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.
1992, French and English
Softcover, 141 pages, 13.7 x 20.3 cm
Published by
New Directions / New York
$30.00 - In stock -
René Char (1907-88) is acknowledged as one of the greatest French poets of all time. His work speaks in tones both universal and grounded in his native Provence, where during World War II he commanded the Resistance maquis. Originally allied with the Surrealists, his poems afterward evolved from the “fury and mystery” of the war period to his later existential and metaphysical reflections. His poems are violent and tender, passionate and cool, massive and of small scope-at once local and cosmic. The Selected Poems of René Char is a comprehensive, bilingual overview reflecting the poet’s wide stylistic and philosophical range, from aphorism to dramatic lyricism. In making their selections, the editors have chosen the voices of seventeen poets and translators (Paul Auster, Samuel Beckett, Cid Corman, Eugene Jolas, W.S. Merwin, William Carlos Williams, and James Wright, to name a few), in homage to a writer long held in highest esteem by the literary avant-garde.
2022, English
Hardcover (w. dust jacket), 304 Pages, 23.4 x 15.3 cm
Published by
Faber & Faber / London
$45.00 - Out of stock
From the acclaimed author of Art Sex Music comes a vital meditation on womanhood, creativity and self-expression, and a revelatory exploration into the lives of three visionary artists.
In 2018, boundary-breaking visual and sonic artist Cosey Fanni Tutti received a commission to write the soundtrack to a film about Delia Derbyshire, the pioneering electronic composer who influenced the likes of Aphex Twin and the Chemical Brothers. While researching Delia's life, Cosey became immersed in her story and uncovered some fascinating parallels with her own life. At the same time Cosey began reading about Margery Kempe, the 15th century mystic visionary who wrote the first English language autobiography.
Re-sisters is the story of three women consumed by their passion for life, a passion they expressed through music, art and lifestyle; they were undaunted by the consequences they faced in pursuit of expanding and enriching their lives, and unwilling to conform to the societal and cultural norms of their time.
2003, English / Japanese / French
Softcover (w. dust jacket), 68 pages, 22 x 20 cm
1st Edition, Out of print title / used / fine
Published by
Amus Arts Press / Japan
$100.00 - Out of stock
First edition of Kyoichi Tsuzuki's "Image Club" photo book, published in Japan in 2003. Image Club is a one-of-a-kind photographic glimpse at the constructed environments of a secret Tokyo bordello phenomenon called "ikemura" or "imeji kurabu" (image club). The Imekura-Image Club is a Japanese sexual role playing service in which fantasy sets of remarkably mundane environments (a commuter train, an office kitchen, a consulting room, a girl's bedroom...) are created for a customer to encounter an imekura girl of his dreams. Tsuzuki describes the strange phenomenon as "the far north of simulation art." The customer may want to molest a female commuter on the train, commit sexual harassment at the office or enter a young college student's room. It is a "temporary space that embodies delusions" and "a representation of the dynamism of an extremely Japanese imagination". Printed in full-page colour images, the rooms only pictured here devoid of human interaction, shot as empty interiors with an almost sterile gaze. Accompanying text by Kyoichi Tsuzuki in English, Japanese and French.
Kyoichi Tsuzuki (1956—) is a Japanese editor and photographer. After working as an editor and writer for the magazines "Popeye" and "BRUTUS", and whilst interviewing and compiling the "Art Random" series, Tsuzuki started taking photographs of unique environments specific to life in contemporary Japan. These photo collections have formed the cult, award-winning photo-books "ROADSIDE JAPAN", "TOKYO STYLE" and "Image Club", amongst others.
Fine copy with Fine Dust Jacket.
1994, Japanese
Softcover, 224 pages, 15 cm x 21 cm
1st Edition, Out of print title / used / very good
Published by
Tom Shobo / Japan
$80.00 - Out of stock
ORG No. 6, February 1994. Now rare and highly collectible, ORG was a visceral and visually explosive cult Japanese erotic photo journal series initiated and edited legendary Japanese publisher (Too Negative, etc.) and gallery owner Kotaro Kobayashi and published by Tom Publication Inc. between 1993 to 1997. After working in NYC in the early-mid 1990s, Kobayashi wanted to re-ignite the dense air that had evaporated from the erotic book market in Japan. Together with a team of creatives, including his close collaborator photographer Kiyoshi Ikejiri, ORG hit the shelves in 1993. In the same thick, glossy book format of Kobayashi's Too Negative, ORG shared very similar arresting and provocative themes, yet ORG focused it's densely-packed pages on erotica, less bloodlust. ORG features all manner of SM and bondage photography, underground scene reports, an abundance of tattoo/irezumi features, fetish, queer, dom/slave, she-male, mistress, alongside more traditional sensual nude female model photography and Japanese (and Euro) hardcore porn scenes. Considering it is by the same radical publishers as Too Negative, some bizarre/sado/exploitation/death/freak/medical/etc. content for good measure, always pushing the limits of taste and morality in the name of cultural freedom.
Not for the faint hearted.
This issue features photography stories by Yosimi Hara, Kiko Kunikuni, Hirowareta Kisai, Kiyoshi Ikejiri, "She-males on Parade", loads of tattoos, bondage, and the fantasy erotic illustration of Shin Taga.
Very Good copy.
1972, English
Softcover, 320 pages
1st Edition, Out of print title / used / good
Published by
Penguin Books / London
$30.00 - Out of stock
Herbert Marcuse's Negations is both a radical critique of capitalist modernity and a model of materialist dialectical thinking. In a series of essays, originally written in the period stretching from the 1930s to 1960s, Marcuse takes up the presupposed categories that have, and continue to, ground thought and action in our administered society: liberalism, industrialism, individualism, hedonism, aggression. This book is both a testament to a great thinker and a still vital strand of thought in the comprehension and critique of the modern organized world. It is essential reading for younger scholars and a radical reminder for those steeped in the tradition of a critical theory of society. With a brilliance of conception combined with an insistence on the material conditions of thought and action, this book speaks both to the particular contents engaged and to the fundamental grounds of any critique of organized modernity.
Herbert Marcuse (1898—1979) was a German-American philosopher, sociologist, and political theorist, and a prominent figure in the Frankfurt-based Institute for Social Research – what later became known as the Frankfurt School. Born in Berlin, Marcuse studied at the Humboldt University of Berlin and then at Freiburg, where he received his PhD. In his written works, including Eros and Civilization (1955) and One-Dimensional Man (1964), he criticized capitalism, modern technology, Soviet Communism and popular culture, arguing that they represent new forms of social control.
First 1972 Penguin edition, Good copy with some wear and crease to front cover.
1982, English
Softcover, 512 pages, 13.3 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Johns Hopkins University Press / Baltimore
$45.00 - Out of stock
The relationship between literature and psychoanalysis has never been one of equals. Traditional (particularly in American tradition), literature has been relegated to the position of foil for its more abstract counterpart—a mere body of language to be explained through the theoretical authority of psychoanalysis and, through its need to be interpreted, to add justification and prestige to Freudian theory. Such a relationship has always bothered literary critics—who feel that psychoanalysis refuses to even to recognize literature as such—and, of late, it has begun to both some scholars of psychoanalysis, as well. This volume proposes a fundamental reorientation of the relationship between literature and psychoanalysis, arguing that neither discipline dominates the other. Instead, the contributors assert that the subjects traverse each other's boundaries and that their relationship is one of give and take.
This thought-provoking volume contains readings of Shakespeare—including Jacques Lacan's study of Hamlet, which is as yet unpublished in French and is available exclusively in this volume—Coleridge, Henry James, and Dante, as well as of Freud, Lacan, Marx, Derrida, and Plato. Drawing heavily from French psychoanalytic theory as inspired by Lacan's pioneering interpretation of Freud, leading French and American scholars arrive at an approach that is characteristic of neither country. Bringing their own individual interests and perceptions to bear on the textual and theoretical encounters between literature and psychoanalysis, they suggest how both disciplines might be rethought, in terms of their uniqueness and their common wisdom. The object is not to establish hard and fast rules for the relationship, but rather to pave the way for new discussion and new theoretical possibilities. The provocative ideas set forth in this volume will interest students in fields ranging from French, English, literary theory, and psychoanalysis to history, philosophy, and women's studies.
Shoshana Felman is professor of French at Yale University and an editor of Yale French Studies. She is the author of La "Folie" dans l'oeuvre romanesque de Stendhal, La "Folie" et la chose Litteraire, and Le Scandale du corps parlant: Don Juan avec Austin, ou la Seduction en deux langues (the latter two forth-coming in English translation).
Very Good first edition.
1997, English
Softcover (w. card dust-jacket and sheet of artist's wrapping paper), 44 pages, 15 x 21 cm
1st Edition, Out of print title / as new
Published by
Self-Published / Melbourne
$60.00 - In stock -
Wonderful artist's book produced by Rose Nolan in 1997 to document a series of paper construction sculptures that were sent as presents (Birthday, Bon Voyage, New Baby, House Warming, et al.) to friends between 1996-1997.
This publication features the photo documentation of the presents received by Diena Georgetti, Jackie Redlich, Stephen Bram, Annie Jacobs, Christoph Preussmann, Sue Cramer, John Nixon, Kathy Temin, Mutlu Çerkez, and Richard Holt, in their respective new settings.
Includes a sheet of artist's wrapping paper laid-in.
Rose Nolan (b. 1959) is an Australian visual artist based in Melbourne working across painting, installation, sculpture, photography, prints and book production. Her practice regularly oscillates between the discrete and the monumental and is informed by a strong interest in architecture, interior and graphic design – combining formal concerns with the legacies of modernism. Nolan’s practice is known for its investigation of the formal and linguistic qualities of words, directly using language to transform the architectural space they inhabit. By making language concrete in this way meaning is allowed to be approached differently.
Nolan employs a radically reduced palette of red and white, and simple utilitarian materials and methods, in an exploration of personal, playful and often self-effacing narratives. Each work describes a concern for economy; a desire to be responsive to site; an interest in seriality and repetition; and the importance of language, interactivity, and the experience of the viewer.
2022, English
Softcover, 154 pages, 21 x 14 cm
Published by
Small Press / New York
$39.00 - In stock -
"In movies by Buñuel, Visconti, Bertolucci, and Pasolini, Pierre Clémenti was ravishing, a louche angel and devil, unreachable, unknowable, beautiful. In A Few Personal Messages, Clémenti claims your head and heart when he writes: "You think if you lock up your nightmares, you'll feel better." Imprisoned in Italy, his cri de cœur resonates with Oscar Wilde's De Profundis, both men inside for their "sins." Inside, Clémenti is ravaged and assaulted by jail's daily inhumanities and barbarisms. "In a society built on repression," he says, "who is innocent?" Here, Pierre Clémenti must be a modern-day secular saint, whose manifesto is profound, unforgettable, and like him, beautiful.—Lynne Tillman, American Genius, A Comedy and Men and Apparitions
Pierre Clémenti is one of my greatest heroes and role models. These legendary prison journals, in which he details his dedication to visionary, adventuring art and the fraught life his commitment induced, are a call to arms for daringly inclined artists of every stripe. Their long-awaited English birth is key and huge.—Dennis Cooper
Pierre André Clémenti (1942—1999) was a French actor. Born in Paris to an unknown father and Rose Clémenti, a Corsican concierge whose surname he took, Clémenti had a difficult childhood and took refuge in literature and the theatre. He studied drama and began his acting career in the theatre. Working as a telegraph operator and messenger to finance his acting studies at the Theatre National Populaire, Clémenti came to motion picture prominence as a seductive young criminal in Luis Bunuel's 'Belle de Jour' (1967). Thereafter, he was often employed by avant-garde film makers and typecast in intense roles, often as characters with a complex or dark past, working in some of the leading films of the era with directors such as Visconti, Pasolini, Bertolucci, Rivette, and many others. In 1972 his career was suddenly derailed when Clémenti was arrested in Rome for possession of LSD and cocaine. He spent 17 months in prison before being acquitted by an appeals court and released. He later authored a book about this chapter of his life. After his release he played the ever-optimistic sailor of the Potemkin in Dusan Makavejev's Sweet Movie (1974) and the role of Pablo, the seductive saxophone player, in Fred Haines's Steppenwolf (also 1974) adapted from the novel by Hermann Hesse. Pierre was married to actress Margareth Clémenti, mother of his son Balthazar, born in July 1965. Later he was married to Nadine, mother of his second child, Valentin Clémenti-Arnoult. Throughout his career he continued to be active in the theatre and with the French underground film movement, directing several of his own films which often featured fellow underground filmmakers and actors.
2015, English
Loose-leaf A4 material in stamped C4 envelope w. stickers, postcard, 7" vinyl record, 22.9 × 32.4 cm
Ed. of 100 copies,
Published by
Bunyip Trax / Melbourne
Endless Lonely Planet / Melbourne
$10.00 $5.00 - In stock -
Endless Lonely Planet is a yearly periodical, interested in the format of a year in time. With ongoing and new contributors having the loose deadline of a year to work within, mostly… Each issue explores a different binding, and accompany formatted recording.
Issue 4 includes a 7" record (BTX051) featuring tracks from Tim Coster, Alwayse, Mshing, Lucid Castration, Noematic Oblivion, Mouving, Porpoise Torture, Roman Nails, Papaphilia, and Psychward.
The printed components in this issue include contributions from Joshua Petherick, Virginia Overell, Y3K, Counterfeitness first, F K-X D, S.T. Lore, Aurelia Guo, some random pages, and stickers. These occupy a A4 postage envelope.
1978, English
Hardcover (clothbound w. dust jacket), 160 pages, 24.5 x 32 cm
1st Edition, Out of print title / used / very good
Published by
Octopus / London
$65.00 - In stock -
English edition of the great "Surrealist Drawings", edited by František Šmejkal, designed and printed in Czechoslovakia. A beautiful clothbound hardcover folio of drawings by artists affiliated with Surrealism. What makes this lovely collection special is the inclusion of many of the Czech Surrealists, and a generally broad European scope of artists. Czech art historian František Šmejkal has collated a wonderful selection of works on paper by Toyen, Jindřich Štyrský, Wolfgang Paalen, Giorgio de Chirico, Hans Bellmer, Alfred Kubin, Francis Picabia, Jacques Hérold, Yves Tanguy, Man Ray, Josef Istler, Max Ernst, André Breton, František Muzika, Paul Delvaux, Wilfredo Lam, Richard Oelze, Mikuláš Medek, Joan Miró, Josef Sima, Kurt Seligmann, Odilon Redon, Andre Masson, Max Walter Svanberg, Salvador Dali, Arshile Gorky, Victor Brauner, Rene Magritte, and many more.
Highly recommended.
Very Good copy with light edge wear. Very Good dust jacket.
2010, English
Softcover, 160 pages, 24.9 x 29 cm
Published by
Lund Humphries / London
$85.00 - Out of stock
This book remains the definitive survey of the life and work of Surrealist artist Leonora Carrington (1917-2011).
Carrington burst onto the Surrealist scene in 1936, when, as a precocious nineteen-year-old debutante, she escaped the stultifying demands of her wealthy English family by running away to Paris with her lover Max Ernst. She was immediately championed by Andre Breton, who responded enthusiastically to her fantastical, dark and satirical writing style and her interest in fairy tales and the occult. Her stories were included in Surrealist publications, and her paintings in the Surrealists' exhibitions.
After the dramas and tragic separations of the Second World War, Carrington ended up in the 1940s as part of the circle of Surrealist European emigres living in Mexico City. Close friends with Luis Bunuel, Benjamin Peret, Octavio Paz and a host of both expatriate Surrealists and Mexican modernists, Carrington was at the centre of Mexican cultural life, while still maintaining her European connections.
Leonora Carrington: Surrealism, Alchemy and Art provides a fascinating overview of this intriguing artist's rich body of work. The author considers Carrington's preoccupation with alchemy and the occult, and explores the influence of indigenous Mexican culture and beliefs on her production.
Susan L. Aberth received her PhD in Art History from the Graduate Center of the City University of New York; her dissertation was on the art of Leonora Carrington. She is currently Assistant Professor of Art History at Bard College, New York, where she specializes in Latin American Art.
1992, English
Softcover, 255 pages, 15.7 x 22.6 cm
1st Edition, Out of print title / used / very good
Published by
Polity / US
$25.00 - Out of stock
This book provides a lively introduction to the work of Roland Barthes, one of the twentieth century's most important literary and cultural theorists. The book covers all aspects of Barthes's writings including his work on literary theory, mass communications, the theatre and politics. Moriarty argues that Barthes's writing must not be seen as an unchanging body of thought, and that we should study his ideas in the contexts within which they were formulated, debated and developed.
Very Good copy.
2022, English
Hardcover (w. dust jacket), 248 pages, 21.6 x 12.7 cm
Published by
Seagull Books / London
$44.00 - Out of stock
With an Introduction by Milind Brahme
Translated by Gitta Honegger
A new play from Nobel Prize winner Elfriede Jelinek that deals with the 2015 terror attack on the satirical French magazine Charlie Hebdo’s offices in Paris.
In Greek mythology, it is Hera who blinds the hero Heracles, so that, in a fit of fury, he kills his own family. In the twenty-first century, the gods have another name. So did the three young men who stormed a magazine’s editorial office and a Jewish supermarket in Paris in January 2015 and murdered twelve people. The blind fury, however, remained and more virulent than ever, not least because the weapons were so much more effective.
In this raging text, arguably one of her darkest, Nobel Prize winner Elfriede Jelinek investigates topical political events in the context of enduring history and myths. Fury expresses itself not only multi-voiced and from the changing perspective of Islamist terrorists (and their special hatred of Jews), in the shape of furious German citizens, individual narcissistic humiliation, or brutal distribution battles around the globe. Rather, fury also appears as the motor that has driven people with a devastating force for centuries.
With her characteristic linguistic power, Jelinek articulates her own disconcertedness in the face of these crimes. In passing, she returns repeatedly to the contradiction between religious laws against representation and the deluge of images online, where movies of assassination, severed heads, and other atrocities are exhibited for millions to see. Fury is a compact grand epic that starts in primal times and attempts to describe the indescribable, relating the inexplicable in our times.
1991, English
Softcover, 272 pages, 22 .5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
St. Martin's Press / New York
$45.00 - Out of stock
The Hysterical Male is designed as a thematically focussed exploration of gender politics in the 1990s. Initiated as a companion volume to Body Invaders it provides an intense, provocative and creative theorization of feminism under the failing sign of male hystericization.
First edition, 1991. Very Good copy.
1995, English
2 Volumes, Hardcover (w. dust jacket), 752+1072 pages, 13 x 20 cm
Out of print title / used / very good
Published by
Random House / New York
$100.00 - In stock -
"Musil belongs in the company of Joyce, Proust, Kafka, and Svevo. . . . (This translation) is a literary and intellectual event of singular importance."—New Republic.
Volume 1+2 collected together in the first hardcover 1995 edition of this highly regarded, long-awaited new translation, the first in English to provide a complete text, bringing to its readers one of the greatest masterpieces in all twentieth-century literature in a two-volume set, now long out-of-print in hardcover.
The Man Without Qualities stands alongside Proust's Remembrance of Things Past and Joyce's Ulysses as one of the three literary masterworks of modernism. Dazzlingly written, ferocious, suffused with a high ironic intelligence, it uses Viennese high society on the eve of World War I to chronicle the decay and collapse of the entire Old World and, with utter prescience, to explore all that would follow in our Age of Anxiety. Part satire, part visionary epic, part intellectual tour de force, The Man Without Qualities is a work of immeasurable importance.
Robert Musil (1880—1942) was an Austrian philosophical writer. His unfinished novel, The Man Without Qualities, is generally considered to be one of the most important and influential modernist novels.
Very Good copy of both. In original Good dust jackets. Preserved in mylar wrap. No box.
1992, English
Softcover, 200 pages, 17.8 x 22.9 cm
1st Edition, Out of print title / used / good
Published by
October Books / New York
The MIT Press / Massachusetts
$45.00 - Out of stock
Slavoj Zizek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Zizek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of looking awry that recalls the exhilarating and vital experience of Lacan.
Zizek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject--at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Zizek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Zizek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
Good copy, some corner creasing to cover, light marking.
2022, English
Softcover, 60 pages, 18 x 11 cm
Published by
David Zwirner Books / New York
$25.00 - In stock -
Introduction by Mónica de la Torre.
Selections and playlists by Jeffrey Lependorf.
An intimate and unique collection of the work of John Ashbery—a prolific poet and art critic—pairing poetry and art writings with playlists of music from his personal library.
This book places poetry by Ashbery, gathered from his later collections, in conversation with a selection of contemporaneous art writing. In addition, as Ashbery loved music and listened to it while writing, the “playlists” here present samplings of music from these same years, culled from his own library of recordings.
Ashbery’s poetry is frequently described as ekphrastic, though, rather than writing a poem “based on” or “inspired” by the content of an artwork or piece of music, he engages with how the experience of seeing it and the artistic strategies employed offer ways of thinking about it and through it. Many observations from Ashbery’s art writing also provide keys to how we might read his poetry. Many recordings he listened to feature contemporary classical works that emphasize complex textures, disparate sounds, and disjunct phrases—qualities which are mimicked in his poetry.
In exploring this ekphrastic book project, the reader is invited to discover how, for Ashbery, these three forms might illuminate and inform one another. In Mónica de la Torre’s introduction, she explores the connection between the three muses of music, art, and poetry, and the ekphrastic experience of reading Ashbery.
2000, English
Softocver, 404 pages, 15.2 x 22.9 cm
Published by
Princeton Architectural Press / New York
$69.00 - Out of stock
Sexuality and Space's interdisciplinary essays address gender in relation to architectural discourse and critical theory, focusing on finding the close relationships between sexuality and space hidden within everyday practices. The contributors are Jennifer Bloomer, Victor Burgin, Beatriz Colomina, Elizabeth Grosz, Catherine Ingraham, Meaghan Morris, Laura Mulvey, Molly Nesbit, Alessandra Ponte, Lynn Spigel, Patricia White, and Mark Wigley.
"A milestone in the evolving discourse of architectural history and criticism.... These essays raise crucial questions about design and the experience of architecture, and many attempt to engage ... the rich critical literature of cultural studies." - Alice T. Friedman, JSAH
"Sexuality and Space is important, even necessary.... Both timely and well worth the time." - Thomas Keenan, Newsline
2022, English
Softcover, 220 pages, 10.8 x 18.2 cm
Published by
Warehouse / Amsterdam
$25.00 - Out of stock
"With the Warehouse Review series, we aim to give a proper analysis and contextualisation of certain contemporary fashion phenomena, but not only through an essayistic approach. Instead, we deploy various methods of research and analysis to zoom in on specific aspects that make – in our estimation – a fashion phenomenon into what it is. Our first edition of Warehouse Review, entitled ‘People Wearing Off-White’, was a thorough study of the fashion label Off-White and its immense popularity. With this second edition of Warehouse Review, we are taking a more meta approach: we are reviewing the fashion review, and in specific, those of the Louis Vuitton fall 2020 womenswear collection.
In his fall 2020 collection, Nicolas Ghesquière, the creative director of Louis Vuitton womenswear, explored notions around time. Talking to Nicole Phelps, the Director of Vogue Runway, he stated: “I wanted to imagine what could happen if the past could look at us.” With that sentiment in mind, the contributors of this Warehouse Review interrogated these, now historical written records, that collectively make up a response to Louis Vuitton fall 2020 presentation. Through this meta-critique, we hope to explore what we might learn about these past examples of catwalk writing as a way to move the discipline forward. As McNeil and Miller declared “…the reviewer is the critic!” it is now time to critique the critic and to review the review."
With contributions by: Aïcha Abbadi, Chinouk Filique de Miranda, Dal Chodha, Femke de Vries, Hanka van der Voet, Isabel Mundigo-Moore, Johannes Reponen, Laura Gardner, Megan Wray Schertler, Ricarda Bigolin and Sophie Barr.
Edited by Hanka van der Voet & Johannes Reponen.
Design by Line Arngaard.
Edition of 700 copies.
2017, English
Softcover, 152 pages, 10.8 x 11.8 cm
Published by
Sternberg Press / Berlin
$56.00 $15.00 - Out of stock
Contributions by Bart De Baere, Franco “Bifo” Berardi, Boris Groys, Elena Shaposhnikova, Marina Simakova, Hito Steyerl, Anton Vidokle, Brian Kuan Wood, Arseny Zhilyaev, Esther Zonsheim
According to the nineteenth-century teachings of Nikolai Fedorov—librarian, religious philosopher, and progenitor of Russian cosmism—our ethical obligation to use reason and knowledge to care for the sick extends to curing the dead of their terminal status. The dead must be brought back to life using means of advanced technology—resurrected not as souls in heaven, but in material form, in this world, with all their memories and knowledge.
Fedorov’s call to redistribute vital forces is wildly imaginative in emancipatory ambition. Today, it might appear arcane in its mystical panpsychism or eccentric in its embrace of realities that exist only in science fiction or certain diabolical strains of Silicon Valley techno-utopian ideology. It can be difficult to grasp how it ended up influencing the thinking behind a generation of young revolutionary anarchists and Marxists who incorporated Fedorov’s ideas under their own brand of biocosmism before the 1917 Russian Revolution, even giving rise to the origins of the Soviet space program.
This book of interviews and conversations with today’s most compelling living and resurrected artists and thinkers seeks to address the relevance of Russian cosmism and biocosmism in light of its influence on the Russian artistic and political vanguard as well as on today’s art-historical apparatuses, weird materialisms, extinction narratives, and historical and temporal politics. This unprecedented collection of exchanges on cosmism asks how such an encompassing and imaginative, unapologetically humanist and anthropocentric strain of thinking could have been so historically and politically influential, especially when placed alongside the politically inconsequential—but in some sense equally encompassing—apocalypticism of contemporary realist imaginaries.
Published in parallel with the eponymous exhibition at Haus der Kulturen der Welt, Berlin.
Series edited by Julieta Aranda, Brian Kuan Wood, Kaye Cain-Nielsen, Stephen Squibb, Anton Vidokle
Design by Jeff Ramsey, front cover design by Liam Gillick
2013, English
Softcover, 200 pages, 27.5 x 21.1 cm
Published by
Doingbird / Sydney
$14.00 $5.00 - Out of stock
Doingbird Seventeen, 2013
features Roe Ethridge, Walter Pfeiffer, Torbjørn Rødland, Shauna T, Fergadelic, Ryan Foerster, Max Doyle, Peter de Potter, Rene Vaile, Paul Wetherell, Ben Toms, Catherine Opie, Max Natkiel and much more.
2016, English
Hardcover, 384 pages, 26.7 x 21 cm
Published by
Hatje Cantz / Berlin
$99.00 $30.00 - Out of stock
Lynn Hershman Leeson is one of the first and most influential media artists. During the past five decades she has done pioneering work in the fields of photography, video, film, performance, installation, and interactive and net-based media art. Hershman Leeson's major themes are the construction of identity, surveillance and control, and life in the age of genetic engineering. This is the first comprehensive monograph on an international star of media art. Hershman Leeson's most well-known series is Roberta Breitmore (1973-78): a fictional character embodied by her and three other women, in part simultaneously. A kind of clone of the artist, her life is staged in real time and space. In her most recent works, Hershman Leeson includes web applications and mass communication media such as smartphones, as well as the latest scientific developments in the field of genetics and regenerative medicine, including 3D bioprinters that create human body parts.
Edited by Peter Weibel and texts by Pamela Lee and Andreas Beitin.
2015, English
Softcover, 110 pages, 14 x 21.6 cm
Published by
A.P.E (Art Projects Era)
Sternberg Press / Berlin
$45.00 $10.00 - Out of stock
Edited by Keren Cytter, Nora Schultz
Contributions by Ei Arakawa, Ilan Bachl, Keren Cytter, Matthew Dipple, Genoveva Filipovic, Dan Poston and David Zuckerman, Ulla Rossek, Nora Schultz, Sam Siwe
After Jennifer Lopez graced the 2000 Grammys red carpet in that now-iconic plunging Versace number, the Internet was so overloaded with search requests that Google had no choice but to invent a new function: image search. "At the time, it was the most popular search query we had ever seen," Google executive chairman Eric Schmidt wrote. "But we had no surefire way of getting users exactly what they wanted—J.Lo wearing that dress. Google Image Search was born."
—New York Post, April 9, 2015
Terminal is an artist book conceived by Nora Schultz and Keren Cytter. Its title and logic follow Schultz’s latest performance,Terminal + at Tate Modern, London (2014), and the exhibition “I’m Honda” at Reena Spaulings Fine Art, New York (2015). Nora Schultz used Google’s image search on her own documentation to create an unexpected, ever-expanding narrative of digital associations. She then invited nine artists to contribute to this narrative. Together with the image search, Schultz’s own texts and drawings create a new tale that deals with ideas such as authorship, copyright, surveillance, and documentation. It kicks off with Ilan Bachl’s diary, continues with rippled text by Ulla Rossek, and ends with an item from the Daily Mail about a couple who share their home with a Bengal tiger.
Copublished with A.P.E (Art Projects Era)
Design by Keren Cytter
2020, English
Softcover, 200 pages, 19.3 x 25.9 cm
Published by
Humanoids Inc. / Los Angeles
$48.00 $25.00 - Out of stock
From Milo Manara, one of comics' most acclaimed illustrators the world over, comes a collection of three of his most famous and sought after works—a lighthearted twist on Jonathan Swift's Gulliver's Travels, an edge-of-your-seat thriller in collaboration with Academy Award-nominated screenwriter Vincenzo Cerami (Life is Beautiful), and a uniquely Manarian adaptation of the Roman classic The Golden Ass of Apuleius—all of which highlight the artist's ever-titillating and masterful style of storytelling. A definitive collection, here translated to the English-language from their original Italian.
"Manara is a comics artist of uncommon ability, a master of linework and layout, whose storytelling chops deserve to be mentioned in the same breath as those of Kirby, Crumb, Toth, Moebius." — ComicsAlliance.com
Maurilio Manaro (b. 1945), known professionally as Milo Manara, is an Italian comic book writer and artist. His first work appeared in the 'Genius' pocket books in 1969, and in magazines like Terror, Telerompo, and the French magazines Alter-Linus and Charlie Mensuel. He also worked for various children's magazines, collaborating with Milo Milani. Manara illustrated five issues of the collection 'L'Histoire de France en Bandes Dessinées' for the French publisher Larousse between 1976 and 1978, and continued to work illustrating similar educational publications, such as 'La Découverte du Monde en Bandes Dessinées' (Larousse, 1979), 'L'Histoire de la Chine' (1980) and 'La Storia d'Italia a Fumetti' (Mondadori, 1978). Also in 1978, he cooperated with Alfredo Castelli on 'L'Uomo delle Nevi' for Cepim and he started with the series 'Giuseppe Bergman', the anti-hero graphic novels which are an ironic deconstruction of adventure stories and comic books as a medium. Manara briefly ventured into westerns with 'Quatre Doigts, L'Homme de Papier' in Pilote (1982), before establishing himself as one of the greatest creators of erotic comics. Manara's book 'Déclic' ('Il Cioco' or 'Click' in English, 1983), initially published in Playmen in Italy and L'Écho des Savanes in France, remains one of the most iconic, notorious and widely published erotic stories of our time. Throughout the 1980s and 1990s, Manara created a vast collection of erotic comic books, however he also kept on working in other genres. With the great Italian comic book artist Hugo Pratt, Manara worked on 'L'Été Indien' (in Corto Maltese) and 'El Gaucho' (in Il Grifo). Manara also worked with the film director Federico Fellini on 'Voyage à Tulum' (Corriere della Serra, 1986) and 'Le Voyage de G. Mastorna dit Fernet' (Il Grifo, 1992). In the 1990s-2000s Manara made books for Les Humanoïdes Associés, DC/Vertigo, Marvel Comics and teamed up with writer, film director Alejandro Jodorowsky.