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.
1976, English
Softcover, 432 pages,
1st Edition, Out of print title / used / good
Published by
Vision / London
$55.00 - In stock -
First softcover edition of The Secret Life of Salvador Dalí, published by Vision in London in 1976. Painter, designer, and filmmaker Salvador Dalí (1904-1989) was one of the most colourful and controversial figures in twentieth-century art. A pioneer of Surrealism, he was both praised and reviled for the subconscious imagery he projected into his paintings, which he sometimes referred to as hand-painted dream photographs.
This early autobiography, first published in 1942, which takes him through his late thirties, is as startling and unpredictable as his art. On its first publication, the reviewer of Books observed: It is impossible not to admire this painter as writer. As a whole, he ... communicates the snobbishness, self-adoration, comedy, seriousness, fanaticism, in short the concept of life and the total picture of himself he sets out to portray. Dalí's flamboyant self-portrait begins with his earliest recollections and ends at the pinnacle of his earliest successes. His tantalizing chapter titles and headnotes—among them Intra-Uterine Memories, Apprenticeship to Glory, Permanent Expulsion from the School of Fine Arts, Dandyism and Prison, I am Disowned by my Family, My Participation and my Position in the Surrealist Revolution, and Discovery of the Apparatus for Photographing Thought—only hint at the compelling revelations to come.
Here are fascinating glimpses of the brilliant, ambitious, and relentlessly self-promoting artist who designed theater sets, shop interiors, and jewellery as readily as he made surrealistic paintings and films. Here is the mind that could envision and create with great technical virtuosity images of serene Raphaelesque beauty one moment and nightmarish landscapes of soft watches, burning giraffes, and fly-covered carcasses the next. For anyone interested in twentieth-century art and one of its most gifted and charismatic figures, The Secret Life of Salvador Dalí is essential reading.
Illustrated with photographs of Dalí and his works, and scores of Dalí drawings and sketches. Translated by Haakon M. Chevalier; introduction by Robert Melville.
Good copy, creasing to covers, light general wear.
2007, English
Hardback (w. dust jacket), 242 pages, 21 x 28 cm
1st Edition, Out of print title / as new
Published by
Yale University Press / New Haven
$45.00 - In stock -
As a very young artist in training at the academy in Madrid, Salvador Dalí worked in two distinct modes a highly detailed naturalism (under the influence of the return to order”) and a more avant-garde, cubist-derived style that owed much to Picasso (whom Dalí visited in Paris in 1926). Then, in 1927, the twenty-three-year-old artist, influenced by André Breton’s Surrealist Manifesto of 1924 and the paintings of such artists as Joan Miró and Yves Tanguy, began to move towards Surrealism. In the spring of 1929, to coincide with the shooting of Buñuel’s Un Chien andalou, Dalí organized his first Paris exhibition, thereby gaining acclaim as a full member of the surrealist movement.
This book offers a wealth of new material about Dalí’s formative years as a young artist in Spain and first years in Paris. Fèlix Fanés, one of the most knowledgeable Dalí scholars in the world, transforms perceptions of the artist and shows how the stage was set for the emergence of Dalí’s mature artistic personality. With a fresh and detailed assessment of Dalí’s truly revolutionary work, Fanés reveals the central role of the artist not only in the development of the Surrealist movement but also the course of 20th-century art.
Out-of-print, As New copy.
1979, English
Hardcover (w. dust jacket), 238 pages, 32 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Park Lane / New York
$65.00 - In stock -
First English hardcover edition of this monographic on Salvador Dalí by Spanish writer Ramón Gómez de la Serna, published by Park Lane in 1979.
This book is a tribute to two great Spanish personalities of our century, the painter Salvador Dali and the writer Raman Gomez de la Serna. When Raman Gomez de la Serna undertook a study of Salvador Dali, Dali himself promised to illustrate the text with original drawings. Unfortunately, the death of the writer in 1963 prevented the project from being realized until recently, when the study, almost complete, was discovered posthumously among his papers. Dali kept his word and this magnificent book is the result.
Supported by other writings, photographs, and illustrations, Dali is made up of three sections. The first of these is largely composed of the essay and the drawings, with a note by the Spanish scholar Sebastian Grasso on Ramon Gomez de la Serna, and a chronology which charts the life and works of the surrealist artist. The second section contains more than 80 color reproductions of Dali's works....
Lavishly illustrated in paintings, drawings, Dalí's home, studio, furniture, musuem, testimonials, and much more.
Painter, designer, and filmmaker Salvador Dalí (1904-1989) was one of the most colourful and controversial figures in twentieth-century art. A pioneer of Surrealism, he was both praised and reviled for the subconscious imagery he projected into his paintings, which he sometimes referred to as hand-painted dream photographs.
Ramón Gómez de la Serna y Puig (3 July 1888 in Madrid – 13 January 1963 in Buenos Aires) was a Spanish writer, dramatist and avant-garde agitator. He strongly influenced surrealist film maker Luis Buñuel.
Very Good in Good dust jacket, some edge wear.
1982, English
Softcover, 34 pages, 17.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
The Alternative Museum / New York
$100.00 - In stock -
Extremely scarce, lovely catalogue published on the occasion of the exhibition "Visual Politics", curated by Geno Rodriguez at the Alternative Museum in New York, 1982.
Featuring the work of Melvin Edwards, David Hammons, Francesc Torres, Sonia Balassanian, Benedict J. Fernandez, Daniel Kazimierski, Despo Magoni, Juan Sanchez, Randy Lee White, amongst others. Illustrated throughout with the artworks featured in the exhibit, plus biographical info for each artist and a foreword essay by Robert H. Browning.
Very Good with light edge tanning with age.
1986, English
Softcover (staple-bound), 16 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$30.00 - Out of stock
Premier issue of the Athletic Model Guild trade catalogue of photos, slides, videos, and magazines, from the makers of the iconic Physique Pictorial magazine (back-issues also all listed). Packed with male nudes and their profiles. Published in 1986.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1991, English
Softcover (staple-bound), 32 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$40.00 - Out of stock
Athletic Model Guild's Nude Wrestlers & Wrestling Information Catalog (Vol. 2), published in 1991. Densely packed with photographs of full-frontal male nude models with catalog numbers relating to available VHS and Beta video tapes as well as cover and inner cover stills from the wrestling videos produced by AMG.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1970, English
Softcover (staple-bound), 32 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$60.00 - In stock -
Physique Pictorial Vol. 18, #1 January, 1970 issue of the iconic Physique Pictorial magazine from Los Angeles. Original issue packed with nude photographs and illustrations from various artists. Includes both covers by Tom of Finland.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1976, English
Softcover (staple-bound), 32 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$60.00 - Out of stock
Physique Pictorial Vol. 28 August, 1976 issue of the iconic Physique Pictorial magazine from Los Angeles. Original issue packed with nude photographs and illustrations from various artists. Includes cover artwork by Tom of Finland.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1984, English
Softcover (staple-bound), 69 pages, 28 x 21cm
1st Edition, Out of print title / used / good
Published by
Drummer / San Francisco
$65.00 - Out of stock
Very rare copy of The Erotic Art of Bill Ward, a book of homoerotic fantasy comic stories by British gay graphic artist, Bill Ward (1927–1996), published by Drummer magazine. This volume collects his various graphic erotic adventures that would appear in the pages of British and American magazines from about 1976 onwards, such as Him, Zipper, Manifest Reader, Stroke, Drummer, etc. It particularly focusses on his famed "Adventures of Drum" series, and also the strips of "King". Muscular bears, bikers, barbarians, cops and mythological creatures in sexual quests that play out in clubs, alleys and dungeons.
Bill Ward was a gay graphic artist born 20th August 1927 in East London. (Not to be confused with the American heterosexual erotic artist by the same name, William Hess Ward 1919-1998). Bill's publishing career began as a copyboy in newspaper publishing before becoming an art editor for children’s comics and then a graphic artist. He worked as a graphic artist for Amalgamated Press and Fleetway on childrens’ comics, notably their Thriller series (November 1951 – May 1963). In 1957 Bill had his first erotic drawings published anonymously in the British physique magazine Male Classics and he would later work openly for hard-core American magazines. Bill’s work features in the same issue of Drummer that includes Robert Mapplethorpe’s first commissioned cover (issue 24, September 1978). Bill was a member of the British gay bikers club called MSC London. Bill Ward died on 24th July 1996 at Stratford in London at the tail end of the worst period of the AIDS epidemic.
Good copy with light wear and spine pinching.
2008, English
Softcover, 368 pages, 12.9 x 19.6 cm
Published by
Penguin Books / Australia
$28.00 - Out of stock
Translated by Celina Wieniewska
Foreword by Jonathan Safran Foer
Introduction by David Goldfarb
The collected fiction of "one of the most original imaginations in modern Europe"—Cynthia Ozick
Bruno Schulz's untimely death at the hands of a Nazi stands as one of the great losses to modern literature. During his lifetime, his work found little critical regard, but word of his remarkable talents gradually won him an international readership. This volume brings together his complete fiction, including three short stories and his final surviving work, Sanatorium Under the Sign of the Hourglass. Illustrated with Schulz's original drawings, this edition beautifully showcases the distinctive surrealist vision of one of the twentieth century's most gifted and influential writers.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
2015, English
Softcover, 264 pages, 23 x 15 cm
Published by
Wakefield Press / Cambridge
$40.00 - In stock -
Three savage plays from the man André Breton designated as one of the only “true Dadas” (alongside Tristan Tzara and Francis Picabia): The Emperor of China (1916), The Mute Canary (1920) and The Executioner of Peru (1928). The first two have long been acknowledged as highpoints in the Dada movement’s contribution to the theater, but in their brutal depictions of violent sexuality and nightmarish tyranny, and their casts of manipulative bureaucrats, murderous henchmen, insane dictators, lascivious virgins, Ubuesque cuckolds and nonsense-spewing enigmas, these plays also echo the work of such other dissident surrealists of the era as Georges Bataille and André Masson. These unsettling theatrical works were significant anticipations of Antonin Artaud’s Theater of Cruelty and the Theater of the Absurd of the 1960s.
Georges Ribemont-Dessaignes (1884–1974) was a French writer and artist, and one of the fiercest adherents of the Paris Dada movement, acting as the group’s secretary, and for which he authored some of its most vitriolic texts. Disenchanted with the Surrealist movement that followed, Ribemont-Dessaignes allied himself instead with such other Surrealist dissidents as René Daumal and the Grand Jeu. Throughout his long life, Ribemont-Dessaignes authored a sizable oeuvre of novels, plays, poetry, essays and memoirs, none of which has to date been translated into English.
“[The Emperor of China] is a powerful play that combines the elements of nonsense and violence which characterizes the Theater of the Absurd.”—Martin Esslin
Translated, with an introduction, by Christopher Butterfield
2011, English
Softcover, 232 pages, 23 x 15 cm
Published by
Wakefield Press / Cambridge
$39.00 - In stock -
A foundational classic of Surrealist literature, The Leg of Lamb: Its Life and Works brings together the arch-Surrealist Benjamin Péret’s short prose: a smorgasbord of automatic writing and fantastical narratives that play on a medley of registers, employing everything from the cinematic antics of Buster Keaton and slapstick animation to the storytelling devices of detective novels, alchemical operations, and mythology. The Leg of Lamb consists of twenty-four delirious narratives, including the novella-length works … And the Breasts Were Dying… and There Was a Little Bakeress…. Péret’s adult fairy tales bear equal allegiance to Lewis Carroll and the Marquis de Sade, and present one of the clearest examples of Surrealist humor, in which the boundaries between character and object blur, and where a coat rack, artichoke, or a pile of manure is just as likely as Napoléon, El Cid, or Pope Pius VII to take on the role of hero and adventurer.
Péret himself edited this collection toward the end of his life. Originally published in French in 1957, almost all of the stories in this collection had been written in the 1920s, half of them even preceding André Breton’s Manifesto of Surrealism. The Leg of Lamb offers not just a highpoint of Surrealist automatic writing, but a key chapter in the genesis of the Surrealist movement. Here, Péret’s unfettered imagination does not so much represent Surrealism as constitute it, and describes a world defined by childlike delight and aggression—a world in which metamorphosis is endless and death is dream.
Benjamin Péret (1899–1959) was a Surrealist’s Surrealist, audaciously baroque and incessantly irreverent, a founding member of the Surrealist movement and its only member besides André Breton to remain a Surrealist to the end. He was Salvador Dalí’s favorite poet, an inspiration to Luis Buñuel, and a major influence on Octavio Paz. Péret fought in the Spanish Civil War as a member of the Durutti Column, but also fought every literary current he came up against in his lifetime. He was a fierce antinationalist, a true revolutionary, and a lifelong insulter of priests.
“One of the most extraordinary poets of our time.”—Salvador Dalí
“Humor gushes here as if from the source.”—André Breton
“[T]he quintessential surrealist poet; his work seems to flow freely, untrammeled by any cultural effort, from a hidden source of inspiration, spontaneously recreating a wholly new and different world.”—Luis Buñuel
Translated, with an introduction, by Marc Lowenthal
2022, English
Softcover, 210 pages, 21.7 x 28 cm
$35.00 - Out of stock
The Art & Crime issue.
Spike #72 puts the art world's money launderers, tax evaders, forgers, and brutes on trial. But it doesn't stop there. Inquisitiveness leads to bigger questions, like: Is "crime" only defined by its evil twin "justice?" Are our rights and wrongs only norms to be probed? How do we rewrite past injustices? But then, isn't rupture needed for change? Is acting outside the law the only way to dream of a better world?
Grab a copy of "Art & Crime" and dirty your mind with the liberty of villains, Russian high rollers, the metaphysics of shoplifting, prison literature, fashion crimes, psychopaths, and more.
In Spike #72 we learn what James Bridle’s favorite queer podcast and sea animal are, why Marlene Dumas keeps haunting Övül Ö. Durmusoglu, and what it was like for Denys Zacharopoulos to curate Cady Noland’s psychotic exhibition at documenta 9. The issue continues with Francesco Tenaglia and Tommaso Pincio discussing Caravaggio the murderer, Tobias Timm investigating the places where artworks are only ever seen by the empty gaze of CCTV cameras, and Estelle Hoy making a case that some of the greatest world literature was written in the clink.
What’s crime got to do with seduction, freedom, and the past are questions answered by Brad Phillips, Steve Hall, Arlette-Louise Ndakoze. Mug shots of “criminal” artists like Darja Bajagić (by Ingrid Luquet-Gad), Stéphane Mandelbaum (by Colin Lang), and the art collective Asco (by Isabella Zamboni) are taken, and Dan Mitchell’s image contribution will get you humming the theme from Cops.
Artur Klinau depicts a time when art was a crime in Russia, Sam Kriss makes a case for the great grifters of our age, and Cara Schacter pontificates on the values of shoplifting. Biz Sherbert then gives advice on one of the most committed crimes: bad fashion. As ever, there are views from exhibitions, postcards, and things we like, and Tea Vlahovic Hacic closes the issue with Gesellschaft am Ende.
1977, English
Softcover, 100 page, 22 x 30 cm
Out of print title / used / average
Published by
Ballantine Books / New York
$10.00 - Out of stock
The Graphic Work of M.C. Escher, published in 1971 at the height of Dutch graphic artist Maurits Cornelis Escher's new-found appreciation, and only a year before his death in 1972. Born in 1898, Leeuwarden, Netherlands, Escher made mathematically inspired woodcuts, lithographs, and mezzotints. Escher was for most of his life neglected in the art world, even in his native Netherlands. He was 70 before a retrospective exhibition was held. His popularity in the 1960's amongst hippies, admiring Escher's prints for their psychedelic qualities, ushered in a wider appreciation in the late twentieth century, and in the twenty-first century he has been celebrated in exhibitions around the world. Today he's seen as a precursor of chaos theory and cyberspace for his Moebian diagrams and weird doppelgangers. This popular book presents 76 of his most beloved graphics, mostly in b/w, some colour.
Average copy with wear, cover creases.
1976, English
Softcover, 234 pages, 28 x 21 cm
1st Edition, Out of print title / used / good
Published by
Da Capo Press / New York
$15.00 - Out of stock
First softcover edition of this heavy volume from 1976, Pattern: A Study of Ornament in Western Europe 1180-1900 ( Volume I: The Middle Ages), first published by Clarendon Press in Oxford in the 1930s. Profusely illustrated throughout, this extensive study traces the development of European ornamental art from the beginning of the Gothic period in France to the end of the Middle Ages, explaining and illustrating in fascinating detail the Pastoral vision of nature used in art of every sort, as well as the rise of Decorative Heraldry. Includes bibliographical references.
Good copy with light wear to covers.
1983, French
Softcover, 110 pages, 21 x 30 cm
1st UK Edition, Out of print title / used / good
Published by
Centre Georges Pompidou / Paris
$70.00 - Out of stock
First edition of this scarce, long out-of-print 1983 catalogue on Richard Serra, published by Centre Georges Pompidou, Paris, in conjunction with an exhibition exhibition survey. Profusely illustrated throughout with texts by Yve-Alain Bois, Rosalind Krauss and Alfred Pacquement. Includes full list of artworks, biography, exhibition history, bibliography, and much more. Texts in French.
Richard Serra (b. 1938) is an American artist commonly associated with Minimalism and the Process Art movement. Though perhaps best known for his monumental works made from industrial steel, Serra has also worked extensively in painting and printmaking. After attending the University of California, Berkeley, he earned his MFA from Yale, where he became friends and collaborators with classmates such as Frank Stella, Chuck Close and Nancy Graves, to whom Serra was married for five years. Later working in New York, Serra was inspired by Minimalist contemporaries such as Carl Andre and Sol LeWitt, who valued the work of creation more than the finished artwork itself.
Good copy with light wear to covers/spine, interior Very Good throughout.
1983, English / Japanese
Softcover, 36 pages, 27 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Akira Ikeda Gallery / Tokyo
$120.00 - In stock -
Very rare Richard Serra catalogue published on the occasion of his Japanese solo exhibition 'New Sculpture' at Akira Ikeda Gallery, Tokyo, June 6-July 30, 1983. This handsome publication, rather than illustrating the exhibited works, surveys many of Serra's works spanning 1969-1983, illustrated in full-page monochrome throughout, and accompanied by introduction by author, architect, and Master of Architecture Yale University, Maki Kuwayama, portrait of the artist, list of works, biography, bibliography, exhibition list. All texts in English and Japanese.
Richard Serra (b. 1938) is an American artist commonly associated with Minimalism and the Process Art movement. Though perhaps best known for his monumental works made from industrial steel, Serra has also worked extensively in painting and printmaking. After attending the University of California, Berkeley, he earned his MFA from Yale, where he became friends and collaborators with classmates such as Frank Stella, Chuck Close and Nancy Graves, to whom Serra was married for five years. Later working in New York, Serra was inspired by Minimalist contemporaries such as Carl Andre and Sol LeWitt, who valued the work of creation more than the finished artwork itself.
Serra’s work is installed permanently at the Guggenheim Bilbao, and can also be found in the collections of Dia:Beacon, the San Francisco Museum of Modern Art and the Tate, London.
Very Good copy, only light tanning to spine, otherwise fine throughout.
1971, German
Hardcover (cloth-bound), 264 pages, 18.5 x 23 cm
1st Edition, Out of print title / used / average
Published by
Propyläen-Verl / Berlin
$15.00 - Out of stock
First edition of this catalogue raisonne of lithographs by German painter, sculptor and graphic artist, Paul Wunderlich (1927—2010). Illustrated heavily throughout, this wonderful and extensive reference book of graphic works by Wunderlich was compiled by the artist, together with gallerist Dieter Brusberg, and accompanied by texts from art historians and philosophers Max Bense, Hanns Theodor Flemming, Fritz J. Raddatz, Frank Whitford, and others.
Paul Wunderlich (1927—2010) is known for his erotic, Surrealist-inspired paintings, prints, and sculptures featuring mythological imagery. A pioneer of Magic Realism, Wunderlich received the Japan Cultural Forum Award and the Kunstpreis des Landes Schleswig-Holstein among other accolades. Despite his iconic works being held in some of the world’s most prominent museums, such as the Museum of Modern Art, the British Museum, and the Victoria and Albert Museum, Wunderlich remains an “artist’s artist.” He studied graphic arts at the University of Fine Arts in Hamburg; he later learned printmaking techniques from Oskar Kokoschka and Emil Nolde. His early paintings displayed an abstract, Tachist style, although he embraced figuration in the late 1950s and he developed his characteristic style. He portrayed dismembered figures and sexually provocative imagery reminiscent of the Surrealists, but also influenced art movements such as Art Deco and Art Nouveau. His work was critically received as so scandalous that, in 1960, his lithograph series Qui s’explique (1959) was seized by authorities in Hamburg, and he often had trouble with raids that destroyed his works. Paul Wunderlich was married to photographer Karin Székessy in 1971, and the couple pursued art projects together.
Average copy as the fragile glue has deteriorated and many pages are loose, though all are present.
1997, English
Hardcover (w. dust jacket), 830 pages
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$80.00 - Out of stock
First English edition of this monumental 830 page book for documenta X, the last documenta of the twentieth century and the first directed by a woman, the French curator Catherine David, brings together the work of more than 100 of the world's foremost thinkers, writers, and artists in an extraordinary anthology of seminal texts and images of, on, and about the development of Western cultural and critical theory since 1945.
The book "seeks to indicate a political context for the interpretation of artistic activities at the close of the twentieth century, through a montage of images and documents from the immediate post-war period to the present. The range of material treated here is not encyclopaedic; it represents a polemical attempt to isolate specific strands of artistic production and political endeavour which can be taken as references in the contemporary debate over the evolution of our societies. Drawing from distinct yet interrelated territorial and linguistic domains, the book singles out complex cultural responses to the unifying processes of global modernity."—from the book jacket.
A comprehensive work in itself, rich with enmeshed texts and illustrations of artworks, film stills, historical documents throughout in colour and in black and white.
Writers include: Theodor W. Adorno, Maurice Blanchot, Pier Paolo Pasolini, Paul Celan, Amílcar Cabral, Masao Miyoshi, Hannah Arendt, Michel Foucault, Gilles Deleuze, Félix Guattari, Jacques Rancière, Tadao Sato, Youssef Ishaghpour, Josef Beuys, Samuel Beckett, Albert Camus, Rainer Werner Fassbinder, Rem Koolhaas, Sandra Álvarez de Toledo, Witold Gombrowicz, Herve Joubert-Laurencin, Jean-François Chevrier, Marguerite Duras, Edward Said, Henri Alleg, Pierre Vidal-Naquet, Uwe Johnson, Jerzy Grotowski, James Clifford, Primo Levi, Pierre Clastres, Andrea Branzi, Fabrizio Gallanti, Gérard Chaliand, Stig Björkman, Daniel Defert, Saskia Sassen, Catherine David, Benjamin Buchloh, Paul Virilio, Serge Daney, Étienne Balibar, Nadia Tazi, and many others.....
Artists include : Archigram, Martin Kippenberger, Archizoom Associati, Art & Language, Hans Haacke, Oyvind Fahlström, Samuel Beckett, Franz West, Andrea Zittel, Heimo Zobernig, Nancy Spero, Jean-Luc Godard, Marcel Broodthaers, Lygia Clark, Jörg Herold, Fischli & Weiss, Dan Graham, Robert Adams, Peter Friedl, Paweł Althamer, Liam Gillick, Mike Kelley & Tony Oursler & Diedrich Diederichsen, Stan Douglas, Harun Farocki, Ed van der Elsken, Walker Evans, Aldo van Eyck, Heiner Goebbels, William Kentridge, Ulrike Grossarth, Richard Hamilton, Vito Acconci, Raymond Hains, Pier Paolo Pasolini, Siobhán Hapaska, Ecke Bonk, Carsten Höller & Rosemarie Trockel, Carl Michael von Hausswolff, Lois Weinberger, Hélio Oiticica, Gabriel Orozco, Olaf Nicolai, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Marc Pataut, Gordon Matta-Clark, Christian Philipp Müller, Matt Mullican, Antoni Muntadas, Jean-Luc Moulène, Reinhard Mucha, Álvaro Siza, Toyo Ito, John C. Portman Jr., Paulo Mendes da Rocha, Mariella Mosler, Josef Beuys, Steve McQueen, Chris Marker, Lothar Baumgarten, Jean Dubuffet, Kerry James Marshall, Maria Lassnig, Rem Koolhaas, Joachim Koester, Suzanne Lafont, Sigalit Landau, Helen Levitt, Garry Winogrand, Brassaï, Le Corbusier, Antonin Artaud, and so many more...
Very Good coy, light wear. Good dust jacket with some creasing and edge wear.
1985, English
Softcover (folded catalogue and poster), 75 x 50 cm
1st Edition, Out of print title / used / very good
Published by
Boilerhouse Project / London
Victoria and Albert Museum / London
Miyake Design Studio / Tokyo
$170.00 - Out of stock
Stunning and extremely rare Issey Miyake exhibition poster / publication for the exhibition produced by Miyake Design Studio and held at the Boilerhouse, Victoria and Albert Museum, London, February 27 - April 9, 1985. Issued as a folded publication: one-side photography (by Gilles Tapie, Kazumi Kurigami, Tsutomu Wakatsuki, Marcus Leatherdale, Daniel Jouanneau) and texts about Issey Miyake (by Stephen Bayley, James J. Nelson), the verso a gorgeous 75 x 50 cm poster advertising the exhibition, with photography by Gilles Tapie, a well-known French photographer who is married to ballerina Sylvie Guillem. Design by Bill Womack, London and Studio Aile, Tokyo.
Very Good condition. Small pin holes in corners from previous use (not impacting cover side), general light fold/edge wear.
2014, Japanese / English
Hardcover (w. postcard and sticker), 166 pages, 25 x 25 cm
1st Edition, Out of print title / used / fine
Published by
Toei / Japan
$100.00 - Out of stock
Beautiful hardcover catalogue of the extraordinary Japanese 2014 travelling exhibition "Moomin! Moomin Exhibition: Tove Jansson's 100th Anniversary", organised with the collections of the Tampere Art Museum. This profusely illustrated book is very special in that it concentrates it's contents on Jansson's sketches and illustrations for her famous Moomintroll books and other productions. Over 200 illustrations spanning 1940s-1970s, in pencil, ink, gouache and watercolour, throughout which Jansson's message is clear: "She wanted people to be friendly and helpful, open-minded and adventurous. She loved nature, especially the sea and all its creatures. She would have wanted us to take care of our environment and the people living on earth. There is still a lot learn from the Finnish family Moomintroll." Also includes an illustrated biography, portraits of Jansson in Finland and Japan, and further images of her dolls, animation models, other paintings, etc. Texts in Japanese with introduction in English. A book that will not disappoint any Moomin fan.
Tove Marika Jansson (1914 – 2001) was a Swedish-speaking Finnish author, novelist, painter, illustrator and comic strip author. Brought up by artistic parents, Jansson studied art from 1930 to 1938 in Stockholm, Helsinki and Paris. Her first solo art exhibition was in 1943. She continued to work as an artist and a writer for the rest of her life, and it was with the creation of her much-loved Moomin characters that she become known around the world. Jansson wrote the Moomin books for children, starting in 1945 with The Moomins and the Great Flood. Her books became international classics translated to 35 languages. For her work as a children's writer she received the Hans Christian Andersen Medal in 1966.
Fine copy w. inserted exhibition postcard and sticker.
1994, English
Softcover, 144 pages, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
A.D. (Architectural Design) / London
$25.00 - Out of stock
Published in 1994 and long out-of-print, this volume presents a view of recent developments in Russian art and architecture in the context of the critical debates of postmodernism and national cultures. The return to popular national sources in the 1960s through the 1980s was a means for Soviet artists in a multi-ethnic state to avoid submersion in the official ideology of "Socialist-Realism". The transition from totalitarianism to pluralism is evident in the diversity of work featured by both artists and architects from different regions of the former USSR. The essays presented here are by leading Russian and Western art and literary critics, including Charles Jencks, Alexander Rappaport, Alexei Tolstoy, and Nadezhda Yurasovskaya. They provide a critical, historical and personal context for a survey of the work produced in Russia since the fall of Communism.
Very Good copy, only light wear, small split to spine edge.
2018, English / French
Softcover, 384 pages, 19 x 24 cm
Published by
Les Presses Du Reel / Paris
$85.00 - In stock -
Fabio Mauri (1926-2009) is the epitome of the artist-intellectual in Italy. His oeuvre, which spans the latter half of the 20th century, unclassifiable, stands apart from the principal movements of Italian contemporary art. It is a diverse and colossal work to which the archives preserved at the Studio Fabio Mauri in Rome bear witness. 'Fabio Mauri: The Past in Acts' is the first study dedicated to this artist's performative work, which began in the early 1970s, and continued up to the 2000s.
Fabio Mauri is one of the masters of the Italian avant-garde of the post-war period. In 1942 he founded the Il Setaccio magazine with writer/director/frequent collaborator Pier Paolo Pasolini. In the seventies, Mauri worked on installations, performances and art books, focusing on Italian social and political events. A profound connoisseur of the publishing world, he was president of two major publishing houses and in 1967 he founded the magazine Quindici with Umberto Eco, Edoardo Sanguineti and Angelo Guglielmi. Fabio Mauri weaves the dimension of performance, to the space of history. The use of the body as a screen in " The Gospel according to Matthew" by/on Pier Paolo Pasolini, at the Gallery of Modern Art in Bologna, remains an unforgettable work. In it the same Pasolini, seated on a chair with a white shirt, had his own film of 1964 projected on his chest The Gospel according to Matthew. For 20 years he taught Aesthetics of Experimentation at the Academy of Fine Arts in L'Aquila. He was invited to the Venice Biennale in 1954, 1974, 1978, 1993, 2003, 2013, 2015 and in 2012 at dOCUMENTA (13) in Kassel.
2022, English
Hardcover, 256 pages, 21 x 27 cm
Published by
Mousse / Milan
$60.00 - In stock -
Retrospective monograph of the pioneer of Turkish contemporary and conceptual art, Füsun Onur.
Once upon a time..., a new installation conceived for the Pavilion of Turkey at the 59th International Art Exhibition of La Biennale di Venezia, curated by Bige Örer, exemplifies not just the artist's recent work, but the narrative and autobiographical elements that have characterized her art for more than half a century. A companion to the exhibition, this book is the most comprehensive monograph ever published on the artist. It details almost all of her works, and includes twenty-six new essay by leading figures in the international art world, as well as archival fragments and interviews.
Füsun Onur (born 1938 in Istanbul) began her art practice in the 1960s, producing works that what beyond the traditional confines of painting and sculpture, giving form to her art through instinct and intuition and creating a language beyond time. In the decades since, she has become a leading figure in Turkish contemporary art, both through her inclusion of everyday, ephemeral materials in her works and through her conceptual and minimalist approach. Her practice, which can be understood through the lens of feminist art history, draws on her private life and employs traditional and domestic media, such as weaving and textiles.
Edited by Bige Örer and Nilüfer Şaşmazer.
Texts by Ahu Antmen, Alev Ersan, Anna Boghiguian, Anne Barlow, Aslı Seven, Ayşe Erek, Bige Örer, Carolyn Christov-Bakargiev, Chus Martinez, Defne Ayas, Deniz Gül, Fatih Özgüven, Gregory Volk, Hera Büyüktaşcıyan, HG Masters, Iwona Blazwick, İz Öztat, Kevser Güler, Leyla Gediz, Misal Adnan Yıldız, Murat Alat, Necmi Sönmez, Paolo Colombo, Rabia Çapa, Sally Tallant, Selim Birsel, Seza Paker, Tolga Tüzün.