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:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
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.
2014, English
Softcover, 264 pages, 15.3 x 22.7
1st Edition, Out of print title / used / very good
Published by
Polity / US
$45.00 - Out of stock
What do we know about Hegel? What do we know about Marx? What do we know about democracy and totalitarianism? Communism and psychoanalysis? What do we know that isn't a platitude that we've heard a thousand times - or a self-satisfied certainty? Through his brilliant reading of Hegel, Slavoj Zizek - one of the most provocative and widely-read thinkers of our time - upends our traditional understanding, dynamites every cliché and undermines every conviction in order to clear the ground for new ways of answering these questions.
When Lacan described Hegel as the ‘most sublime hysteric’, he was referring to the way that the hysteric asks questions because he experiences his own desire as if it were the Other's desire. In the dialectical process, the question asked of the Other is resolved through a reflexive turn in which the question begins to function as its own answer. We had made Hegel into the theorist of abstraction and reaction, but by reading Hegel with Lacan, Zizek unveils a Hegel of the concrete and of revolution - his own, and the one to come.
This early and dazzlingly original work by Zizek offers a unique insight into the ideas which have since become hallmarks of his mature thought. It will be of great interest to anyone interested in critical theory, philosophy and contemporary social thought.
Vey Good copy.
2022, English
Softcover, 344 pages, 26.8 x 35.5 cm
Published by
Skira / Milan
$110.00 $90.00 - In stock -
Charting the three momentous years in which New York became the global capital of art.
The radical cultural transformations that occurred in New York in the three years between January 1962 and December 1964 ramified across the world. In addition to a whole host of creative innovations across disciplines, the period also saw a shift in the center of artistic gravity from Europe to the United States and the rise of a new leadership in the arts—curators, gallerists and other impresarios.
Modeled on the scale and format of Life magazine (one of the most widely read publications of the era), this lavishly illustrated oversized paperback traces a detailed itinerary of artists and curators, experimental exhibitions and museums, as well as historical and political events that transformed society during this explosive moment. From the New Realists exhibition at Sidney Janis Gallery in 1962 to Robert Rauschenberg's unexpected win of the International Grand Prize in Painting at the 1964 Venice Biennale, every groundbreaking event from this incredible three-year period is documented.
Organized chronologically, the book is teeming with images of artworks and archival photographs, and artist interviews conducted by the late great curator Germano Celant.
Artists include: Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson and Andy Warhol.
Conceived by Germano Celant. Edited with text by Sam Sackeroff, Lerman-Neubauer Associate Curator at the Jewish Museum. Preface by Claudia Gould, Helen Goldsmith Menschel Director at the Jewish Museum. Introduction by Michael Rock. Interviews by Germano Celant with Christo and Jim Dine. Text by Claudia Gould, Michael Rock, Sam Sackeroff, Emily Bauman, Ninotchka D. Bennahum, Jennifer G. Buonocore-Nedrelow, Olivia Casa, Laura Conconi, J. English Cook, Maria Corti, Michaëla de Lacaze Mohrmann, Joshua B. Guild, Liz Hirsch, Hiroko Ikegami, Susan Murray, Kristina Parsons, Benjamin Serby, Jennifer Sichel, Robert Slifkin.
2022, English
Hardcover, 180 pages, 23.39 x 28.4 cm
Published by
Fulton Ryder / New York
$135.00 - Out of stock
“With the hoods, I wanted to paint something that was already painted.”―Richard Prince
Published to coincide with a major exhibition at Gagosian, New York, “Hoods, 1988–2013” documents Richard Prince’ 25-year body of work of the “Hoods” series.
Created by the artist Richard Prince (born 1949) in parallel to a major survey show, Hoods is both a monograph and an artist's book focused on a celebrated collection of painted sculptures made from 1988 through 2013. Archival photographs in the book document the evolution of the Hoods, cataloging both the artworks and Richard Prince's mythical "Body Shop" and the destroyed "Second House" in Upstate New York.
In an interview with photographer Larry Clark, Prince stated that "With the Hoods, I wanted to paint something that was already painted." From this simple act of conceptual appropriation, Prince evolved a massive body of work that engages deeply with the vernacular design tradition of the customized American muscle car. Taken all together, the sculptures, the upstate Body Shop and Prince's own photo-documentation evoke both ambiguous nostalgia as well as feelings of absence and loss, perhaps best expressed in a sampling of the artwork titles: Almost Grown; American Place; Folksongs; Vanishing Point.
2022, English
Hardcover, 377 pages, 22.4 x 31.6 cm
Published by
Fulton Ryder / New York
$135.00 - In stock -
An artist's book of “social science fiction” presenting new work and writing by Richard Prince
Richard Prince (born 1949) continues his revival of the Fulton Ryder imprint with an artist's book that is both a monograph of new artworks and an expansive written statement on art history, personal biography and the contemporary impulse to create self-images. At first glance, the New Paintings are in a similar vein as Prince's New Portraits . However, unlike that series, the New Paintingsfocuses on portraits of painters painting on Instagram, very often with back to the camera, facing away from the viewer. The resulting images are ambiguously manipulated; the series is self-described as an act of “social science fiction.” The image captions, integral to the artwork, contain a dense “Bird Talk” text, including ambiguous autobiography and art history commentary.
Joan Katz offers some explanation in a comment found in a New Painting , stating: “Deep Nostalgia. Legitimate Doubts. Safeguards to prevent misuse. Digital imitation. Resemblance without manipulations. Skilled impersonations. Staged illusions. Imitation of Life (the sequel). It's difficult to know if it's new or just another resurrection. #post_place.”
1974, English
Softcover, 335 pages, 22.5 x 16 cm
1st Edition, Out of print title / used / good
Published by
Random House / New York
$80.00 - Out of stock
The first edition of Amos Vogel's seminal book, Film as a Subversive Art, one of the greatest books on cinema, published in 1974. Reprinted in 2005 by D.A.P./C.T. Editions, that edition also quickly went out of print and this landmark book has not been available since. According to Vogel--founder of Cinema 16, North America's legendary film society--the book details the "accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored."
So ahead of his time was Vogel that the ideas that he penned some 30 years ago for this classic volume are still relevant today. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.
Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert Maysles and David Maysles, to name only a few of the hundreds of film-makers whose works are featured in this essential film book.
2001, English
Softcover, 224 pages, 15.6 x 23.4 cm
1st Edition, Out of print title / used / very good
Published by
Routledge / London
$30.00 - In stock -
Despite the ever-expanding body of Deleuzian scholarship, single volume has explored the religious dimensions of Delueze's writing. Now, Mary Bryden has assembled a team of international scholars to do just that. Their essays illustrate the ways in which Deleuzian thought is antithetical to religious debate, as well as the ways in which it contributes to those debates.
This volume will be invaluable for researchers, teachers and students of theology, philosophy, critical theory, cultural studies and literary criticism as well as to students of French who read Deleuze's work in its original language.
First edition. Very Good copy.
1990, English / Italian
Softcover, 500 pages, 27 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Mazzotta / Milan
$140.00 - Out of stock
Huge and comprehensive exhibition catalogue published in conjunction with "Ubi Fluxus Ibi Motus : 1962-1990" held at the Ex Granai della Repubblica alle Zitelle from May 26 - September 30, 1990. Profusely illustrated throughout with essays by curator Achille Bonito Oliva, Gino Di Maggio, Gianni Sassi, and many others (texts in English and Italian.)
Captures the history of Fluxus, including the works of Nam June Paik, Joe Maciunas, Christo, Dieter Rot, Öyvind Fahlström, Ray Johnson, Piero Manzoni, Gustav Metzger, Jean Tinguely, Al Hansen, Dick Higgins, Allan Kaprow, Jean-Jacques Lebel, Carolee Schneemann, Ay-o, Wolf Vostell, Eric Andersen, Joseph Beuys, George Brecht, John Cage, Giuseppe Chiari, Phillip Corner, Willem de Ridder, Robert Filliou, Joe Jones, Milan Knizak, Alison Knowles, Arthur Køpcke, Takehisa Kosugi, Shigeko Kubota, Yoko Ono, Ben Vautier, Robert Watts, Emmett Williams, Takehisa Kosugi, Shigeko Kubota, La Monte Young, and many others. Sections: Pre-Fluxus (1958-1962), Fluxus during the Collective Years (1962-1964), Fluxus during Fluxus, Some Fluxus friends, Pre-history.
First edition in very good, well-preserved, crisp condition - only tanning from age to cover.
2022, English / French
Softcover (w. folded poster dust jacket), 512 pages, 13 x 17 cm
Published by
Les Presses Du Reel / Paris
$67.00 - Out of stock
An anthology of text and graphic scores to be used while walking, from Fluxus to the critical works of current artists, through the tradition of experimental music and performance, gathered and presented by Elena Biserna.
Walking from Scores is a hundred or so collection of non site-specific protocols, instructions and textual and graphic scores centred on walking, listening and playing sound in urban environment. It explores the relationship between art and the everyday, the dynamics of sound and listening in various environments and the (porous) frontiers between artists and audiences. It starts with two premises: an interest in walking envisaged as a relational practice and tactic enabling us to read and rewrite space; an interpretation of scores understood as open invitations and catalysers of action in the tradition of Fluxus event scores.
With scores and texts by Peter Ablinger, Milan Adamčiak, G. Douglas Barrett, Elena Biserna, Blank Noise, George Brecht, Cornelius Cardew, Stephen Chase, Giuseppe Chiari, Seth Cluett, Philip Corner, Viv Corringham, Bill Dietz, Amy Dignam, David Dunn, Haytham El-Wardany, Esther Ferrer, Simone Forti Francesco Gagliardi, Jérôme Giller, Oliver Ginger, Anna & Lawrence Halprin, David Helbich, Dick Higgins, Christopher Hobbs, Jérôme Joy, katrinem, Debbie Kent, Bengt af Klintberg, James Klopfleisch, Milan Knížák, Alison Knowles, Takehisa Kosugi, Jirí Kovanda, Anne Leilehua Lanzilotti, Bob Lens, Ligia Lewis, Alvin Lucier, Walter Marchetti, Larry Miller, iLAND/Jennifer Monson, Max Neuhaus, Alisa Oleva, Pauline Oliveros, Yoko Ono, Open City & Emma Cocker, Nam June Paik, Michael Parsons, Ben Patterson, Cesare Pietroiusti, Mathias Poisson, Anna Raimondo, Pheobe riley Law, Jez riley French, Paul Sharits, Mieko Shiomi, Mark So, Standards, Nicolas Tardy, Davide Tidoni, Ultra-red, Isolde Venrooy, Carole Weber, Manfred Werder, Franziska Windisch, Ben Vautier, La Monte Young.
Elena Biserna is a scholar and independent curator based in Marseille, France. She is associate researcher at PRI SM (AMU / CNRS) and TEAMeD (Université Paris 8). Her interests are focused on listening and on contextual, "situated" art practices in relationship with urban dynamics, sociocultural processes, the public and political sphere. Her writings have appeared in several publications. As a curator, she has collaborated with different organisations and presented her projects internationally.
2022, English
Softcover, 184 pages, 27 x 22 cm
Published by
Blank Forms / New York
$69.00 - In stock -
A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor, and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman, and Larry Neal between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and a range of musicians, from Mtume to Black Unity Trio, to devise new styles of music writing. The publication emerged from the heart of a political movement—“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface—and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy, who argues that The Cricket “attempted something that was in many ways entirely new: creating a form of music writing which united politics, poetry, and aesthetics as part of a broader movement for change; resisting the entire apparatus through which music is produced, received, appreciated, distributed, and written about in the Western world; going well beyond the tried-and-tested journalistic route of description, evaluation, and narration.”
Contributors include: A.B. Spellman, Imamu Baraka (LeRoi Jones), Larry Neal, Cecil Taylor, Milford Graves, Sun Ra, Ben Caldwell, Clyde Halisi, Don L. Lee (Haki R. Madhubuti), Duncan Barber, Gaston Neal, Hilary Broadus, James Stewart, Norman Jordan, Roger Riggins, Ronnie Gross, Stanley Crouch, Albert Ayler, Askia Muhammed Toure, Donald Stone, E. Hill, Haasan Oqwiendha Fum al Hut, Ibn Pori 'det, Ishmael Reed, Joe Goncalves, Larry A. Miller (Katibu), Sonia Sanchez, Willie Kgositsile, Billy (Fundi) Abernathy, Dan Dawson and Black Unity Trio.
David Grundy is the author of A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets (Bloomsbury Academic, 2019) and coeditor, with Lauri Scheyer, of Selected Poems of Calvin C. Hernton (Wesleyan University Press, forthcoming). He is currently a British Academy Fellow at the University of Warwick, United Kingdom, where he is working on two manuscripts, Survival Music: Free Jazz Then and Now and Never by Itself Alone: Queer Poetry in Boston and San Francisco, 1943–Present (Oxford University Press, forthcoming), and a further edited collection on Umbra.
A.B. Spellman is a poet, music critic, and former director of the Arts in Education Study Project for the National Endowment of the Arts.
2022, English
Softcover, 200 pages, 13.5 x 20.1 cm
Published by
Wakefield Press / Cambridge
$36.00 - Out of stock
A nonconformist satire of both bureaucracy and nonconformism from the French polymath and author of Foam of the Days.
Written at the age of 23 for his friends in the winter of 1943-44, Vercoquin and the Plankton was the first of Vian's novels to be published under his own name. Published in 1947, the book came out two months after his succès de scandale I Spit on Your Graves and two months before the publication of his beloved classic The Foam of the Days. At once social documentary, scathing satire and jazz manifesto, Vercoquin and the Plankton describes the collision of two worlds under the Vichy regime: that of the youthful dandyism of the ever-partying Zazous and the murderously maniacal bureaucracy of a governmental office for standardization. In this roman à clef drawn from Vian's own contradictory lives as a jazz musician on the Left Bank and an engineer at the French National Organization for Standardization, the reader is introduced to a handful of characters inhabiting a world lying somewhere between Occupied Paris and Looney Tunes.
Boris Vian (1920-59) was a French polymath who in his short life managed to inhabit the roles of writer, poet, playwright, musician, singer/songwriter, translator, music critic, actor, inventor and engineer, before dying of a heart attack at the age of 39, after authoring ten novels, several volumes of short stories, plays, operas, articles and nearly 500 songs. Vian is remembered as one of the reigning spirits of the postwar Parisian Latin Quarter, a friend to everyone from Jean-Paul Sartre to Raymond Queneau and Miles Davis, playing trumpet with Claude Abadie and Claude Luter, and an influence on such future kindred spirits as Serge Gainsbourg.
Introduction by Terry Bradford.
2022, English
Softcover, 160 pages, 11.4 x 17.8 cm
Published by
Wakefield Press / Cambridge
$32.00 - Out of stock
The archetypal Symbolist novel, and a gorgeous tapestry of death and melancholy, Bruges-la-Morte was also the first work of fiction to employ photographs in the style of Breton, Drndic and Sebald.
A widower, Hugues Viane, takes refuge in the decay of Bruges, living among the relics of his dead wife as he transforms his home and the very city he inhabits into her spatial embalmment. Spinning out his existence in a mournful, silent labyrinth of entombed streets and the cold arteries of canals, Viane takes comfort in his narcissistic delirium, until his world is shaken by the appearance of his wife's doppelganger: a young dancer encountered in the street, whose appearance conjures a sequence of events that will introduce the specter of reality into his ritualist dream-state to disastrous effect.
The archetype of the Symbolist novel, Bruges-la-Morte, first published in 1892, remains Georges Rodenbach's most famous work; it has seen numerous cinematic and operatic adaptations, and inspired the source material for Alfred Hitchcock's Vertigo. It was also a precursor to such authors as André Breton and W.G. Sebald in being the first novel to employ photographs as illustrations--to allow readers, as Rodenbach put it, to "be subject to the presence of the town, feel the contagion of the neighboring waters, sense in their turn the shadow of the high towers reaching across the text."
Georges Rodenbach (1855-98) was one of the major figures of Belgian Symbolism, an essential bridge between the Belgian and Parisian literary scenes, and a friend and colleague of Verhaeren, Maeterlinck, Mallarmé and Huysmans. He was the author of four novels, eight collections of verse and numerous short stories, plays and critical works.
1990, English / French
Softcover, 297 pages, 135 x 20.6 x 23 cm
Published by
New Directions / New York
$46.00 - Out of stock
"Michaux excels in making us feel… the strangeness of natural things and the naturalness of strange things."—André Gide
Henri Michaux is one of the great figures in modern French poetry. This selection is from L’Espace du Dedans, which collected eight books of prose poems, sketches and free verse. Brilliantly translated by Richard Ellmann, Michaux asks readers to join him in a fantastic world of the imagination. It is a world where wry humor plays against horror––where Chaplin meets Kafka––a world of pure and rare invention.
Henri Michaux (1899–1984) was a highly idiosyncratic Belgian-born poet, writer, and painter who wrote in French. Through travel journals, prose poems, and incantatory exorcisms, Michaux built an unsettling world of aggression, fear, hostility, and paranoia, whose fantastical landscapes and fabulist beings delineate a space of psychological and cognitive discomfort all too contemporary. In 1956 he continued his controlled explorations of the self with a series of mescaline experiments, which he documented in a series of books over the next decade. Michaux’s writing was paralleled by his lifelong commitment to painting and drawing.
2022, English
Softcover, 528 pages, 17.8 x 22.9 cm
Published by
The MIT Press / Massachusetts
October Books / New York
$89.00 - Out of stock
The first full-scale monographic study in English of one of the most important artists of the second half of the twentieth century.
In this first full-scale monograph in English on the German painter Gerhard Richter, the distinguished art historian Benjamin H. D. Buchloh maps the unfolding of Richter's ever more complex and contradictory lifework. A painter in an age that disdains painting, a German confronting the impossibility of representing the historical trauma inflicted by his country upon the world between 1933 and 1945, a European artist in dialogue with his American counterparts, Richter (b. 1932) is shown by Buchloh to be a unique and singular artist, outside and beyond every other formation contemporaneous with his own development and evolution.
What emerges from Buchloh's detailed analysis of Richter's key works is a far more complex set of painterly strategies than has been previously assumed, strategies that have inverted and relativized all the principles of the modernist and even the postmodernist painterly aesthetic. In a series of essays that proceeds chronologically, Buchloh begins with Elbe (1957), viewing it as a foundational moment in Richter's confrontation with Socialist Realism, and goes on to consider such works as October 18, 1977 (1988), the series of representational photo-based paintings of Baader-Meinhof members; Richter's glass works; and the late group of Birkenau Paintings (2014). Richly illustrated in color, dense with insights that represent half a lifetime of engagement with Richter's work, this book will stand as the definitive examination of a major contemporary artist.
1965, French
Softcover, 16 pages, 26.5 x 18.0 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Ileana Sonnabend / Paris
$100.00 - Out of stock
Scarce copy of the first international catalogue to appear on the work of the great American artist Lee Bontecou. Published to accompany her solo exhibition at Galerie Ileana Sonnabend, Paris, in 1965. Monochrome illustrations of Bontecou's sculptures throughout, alongside essays by Gillo Dorfles, Gerald Gassiot-Talabot, and Annette Michelson, and bio.
One of the most widely recognized female artists of the 1960s, Lee Bontecou creates welded wall reliefs, hanging sculptures, and miniature, mystical drawings that reflect her interest in natural and man-made forms. Brown and black in tone and often with ominous, organic voids at their centers, her large-scale patchwork accumulations of canvas, leather, wire mesh, and muslin recall nests, machines, ancient architecture, and the human body. She constructs her massive, free-hanging forms from constellations of steel, shaped canvas, porcelain curios, and explosive lengths of wire that reach far into space. Through such works, Bontecou has sought to capture “as much of life as possible—no barriers—no boundaries—all freedom in every sense,” she says.
Very Good copy, no creasing and only light edge tanning.
2022, English
Softcover, 96 pages, 15.2 x 22.9 cm
Published by
New Directions / New York
$38.00 - In stock -
Milkweed Smithereens gathers lively, wickedly smart, intimate, and indelible Bernadette Mayer poems: the volume ranges from brand-new nature poems, pastiches, sequences, epigrams, and excerpts from her Covid Diary and Second World of Nature to early poems and sonnets found in the attic or rooted out in the UC San Diego archive. The world of nature and the pandemic loom large, as in her "The Lobelias of Fear":
... but how will we, still alive, socialize
in the winter? wrapped in bear skins
we'll sit around pot-bellied stoves eating
the lobelias of fear left over from desperation,
last summer's woodland sunflowers and bee balm remind us of black
cherries eaten in a hurry
while the yard grows in the moonlight
shrinking like a salary ...
2017, English
Softcover, 340 pages, 23 x 17.7 cm
Ed. of 1000,
Published by
Michael Lett / Auckland
Clouds / Auckland
$35.00 - In stock -
New Zealand artist and educator Jim Allen is both a formidable influence upon his followers and a prolific artist in his own right. A leader of post-object practices in the global south, Allen’s immersive installations and light touch share much with his self-proclaimed heroes, experimental filmmaker and sculptor Len Lye and Brazilian kineticist Hélio Oitica. This robust reader contains over 300 pages of interviews with Allen, conducted largely by art historian Tony Green and fellow artist Phil Dadson. Through these colourful and often humorous oral histories, one can trace the narrative of Allen’s life, including his participation in WWII and formation as an artist and teacher—and sailor!—from the 1950s until the present day. An important record of a woefully understudied figure of postwar art, The Skin of Years presents Allen’s dogged persistence to engage in what he has called “the art of the possible.”
Introductions by Wystan Curnow and Blair French.
Edited by Gwynneth Porter.
“…a new generation of artists has been discovering Allen, locating in his work a new genealogy for their for own endeavours. And so, as Allen�s installation, video, and performance work of the 1960s and 1970s has become more (and more widely) valued for its ground-breaking significance, it is also being recognised as the local precedent for present day art practices. Jim Allen is, we should now be saying, our first contemporary artist.”—Wystan Curnow
“Biography is so often looked to by its readers – perhaps also its authors and subjects – as a means to identify some essential truth or kernel of experience that might distill, account for or even reconcile the fundamental contradictions and complexities that underpin any individual life. This is most pronounced when encountering the first-person voice of the subject. In this instance, however, the complexities and even contradictions inherent in a figure so influential in multiple guises across two countries are allowed to emerge and linger.”—Blair French
2017, English
Softcover, 44 pages, 11 x 18 cm
Published by
Strelka / Moscow
$18.00 $10.00 - In stock -
What is the new normal? Something has shifted, it seems. We are making new worlds faster than we can keep track of them, and the pace is unlikely to slow. If our technologies have advanced beyond our ability to conceptualize their implications, such gaps can be perilous. In response, one impulse is to pull the emergency brake and to try put all the genies back in all the bottles. This is ill-advised (and hopeless). Better instead to invest in emergence, in contingency: to map the new normal for what it is, and to shape it toward what it should be.
Part manifesto and part syllabus, this essay by design theorist, Benjamin H. Bratton describes his vision for how design should approach and intervene in the new normal and what kinds of cities we should be planning for now.
Bratton is Programme Director of The Strelka Institute of Architecture, Media and Design in Moscow, a resilient beacon of generous futurism in a time and place at the centre of contemporary twists and turns. The essay outlines The New Normal post-graduate think-tank at Strelka, which brings together architects, programmers, interaction designers, game designers, artists, philosophers, filmmakers, novelists, economists, and 'free-range’ computer scientists. They study with Keller Easterling, Lev Manovich, Metahaven (Vinca Kruk and Daniel Van Der Velden), Casey Reas, Liam Young, and many others.
2019, English
Softcover, 138 pages, 11 x 18 cm
Published by
Strelka / Moscow
$35.00 $15.00 - In stock -
The Terraforming is the comprehensive project to fundamentally transform Earth cities, technologies, and ecosystems to ensure that the planet will bе сараblе of supporting Earth-like life. Artificiality, astronomy, and automation form the basis of that alternative planetarity.
Benjamin H. Bratton’s work spans philosophy, art, design, and computer science. He is the Program Director at Strelka Institute for Media, Architecture and Design in Moscow, and a Professor of Visual Arts at the University of California, San Diego. He is also a Professor at The European Graduate School, and a Visiting Professor at SCI-Arc (Southern California Institute of Architecture) and NYU Shanghai.
English
Softcover, 36 pages, 11 x 18 cm
Published by
Strelka / Moscow
$18.00 $10.00 - In stock -
Privileging declarations, right answers, proofs, and universals, culture is often banging away with the same blunt tools that are completely inadequate to address contemporary chemistries of power. On the flip side, medium design offers no dramatic manifestos where things are new or right. Instead it only rehearses a habit of mind that has been eclipsed. Even at a moment of digital ubiquity, medium design treats space as an information system and a broad, inclusive mixing chamber for many social, political, and technical networks. And just as it inverts the typical focus on the object over the field, it may also invert some habitual approaches to problem solving, aesthetics, and politics.
Keller Easterling is an architect, writer and professor at Yale University. Her book, Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) researches familiar spatial products that have landed in difficult or hyperbolic political situations around the world. A previous book, Organization Space: Landscapes, Highways and Houses in America, applies network theory to a discussion of American infrastructure and development formats. A forthcoming book, Extrastatecraft: Global Infrastructure and Political Arts, examines global infrastructure networks as a medium of polity.
2018, English
Softcover, 152 pages, 11 x 18 cm
Published by
Strelka / Moscow
$28.00 $15.00 - Out of stock
Digital Tarkovsky is an extended poetic exploration of how our experiences of visual entertainment and time itself are changing in the era of the smartphone and near-constant connection. The essay applies the ‘slow’ cinematic art of Andrei Tarkovsky to our interaction with the digital, visual reality of screens and interfaces. Digital Tarkovsky is a way of tracing what cinema, storytelling and time mean in our platform-based world.
In the US, an adult on average spends two hours and 51 minutes on their smartphone every day. That is eight minutes longer than Andrei Tarkovsky’s film Stalker.
We’re not interested in telling you to put your phone down and start paying attention to the real world. Instead, we want to investigate the kind of experience we have whilst staring at these tiny screens and the digital platforms that inhabit them. We are interested in calling this something other than smartphone addiction. We are interested in calling it cinema.
The work of Metahaven consists of filmmaking, writing, design, and installations, and is united conceptually by interests in poetry, storytelling, digital superstructures, and propaganda. Films by Metahaven include The Sprawl (Propaganda about Propaganda) (2015), Information Skies (2016), Possessed (2018, with Rob Schröder), Hometown (2018) and Eurasia (Questions on Happiness) (2018). Publications include PSYOP (2018), Black Transparency (2015) and Uncorporate Identity (2010). Their work is screened, published, and exhibited worldwide.
2019, English
Softcover, 134 pages, 11 x 18 cm
Published by
Strelka / Moscow
$24.00 $10.00 - In stock -
Introduction to Comparative Planetology presents an intertwined analysis of visual cultures of imagining the Earth and geopolitics of climate emergency. It compares different "figures" of the planet – the Planetary, the Globe, the Terrestrial, Earth-without-us and Spectral Earth – in order to assess their geopolitical implications. These implications are then mapped on respective prospects of these figures in developing an infrastructural space for planetary coordination of our design interventions against runaway global heating, and ultimately against mass species extinction.
2014, English
Softcover, 186 pages, 11 x 18 cm
Published by
Strelka / Moscow
$28.00 $10.00 - Out of stock
We live in an age of sticky problems, whether it's climate change or the decline of the welfare state. With conventional solutions failing, a new culture of decision-making is called for. Strategic design is about applying the principles of traditional design to "big picture" systemic challenges such as healthcare, education and the environment. It redefines how problems are approached and aims to deliver more resilient solutions. In this short book, Dan Hill outlines a new vocabulary of design, one that needs to be smuggled into the upper echelons of power. He asserts that, increasingly, effective design means engaging with the messy politics - the "dark matter"- taking place above the designer's head. And that may mean redesigning the organization that hires you.
2012, English
Hardcover (cloth-bound), 172 pages, 25 x 20 cm
1st UK Edition, Out of print title / as new
Published by
Standard Books / Oslo
$70.00 $50.00 - Out of stock
Profusely illustrated cloth-bound first edition of first major monograph on artist Fredrik Værslev, published by Standard (Oslo), with contributions by Nicolas Ceccaldi and Gertrud Sandqvist. One of the most original and recognised voices in contemporary painting, Norwegian artist Fredrik Værslev navigates between different pictorial traditions. In his practice, he focuses on the process of painting, demonstrating the possibilities and relevance of the medium today. Texts in English.
1980, German
Softcover, 140 pages, 26.8 x 22 cm
1st Edition, Out of print title / used / good
Published by
Ludwig Museum / Cologne
$65.00 - Out of stock
Catalogue published on the occasion of the Marcel Broodthaers major survey exhibition at Museum Ludwig, Cologne, October 4—November 26, 1980. Illustrated throughout in colour and b/w with the 128 exhibited objects, texts (in German) by Karl Ruhrberg, Evelyn Weiss, Michael Compton, Pierre Restany, Jürgen Harten, Gerhard Kohlberg.
Good copy with some cracking to top of spine.