder, Paul Delvaux, Manolo Blahnik, Dorothea Tanning, Eileen Agar, Miguel Covarubias, Cristobal Balenciaga, Andre Masson, Leonor Fini, Roman Cieslewicz, Shoji Ueda, Louise Dahl-Wolfe, Bruce Weber, Robert Mapplethorpe, A. M. Cassandre, Peter Lindbergh, Claude Cahun, Jean Arp, and so many more.