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.
2016, English
Hardcover (w. printed tissue dust-jacket), 205 pages, 23 x 29 cm
Published by
MoMA / New York
$85.00 - Out of stock
The incredible Kai Althoff monograph published by The Museum of Modern Art, New York. Edited by Kai Althoff with text by Rita Kersting, DovBer Naiditch, Yair Oelbaum, Constantin Rothkopf, Robert Storr, Rein Wolfs. Interview by Laura Hoptman.
Kai Althoff is one of the most consummate--and unpredictable--artists of his generation. A painter and a draftsman, he has experimented since the mid-1990s with combinations of unconventional mediums and exhibition formats to create all-encompassing environments that might include finely detailed drawings, collage, woven textiles, knitted fabric, soft sculpture, paintings, writing, video, fragrance and song.
Published in conjunction with a major exhibition at The Museum of Modern Art, this publication presents Althoff’s work in all mediums made over a 25-year career. Created in close collaboration with the artist, the book features lavish color reproductions of Althoff’s most significant works. Contributions by scholars, art professionals and friends of the artist offer multiple perspectives on Althoff’s iconographically rich work.
A beautiful book.
Kai Althoff (born 1966 in Cologne) is a German visual artist and musician. Borrowing from moments of history, religious iconography, and counter-cultural movements, Althoff creates imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. Tapping a multitude of sources, from Germanic folk traditions to recent popular culture, from medieval and gothic religious imagery to early modern expressionism, Althoff’s characters inhabit imaginary worlds that serve as allegories for human experience and emotion. His image bank and painterly style also draw on the past, especially early-20th-century German Expressionism, reconfigured by introducing collaged technique.
2006, English
Softcover (w. slipcase, 8 page poster/loom inserts), 60 pages + inserts, (book) 54 x 43 cm (inserts)
1st Edition, Out of print title / used / very good
Published by
Vancouver Art Gallery / Vancouver
$160.00 - Out of stock
One of the scarcest, most elaborate of Althoff's catalogues, published by the Vancouver Art Gallery in 2008 on the occasion of the first Canadian exhibition of Althoff's work, introducing many new works. Housed in original issue cardboard slipcase, complete with all poster and loom inserts, this lavishly illustrated catalogue features texts by Kai Althoff, Jennifer M. Volland, Kathleen S. Bartels, and Travis Joseph Meinolf, including an interview with Althoff. Central to the exhibition was a collaborative installation entitled The Weaving Place. Althoff designed this space to display and experience the work of San Francisco-based artist Travis Joseph Meinolf, whose manifesto and invention of the Laser-Loom explores issues related to alternative modes of production and the distribution of goods. This elaborate publication also features 8 lovely double-sided newsprint colour posters of illustrations by Althoff to accompany the The Weaving Place, plus a laser-cut cardboard loom to D.I.Y. An incredible catalogue/artist's production.
Kai Althoff (born 1966 in Cologne) is a German visual artist and musician. Borrowing from moments of history, religious iconography, and counter-cultural movements, Althoff creates imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. Tapping a multitude of sources, from Germanic folk traditions to recent popular culture, from medieval and gothic religious imagery to early modern expressionism, Althoff’s characters inhabit imaginary worlds that serve as allegories for human experience and emotion. His image bank and painterly style also draw on the past, especially early-20th-century German Expressionism, reconfigured by introducing collaged technique.
Very Good copy with barely any wear to any component.
2014, English
Hardcover (w. dust jacket), 300 pages, 25.5 x 28.0 cm
Published by
JRP Ringier / Zürich
Kunsthalle Zürich / Zürich
$135.00 - Out of stock
This comprehensive publication is Kai Althoff's third monograph. It contains never-before-seen works in addition to images from every stage of the artist's career, concentrating most heavily on work since 2002. The artist considers this to be a more ideally composed retrospective than any exhibition of his work would be capable of achieving. The selection of images focuses on documenting the work in a way that addresses the character of the works as well as the artist's current and past perspectives on his oeuvre. Possessing the emotional charge of the artist's works, this book presents personal, previously unpublished photographs, paintings, and writings of "failed satire" with a deceptive sentimentality that oscillates between nostalgia and self-deprecation. This stands in contrast with the innate beauty and craftsmanship of the works, which engrossed the artist at the time of their conception. Souffleuse der Isolation is also concerned with re-evaluating past works and the emotional states in which they were spawned, and how this pertains to the act of revisiting past portrayals of oneself.
This volume also features a text by the writer Angus Cook imaginatively inspired by Althoff's work, written specifically for this monograph, which served as a vital conceptual basis to its composition. Also included is a text by Dr. Patrik Scherrer on the use of textiles in the artist's work.
A beautiful book.
Kai Althoff (born 1966 in Cologne) is a German visual artist and musician. Borrowing from moments of history, religious iconography, and counter-cultural movements, Althoff creates imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. Tapping a multitude of sources, from Germanic folk traditions to recent popular culture, from medieval and gothic religious imagery to early modern expressionism, Althoff’s characters inhabit imaginary worlds that serve as allegories for human experience and emotion. His image bank and painterly style also draw on the past, especially early-20th-century German Expressionism, reconfigured by introducing collaged technique.
1993, English
Softcover, 138 pages, 28 x 21.5 cm
Out of print title / used / good
Published by
Cleopatra Records / Los Angeles
$80.00 - Out of stock
1993 edition of Industrial Revolution, "the A—Z of Industrial Music", published by Dave Thompson and Cleopatra Records, Los Angeles at the label's inception in 1992, and at the dawn of the Industrial Music commercial boom of the 1990s. Regarded as the essential guide to a musical form that promised, at one point, to become the dominant force of the decade, the encyclopedic "Industrial Revolution" is a far cry from comprehensive, but Thompson's survey of the individual artists, "from Kraftwerk to Throbbing Gristle to Ministry", and various movements that developed and represented the field, remains an important volume on a seldom studied musical phenomenon, introducing a musical tendency to a wider (overground) audience. Heavily illustrated throughout in an encyclopaedia format, artist listings include a wealth of biographic information, discographies, exclusive interviews, b/w studio, press, live photographs... Includes Chrome, Suicide, Z'ev, Christian Death, Sleep Chamber, Throbbing Gristle, Coil, Ministry, Amon Düül 2, Einstürzende Neubauten, Foetus, Chris and Cosey, Laibach, Front 242, Robert Fripp, Current 93, Boyd Rice, Crash Worship, Neu, Meat Beat Manifesto, Magma, Clock DVA, Velvet Underground, Karlheinz Stockhausen, Test Department, John Cale, Dome, Psychic TV, Frontline Assembly, SPK, Cluster, Godflesh, The Hafler Trio, PiL, This Heat, Savage Republic, Brian Eno, La Monte Young, The Flying Lizards, Swans, Terry Riley, DAF, Robert Calvert/Hawkwind, Can, The Residents, Fred Frith/Henry Cow, Colin Newman/Wire, Skinny Puppy, Killing Joke, Leather Nun, Nine Inch Nails, Kraftwerk, Legendary Pink Dots, Alien Sex Fiend, Cop Shoot Cop... plus more, you get the picture.
Good copy with some cover/corner wear.
1990, Japanese
Softcover (w. dust jacket), 112 pages, 25.7 x 18.4 cm
Out of print title / used / fine
Published by
Haga Bookstore / Japan
$70.00 - Out of stock
Only in Japan c. 1988 would you find a book entirely made up of photographs of "British Nobles" of the 1980's silver screen. This wonderful Japanese photo-book / "Cine Album" captures the British actors Rupert Everett, Daniel Day-Lewis, Hugh Grant, James Wilby, Rupert Graves, Cary Elwes, and Colin Firth, in all their "proud devilish beauty" starring in films such as Another Country (1984), A Room with a View (1985), The Unbearable Lightness of Being (1988), A Month in the Country (1987), My Beautiful Laundrette (1985), The Right Hand Man (1987), White Mischief (1987), A Handful of Dust (1988), Local Hero (1983), and many more. Profusely illustrated with film stills, press photos, behind the scenes shots, and movie posters to accompany subject-specific filmographies for each actor and many other honourable mentions (Dirk Bogarde, Nolan Hemmings, Gary Oldman, Julian Sands, Nigel Havers, etc), all reproduced in vivid colour and b/w gloss. Edited by Sawako Omori with essay "From Valentino to Daniel Day-Lewis" by Yuki Sato. Published by the great Haga Bookstore imprint.
Fine copy in dust jacket.
1978, Japanese
Softcover, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$80.00 - In stock -
Rare premiere issue (October 1978) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.
The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.
Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.
1979, Japanese
Softcover, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$65.00 - In stock -
Issue No 5 (May 1979) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.
The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.
Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.
1979, Japanese
Softcover, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$65.00 - In stock -
Issue No 6 (July 1979) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.
The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.
Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.
1979, Japanese
Softcover, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$65.00 - Out of stock
Issue No 8 (August 1979) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.
The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.
Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.
1985, Japanese
Softcover, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$65.00 - In stock -
Issue No 23 (July 1985) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.
The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.
Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.
1986, Japanese
Softcover, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Sun Publishing / Japan
$65.00 - In stock -
Issue No 26 (January 1986) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.
The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.
Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.
1984, Japanese
Softcover, 100 pages, 28 x 21 cm
1st Edition, Out of print title / used / good
Published by
Starlog / Japan
$60.00 - Out of stock
Scarce Japanese edition of Starlog magazine, February 1984, with cover feature on French fantasy illustrator Jean Giraud (Moebius), including special fold-out portfolio of his artwork. Also features a large colour illustrated article on 1984 Japanese science fiction film directed by Sakyo Komatsu and Koji Hashimoto, Bye-Bye Jupiter, a heavily-illustrated article on "The Cosmic Terror" in science-fiction film and books, the complete episode guide/hand-book to The Twilight Zone, Illustrated guide to "SF Gals : Heroines of Science Fiction movies", illustrated collection of Ace Double SF novels, SFX section (Godzilla), Star Trek, reviews of audio, video, books, comics, anime, news, reports, community, more..... Heavy illustrated throughout.
Good-VG copy.
1984, Japanese
Softcover (staple-bound), 92 pages, 28 x 21 cm
1st Edition, Out of print title / used / good
Published by
Starlog / Japan
$60.00 - Out of stock
Japanese edition of Starlog magazine, June issue 1984, with cover feature on French fantasy illustrator Philippe Druillet (b. 1944), including colour fold-out gallery of his work, plus an illustrated history. Also features a large colour illustrated article on the Zoology of illustrator/author Dougal Dixon and his world "After Man", the films of John Carpenter, Brainstorm, Ghostbusters, The Perils of Gwendoline in the Land of the Yik Yak, Indiana Jones, The Ice Pirates, Super Girl, news, reviews, tid-bits, reports and lots more. Heavy illustrated throughout.
Good-VG copy.
1986, Japanese
Softcover, 104 pages, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Starlog / Japan
$80.00 - Out of stock
Scarce Japanese edition of Starlog magazine, October 1986, with cover (front and back) feature on James Cameron's 1986 science fiction film Aliens, with a lavishly illustrated section dedicated to the film and its making, including photographic fold-outs, stills, behind-the-scenes imagery, reviews, biblio, vehicles, weapons, cast, staff, etc.. Also features 2 Starlog "Special Book" sections dedicated to Terry Gilliam's Brazil (1985) and Highlander (1986), a great photo-comic of Raw Deal (excellent John Irvin action film from 1986 starring Arnold Schwarzenegger), Tokyo International Fantastic Film Festival 1986 (featuring The Last Wave, Texas Chainsaw Massacre 2, Toxic Avenger, Eyes of Fire, Poltergeist 2, Terrorvision, Big Trouble in Little China, Critters, Re-Animator, Zone Troopers, etc.), illustrated interview with Rutger Hauer (Blade Runner, The Hitcher, etc.), illustrated interview with anime legend Hayao Miyazaki, illustrated article on The Prisoner (1967) television series, SFX section, reviews of audio, video, books, comics, anime, Animation special, news, reports, community, more..... Heavy illustrated throughout.
Good-VG copy.
1991, English
2 softcover volumes, 608 pages, 21.62 x 13.46 cm
1st Edition, Out of print title / used / good
Published by
Harper Collins / New York
$100.00 - In stock -
Complete set of first softcover editions (4 volumes in 2 books) of Nietzsche by Martin Heidegger. A landmark discussion between two great thinkers—two volumes inquiring into the central issues of Friedrich Nietzsche's philosophy. Vital to an understanding of twentieth-century philosophy and intellectual history. Book 1 (2 Vols) : The Will to Power as Art and The Eternal Recurrance of the Same; Book 2 (2 Vols) : The Will to Power as Knowledge and as Metaphysics, Nihilism; edited by David Farrell Krell and published by Harper Collins in 1991.
Friedrich Wilhelm Nietzsche (1844—1900) was a German philosopher, cultural critic and philologist whose work has exerted a profound influence on modern intellectual history. He began his career as a classical philologist before turning to philosophy.
Martin Heidegger (1889—1976) was a German philosopher who is best known for contributions to phenomenology, hermeneutics, and existentialism. He is among the most important and influential philosophers of the 20th century.
Good copies both, light wear and age.
2022, English
Softcover, 158 pages, 23 x 32 cm
Published by
Louisiana Museum of Modern Art / Denmark
The Danish Architectural Press / Denmark
$110.00 $70.00 - In stock -
English architect and writer Sir Peter Cook, renowned for his free-thinking spirit translated into architectural lines and shapes, is perhaps most well-known as the co-founder of the avant-garde architectural group Archigram in the 1960s. This beautiful volume presents a large selection of his works on paper as part of the exhibition series “Louisiana On Paper” at the Louisiana Museum of Modern Art in Denmark. Cook believes that visions of the future – whatever it might offer – are most clearly expressed and can best be discussed in drawings. In his work we encounter kaleidoscopic colours and spiralling shapes, voluntary architectural mutations, and twisting and turning buildings transforming into escapist dreamscapes.
1980, Japanese / English
Softcover, 29 x 22 cm
1st Edition, Out of print title / used / very good
Published by
A+U Publishing / Tokyo
$90.00 - Out of stock
Rare special issue the legendary Japanese architecture magazine, A+U (Architecture + Urbanism), published in 1980. Published by Yoshio Yoshida with Editor Toshio Nakamura and international advisors and correspondents including Paul Rudolph, Hans Hollein, Robert A.M. Stern... This issue is entirely dedicated to the work of Archigram's Peter Cook and Christine Hawley. Lavishly illustrated throughout in glossy full colour and b/w reproductions of Cook and Hawley's visionary architectural mixed media works on paper, plans, drawings, along with biographies, interviews, and articles. The most comprehensive publication on the collaboration between these important English architects to date, only available in Japan.
Sir Peter Cook (b. 1936) is an English architect, lecturer and writer on architectural subjects, known as a founding member of Archigram. Christine Hawley (b. 1949) is an accomplished British architect and educator. Cook and Hawley began collaborating in the 1970s, in 1975 creating the award-winning partnership Cook and Hawley Architects.
A+U (Architecture + Urbanism) is a forward thinking monthly architectural magazine from Japan which tackles a diverse range of themes, movements and discussions in the fields of architecture and urbanism. Each issue is comprehensively illustrated and accompanied by plans, maps, sections and details.
Very Good copy.
2022, English
Hardcover, 544 pages, 24 x 33 cm
Published by
Purple Institute / Paris
$89.00 - Out of stock
Purple celebrates its 30th anniversary and for this issue interweaves new editorial content with facsimiles of pages from past issues to show how different moments in time resonate and connect to each other. This issue tells the story of 30 years devoted to artists, designers, photographers, writers, cities and other facets that define the Purple World - such as night, philosophy, diversity, avant-garde, sex and politics. Throughout 30 parts full of photography, fashion, cool kids and nostalgia, the 30YRS issue features Elein Fleiss, Martin Margiela, Takashi Homma, Chloë Sevigny, Richard Prince, Bernadette Corporation, Wolfgang Tillmans, Comme Des Garçons, Rita Ackermann, Kenneth Anger, Olivier Zahm, Dominique Gonzalez-Foerster, Abel Ferrara, Maurizio Cattelan, Dash Snow, Arthur Jafa, Glenn O'brien, Harmony Korine, Juergen Teller, David Lynch, Susan Cianciolo, Kim Gordon, Terry Richardson, Chikashi Suzuki, Katja Rahlwes, Henrik Purienne, Marlene Dumas, Rick Owens, and many many more. Accompanied by a special Urs Fischer Purple Book.
Purple magazine issue #38 features 29 different photographic covers. Unfortunately it is not possible to buy a specific cover.
2022, English
Softcover, 96 pages, 12 x 20.3 cm
Published by
Walther König / Köln
$48.00 - Out of stock
A conversation between the artist Marc Camille Chaimowicz and the architect Roger Diener about their collaboration, The Armadillo House in Basel. Chaimowicz claims the interior as a pictorial space while also referencing the history of architecture, art and design. His agenda has been described as the celebration of domestic detritus and his spatial installations appear as painterly tableaus. From the 1970s onwards he advanced a critique of rigid, austere minimalism. For Diener, on the other hand, pictorial space is not a factor. Instead, he puts forward a modernist notion of non-expression, with architecture functioning as its raw material. In his architecture, it is not the insertion of culturally codified images but rather spatial configurations that shape the movement and circulation of inhabitants.
2022, English
Softcover, 108 pages, 12 x 18 cm
Published by
Daisy editions / Lisbon—Paris
$23.00 - Out of stock
One Thing I Know is Pati Hill's third novel, first published in 1962, when she was forty-one and had just given birth to her first and only child. It is the last novel she wrote before claiming to "quit writing in favor of housekeeping". Written in the purest tradition of American coming-of-age stories, One Thing I Know follows a sixteen-year-old girl, Francesca Hollins, as she discovers an unexpected taste for autonomy. The bravado of her affirmation cannot mask the seriousness of her conviction: "One thing I know, I will never be in love again."
Pati Hill (1921-2014) was an American writer and photocopy artist best known for her observational style of prose and her work with the IBM photocopier.
2022, English / French
Softcover, 256 pages, 17.5 x 24 cm
Published by
May Revue / Paris
$36.00 - In stock -
Jay Chung, Claire Fontaine, Josef Strau, Alain Guiraudie, Bernadette Van-Huy, Helmut Draxler, Henrik Olesen by Thomas Duncan, Heji Shin by Benoît Lamy de la Chapelle, Marcel Proust by Yves-Noël Genod, Merlin Carpenter by Annie Ochmanek, Josephine Graf, Helmut Draxler, Megan Francis Sullivan and Nick Mauss, Dylan Byron and Isabelle Graw, Benjamin Lignel and Anne Dressen, Clément Rodzielski.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, once a year, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2022, English
Softcover, 456 pages, 15 x 22.5 cm
Published by
Ridinghouse / London
$69.00 - In stock -
This first ever queer history of St Ives weaves together biography with art and social history to shine new light on a pivotal era in the development of British modernism. At its centre is the sculptor John Milne (1931-1978), who arrived in the town in 1952 to work as an assistant to Barbara Hepworth.
Hidden behind 20-foot-high granite walls, Milne's house, Trewyn, became a meeting point for queer figures from the arts as well as the scene of legendary parties. The large cast - both queer and otherwise - featured in Queer St Ives and Other Stories includes artists Francis Bacon, Alan Lowndes, Marlow Moss, Patrick Procktor, Mark Tobey, Keith Vaughan and Brian Wall; Whitechapel Art Gallery director Bryan Robertson; actors Keith Barron and Richard Wattis; potter Janet Leach; and writers Tony Warren and Richard Blake Brown. There is also the extraordinary Julian Nixon, a queer Everyman whose involvement in the group has been little explored until now.
Based on original interviews and previously unpublished letters and diaries, Queer St Ives and Other Stories reveals a fascinating, previously undocumented history, adding vital new insights into the history of this fabled Cornish art colony. Publication supported by the Paul Mellon Centre.
1991, French
Softcover (w. dust jacket), 112 pages, 22 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Musée d'Art Moderne de la Ville de Paris / Paris
$220.00 - Out of stock
Very scarce, collectable, major retrospective survey catalogue on legendary Italian artist Pino Pascali (1935—1968) published to accompany exhibition at Musée d'Art Moderne de la Ville de Paris, March—May 1991, edited by Suzanne Pagé. Heavily illustrated throughout in colour and b/w with Pascali's major works, especially valuable as it includes the first published (partially illustrated) catalogue raisonné of Pascali's works, along with biography, exhibition history, bibliography, and texts (in French) by Pascali, Maurizio Calvesi, Alberto Boatto, Angeline Scherf, Bruno Cora, and Suzanne Pagé.
Pino Pascali (b. Bari, 1935—1968), in the late 1950s, whilst working as a set designer, graphic designer, scriptwriter, and creative writer for television advertising, met fellow Arte Povera artist Jannis Kounellis. In 1965, Pascali first exhibited his “fake sculptures,” a series of shaped-canvases that first appear to be solid sculptures but are actually paintings presenting abstract forms that suggest animals, plants and landscapes. During his brief activity as a sculptor at the height of Pop Art, Pascali, considered a key artist of the Arte Povera movement, produced no more than 149 works, many of which are true icons of twentieth-century Italian art. The day of his untimely death at the age of 32, following a tragic motorcycle accident on 11 September 1968, coincided with the moment of his greatest public recognition (his presentation at the Venice Biennale and the posthumous awarding of the Sculpture Grand Prix). His short, enigmatic career has served as an important, almost mythological, contribution to post-war European art.
Very Good copy.
2022, English
Hardcover, 608 pages, 27.9 x 20.1 cm
Published by
Walther König / Köln
Galerie Buchholz / Köln
Greene Naftali / New York
$290.00 - In stock -
Presenting the complete works of Germany’s greatest living minimalist painter.
A central figure in contemporary painting, Michael Krebber has never been the subject of a comprehensive scholarly monograph. The Michael Krebber Catalogue Raisonné is a projected multivolume catalogue of the artist’s complete work, compiling high-quality photographs, material descriptions, and provenance of his output in all media.
Focused on his early work, this first volume includes paintings, sculptures, works on paper, and film from 1972 to the year 2000. Opening with a historical essay that traces the genesis of Krebber’s practice in relation to contemporaries such as Martin Kippenberger and Albert Oehlen, the book also contains numerous short texts analysing and contextualising individual works.
In addition to a full biography and bibliography, the catalogue raisonné features extensive documentation of Krebber’s early exhibitions, many of which have not been published before.