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.
1991, English
Softcover (staple-bound), 12 pages, 24 x 17 cm
1st Edition, Out of print title / used / very good
Published by
The Edmonton Art Gallery / Alberta
$35.00 - In stock -
Rare catalogue published in 1991 on the occasion of the exhibition, Liz Magor — Living in the Wild, Wild West, at The Edmonton Art Gallery, Alberta, Canada. Featuring a text written for the exhibition by Jennifer Fisher, illustrations of Magor's exhibited works, biographies, and list of works.
Liz Magor (b. 1948) is one of the most important Canadian artists of her generation, and certainly its most influential sculptor of the past 30 years. For more than four decades, Liz Magor’s practice has quietly dramatized the relationships that develop among objects, and she describes this body of work as “a collection of tiny and intense narratives.” From the mental and physical contexts of retail consumerism to the spaces of the museum to the private, interior worlds of addiction and desire, Magor’s oeuvre has consistently combined a high level of conceptual and procedural rigor with the intense investigation of materials and mediums. Magor’s oeuvre has consistently combined a high level of conceptual and procedural rigor—extraordinary in its tendency to meld multiple references to cultures of display, compulsion, and consumption, making her one intriguing conceptual artists of her generation.
Very Good copy.
2022, English
Hardcover (cloth-bound), 108 pages, 26 x 30 cm
Published by
Daniel Buchholz Galerie / Köln
Art & Theory / Stockholm
$85.00 - Out of stock
The first monograph on the artist Ulla Wiggen. This comprehensive catalogue contains new texts by Daniel Birnbaum, Peter Cornell, Sabeth Buchmann, and Caleb Considine. The publication reproduces nearly all of the artist’s paintings since 1963.
Ulla Wiggen (b. 1942) is a Swedish painter. Wiggen is known for her paintings that interpret electronic circuitry, integrated circuit dies and schematic diagrams. She explored this world when hardly anyone could predict how digital technology would revolutionize our daily lives. In 1966, she participated in the performances 9 Evenings: Theatre & Engineering in New York assisting Öyvind Fahlström, whose radical view of art was of great importance to her. In the late 1960s she was also known for her human figure paintings. She also became a licensed psychotherapist, which became her primary vocation until 2013 when she, after an exhibition with her previous paintings at the Moderna Museet, decided to resume her artworks after 30 years break. Since then, her focus on the computer's interior and the human exterior has shifted to the inside of the human body and increasingly focused on the brain and iris of the eye.
1983, English
Single-sheet (folded into 8-panels, double-sided), 64 x 29 cm
1st Edition, Out of print title / as new
Published by
Monash University Exhibition Gallery / Victoria
$120.00 - Out of stock
Excellent, rare, over-sized single sheet/poster catalogue published on the occasion of the exhibition and lecture series, 'Masterpieces' out of the Seventies, at the Exhibition Gallery, Monash University Department of Visual Arts, curated and designed by artist Peter Cripps in 1983, featuring the work of Peter Tyndall, Imants Tillers, Peter Cripps, John Nixon, and Sam Schoenbaum. In what could easily be the precursor to Cripps' wonderful "Recession Art & Other Strategies" (1986), 'Masterpieces' out of the Seventies, as Cripps states in his catalogue text, "locates an approach which emerged in this period (but which has yet to be acknowledged) and attempts to show how it informs the new Australian Art of the Eighties. The essence of this new approach was in its reformulation of the idea of what could constitute the 'parts' of a work. "Masterpieces" is thus not only an exhibition composed of parts but also an exhibition about 'parts'. There are 5 artists in the exhibition and they are represented by works produced 7 to 10 years ago as well as by more recent works. The first 21 weeks of the 8-week exhibition are devoted to contemporary works, followed by 1 'historical' work by each artist per week for the remaining 5 weeks."
Illustrated with documentation of some of the works alongside texts by the artists, portraits, drawings, full exhibition catalogue, biographies...
First, only edition of this rare historical piece, As New copy with light tanning and wear.
2017, English
Hardcover (w. dust jacket, 276 pages, 23.5 x 16.5 cm
Published by
Dancing Fox Press
Daniel Buchholz Galerie / Köln
$62.00 - In stock -
Edited by Julie Ault and Nicolas Linnert
Introduction by Lucy R. Lippard
Spanning more than three decades, this book brings together a full spectrum of the artist, writer, and activist’s published texts through carefully selected extracts in a singular volume. Reprinted in sequence alongside a selection of full-length texts, this series of excerpts contours a chronology that relates Ault’s continuous artistic growth, longstanding political concerns, and dynamic interpersonal affinities. Beginning in the 1980s with texts written with her collaborators in Group Material, In Part highlights Ault’s shift from exhibition making in the mid-1990s to include publishing and writing. Ault’s dialogic practice, extends to the present day through her sustained engagements and relationships with such artists as Corita Kent, Félix González-Torres, Nancy Spero, and Martin Wong. - Dancing Foxes Press
The book is published in collaboration of Dancing Foxes Press and Galerie Buchholz.
2021, English
Hardcover, 176 pages, 22.5 x 30.5 cm
Published by
Mamco / Genève
JRP Editions / Zürich
$99.00 - Out of stock
An extensive overview of Olivier Mosset's six-decade painting practice
Olivier Mosset (b. 1944, Bern; lives in Tucson, Arizona, and Switzerland) is one of the central figures in postwar abstract painting, and a pivotal reference for generations of Swiss, European, and American painters. The acute historical awareness of Mosset’s practice is characterized by his continual questioning of the medium of painting itself and the means by which it resists the repeated assaults of “spectacle” and reification.
Published on the occasion of the artist’s retrospective at MAMCO Geneva, this publication offers an extensive overview of his six-decade transatlantic painting practice: from his first experiments in Paris in the 1960s within the BMPT collective and his famous “Circle Paintings” to his shaped canvases from the 1980s and his recent monumental works, exploring “appropriation,” “radical painting,” and his interest in experimental cinema along the way. Designed by Gavillet & Cie, the book proposes a journey through the rooms of the exhibition and the successive steps of Mosset’s art, thanks to generous documentation and the life-size reproduction of the paintings’ details. The book’s cover is silkscreened and reproduces a life-size detail of one of Mosset’s most iconic paintings.
Introduced and edited by MAMCO director Lionel Bovier, the book features three essays focusing on specific aspects of Mosset’s practice: MAMCO’s curator Paul Bernard on the artist’s filmmaking activities and how cinema constituted a visual model for Mosset; art historian Arnauld Pierre on his “Striped Paintings”; art critic Vincent Pécoil on his idiosyncratic vision of painting; and two essays by fellow painter Marcia Hafif—they met in 1978 in New York—which decipher why Mosset’s painting acted as a form of resistance to the figurative and decorative wave that swept the art scene in the late 1970s.
Published with MAMCO Geneva on the occasion of the retrospective exhibition Olivier Mosset, February 25–December 12, 2020.
1970, English
Newspaper (folded folio), 12 pages, 55 x 38 cm
1st Edition, Out of print title / used / good
Published by
Communist Party of Cuba Central Committee / Havana
$45.00 - In stock -
Granma is the "Official Organ of the Central Committee of the Cuban Communist Party". It was formed in Havana in 1965 by the merger of two previous papers, Revolución and Hoy. Its name comes from the yacht Granma that carried Fidel Castro and 81 other rebels to Cuba's shores in 1956, launching the Cuban Revolution. Cuban journalist, historian, historical fiction writer, and revolutionary heroine, Marta Rojas (b. 1928) worked for the paper since its founding. A witness to the 26 July 1953 assault on the Moncada Barracks, she reported on the subject of censorship to Revista Bohemia.
Early English copies are seldom seen/preserved, this rare special issue celebrates the 11th anniversary of the Cuban rebellion and features messages from communist leaders, as well as many articles on the "As in Vietnam" anniversary activities celebrating "Ten Years of Anti-Yankee Struggle, Ten Million Tons of Sugar Campaign of Solidarity" including the unveiling of the new campaign poster, the 10 million ton calendar, and in-depth photo-reportage of Fidel Castro working in the canefields with Vietnamese Students, articles on the rear-guard workers, the victory of the Camilo Cienfuegos Sugar Mill, agriculture in Havana, the construction of the Cuban Pavilion in Expo '70, Osaka, Japan, international reports and much more. Heavily illustrated. Gramma Weekly Review was published in English, French, and Spanish, printed in red and black on newsprint. This edition is published in the English-language.
Good copy, with general ageing to paper stock, toning and light chipping/cracking at fold points and some edges. Overall very nice, nothing affecting the content.
1971, French
Softcover, 28.5 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Kitsch / Paris
$160.00 - Out of stock
Rare 2nd volume of this wonderful two-part French avant-garde journal, published in Paris at the beginning of the 1970s. A visual manifesto against the prudishness of that time, KITSCH presented hundreds of illustrations of mostly erotic and fantastic/grotesque artwork by artists from all over the world, and spanning generations, including Aslan, Roy Lichtenstein, Virgil Finlay, Jim Osborne, Ronald Lipking, Greg Irons, George Grosz, Egon Schiele, Mel Ramos, alongside photo essays on subjects such as "Pop Art", "Human Concern" and Paris' "Pigalle" district, further featuring work by H.C.Westermann, Paul Thek, Edward Keinholz, William Tunberg, Christian Schad, William Weegee, James Rosenquist, Frank Gallo, and many more.
Very good copy!
2022, English
Printed envelope w. 10 cards, 22.5 x 15 cm
Published by
Galerie Buchholz / Köln
$38.00 - In stock -
Catalogue published to accompany Jutta Koether’s exhibition How goes it? at Galerie Buchholz, Köln in September 2021. This orange envelope contains 5 colour plate reproductions of the paintings featured in the exhibition, alongside 5 black and white text cards with a written correspondence between Sabeth Buchmann and the artist.
2012, English / German
Softcover (silkscreened), 48 pages, 21.3 x 22.5 cm
Ed. of 800,
Published by
Galerie Buchholz / Köln
$33.00 - In stock -
Wonderful publication documenting an exhibition that took place in 2010 in the window of Galerie Buchholz's antiquarian bookstore in Cologne, Germany. Michael Krebber presented here, in collaboration with Sebastian Höckelmann, works by artists Antonius Höckelmann and Jack Smith.
Produced in an edition of 800.
Antonius Höckelmann (1937 – 2000) was a German postwar artist. Höckelmann trained as a wood sculptor from 1951 to 1957 in his native city of Oelde, and studied from 1957 to 1961 at the College of Fine Arts in Berlin with Karl Hartung. In 1977 he participated in the documenta 6, and in 1982 at documenta 7 in Kassel. Many of his works combine sculpture and painting. Wooden sculptures and sculptures made of other materials (bronze, silver foil, straw) were often completely painted.
Jack Smith (1932 – 1989) was an American filmmaker, artist, actor, and pioneer of underground cinema. He is generally acclaimed as a founding father of American performance art, and has been critically recognized as a master photographer, though his photographic works are rare and remain largely unknown. Apart from appearing in his own work, including the legendary Flaming Creatures (1963), Smith played the lead in Andy Warhol's unfinished film Batman Dracula, Ken Jacobs's Blonde Cobra, and appeared in several theater productions by Robert Wilson.
2015, English
Hardcover (w. dust jacket), 160 pages, 27 x 31 cm
Published by
Marot / Brussels
$90.00 - Out of stock
From the start, the Belgian Surrealists—among them René Magritte, Paul Delvaux, Paul Nougé, E.L.T. Mesens and Marcel Mariën—distinguished themselves from their Parisian counterparts with their dry wit, brilliant conceptualism and knack for combining the fantastical and the everyday (e.g., Magritte's bowler-hatted men, or Marcel Mariën's iconic single-lensed spectacle), and their disinclination to issue Breton-style manifestos.
This revelatory volume celebrates the Surrealist movement in Belgium through a group of more than 250 paintings, drawings, photographs, prints and books by artists such as Rachel Baes, Paul Delvaux, Camille Goemans, Jane Graverol, Tom Gutt, Jacques Lacomblez, René Magritte, Marcel Mariën, Jacques Matton, Edouard (E.L.T.) Mesens, Paul Nougé, Gilbert Senecaut, Louis Scutenaire, Max Servais, Armand Simon, André Stas Raoul Ubac, Louis Van de Spiegele, Rogier Van de Wouwer and Robert Willems.
2018, English
Softcover (blind embossed), 324 pages, 30.5 x 22 cm
Published by
Koenig Books / London
80 Washington Square East / New York
$60.00 - Out of stock
This artist book is a chronological record of some remarks from cable TV ads movies news radio novels airplanes subways sidewalks and elevators from 2013–2018.
Published on the occasion of the exhibition The Long March at 80 Washington Square East, New York University, 2018, Organized by Nicola Lees and Robert Snowden.
The American artist Lutz Bacher – who has concealed her identity beneath a masculine pseudonym throughout her career – works conceptually in a range of media. A longtime resident of California who now lives in New York, the artist has based her work since the 1970s on found objects as well as texts and images pulled from the minutiae of popular culture. Soundtracks from Hollywood films, props from television shows, and unedited cell phone videos find their way into her works along with discarded objects from different spheres of consumption.
Through techniques of rearrangement, distortion, and estrangement, Bacher destabilizes the appearance and alters the impact of her materials, creating ruptures and making new constellations possible. Addressing the strong influence of the mass media on everyday social and political life, issues of identity, power structures, and violence are central aspects of her artistic practice.
1999, English
Softcover, 192 pages, 19.8 x 13 cm
Published by
Penguin Books / London
$23.00 - Out of stock
Nadja, Andre Breton's most frankly autobiographical book, is the quintessential Surrealist romance. With its blend of intimate confession and sense of the marvellous, Nadja weaves a mysterious and compelling tapestry of daily life as seen through a uniquely magical perspective. The core of Nadja is Breton's complex relationship with an unpredictable and unconventional young woman, 'the extreme limit of the Surrealist aspiration'. Combining autobiographical fact with memory and imagination, Breton spins one of the most unusual love stories in modern literature and illustrates the notion of 'petrifying coincidence', a cornerstone of Surrealist thought.
First published in 1928, Nadja has long been regarded as the most important and influential work to emerge from Surrealism. This edition features Richard Howard's masterful translation and a new introduction by Breton biographer Mark Polizzotti that details the circumstances of the book's composition.
Andre Breton, poet and writer, was the founder of the Surrealist movement in France, and is remembered as being its heart and soul. He died in 1966. Mark Polizzotti is a writer and translator, and also works in an editorial capacity for David Godine Publishers in the US.
2016, English
Softcover, 192 pages, 23 x 31 cm
Ed. of 400,
Published by
Secession / Vienna
$180.00 - Out of stock
This out-of-print artist’s book is published on the occasion of the exhibition ‘More Than This’ at the Secession, Vienna, and features the heterogeneous oeuvre of American artist Lutz Bacher. Over her 40-year career, Bacher has produced conceptual works that defy classification in a variety of formats, including videotapes, photographs, and other mixed media. Described as eclectic, rough, open-ended, and disturbing, many works incorporate elements from pop culture, personal artefacts, and found objects, and address questions of identity as expressed through sexuality and the human body. The book is filled with newspaper clippings, personal communications, and many images.
Limited to 400 copies. Absolutely essential!
2001, German
Softcover, 50 pages, 23 x 17 cm
Published by
Galerie Buchholz / Köln
$48.00 - In stock -
This early artist's publication by the artist Kai Althoff features drawings, photographs and installation views of his exhibition 'Aus Dir' at Galerie Daniel Buchholz, Cologne. The book, entirely designed by the artist, contains pieces of artist-writings in German which parallels in his work of the two installations. Heavily illustrated throughout with Althoff's paintings, drawings and collected photographs.
Kai Althoff (born 1966 in Cologne) is a German visual artist and musician. Borrowing from moments of history, religious iconography, and counter-cultural movements, Althoff creates imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. Tapping a multitude of sources, from Germanic folk traditions to recent popular culture, from medieval and gothic religious imagery to early modern expressionism, Althoff’s characters inhabit imaginary worlds that serve as allegories for human experience and emotion. His image bank and painterly style also draw on the past, especially early-20th-century German Expressionism, reconfigured by introducing collaged technique.
2020, English
Softcover, 240 pages, 23.5 x 16.5 cm
Published by
Valiz / Amsterdam
$52.00 - In stock -
‘Let the River Flow’ takes the eco-indigenous action against the construction of a hydroelectric power plant in the Altaelva river in Northern Norway during the late 1970s and early ’80s as its starting point. The series of massive protests led by the Sámi people grew into an unexpectedly broad movement of solidarity across society, in which artists played a pivotal role. This book reflects on events at the time and their correlations with artists’ eco-actions worldwide today. It addresses the political, cultural, and artistic aspects, including political organising, new influences of indigenous thinking on contemporary politics, and the centrality of artists within these activities.
Let the River Flow makes essential reading for any discussion regarding how governments, artists and citizens will act upon these questions within the frame of today’s worldwide call for decolonization and Indigenization.
New essays by 24 leading Indigenous artists, writers and scholars as well as allies, together with key existing texts, focus on the significant political and artistic reverberations of the Action past and present. These include current Indigenous discourses and protests across Sápmi, and internationally.
Let the River Flow addresses readers with an interest in decolonial, Indigenous, solidarity and environmental questions within artistic practice and beyond.
Contributors: Sebastián Calfuqueo Aliste, Matti Aikio, Ivar Bjørklund, Mari Boine, Daniela Catrileo, Carolina Caycedo, Raven Chacon, Eva Maria Fjellheim, Katya García-Antón, Harald Gaski, Gunvor Guttorm, Aslak Holmberg, Chief Arvol Looking Horse, Sofia Jannok, Rauna Kuokkanen, Wanda Nanibush, Beaska Niillas, Synnøve Persen, Katarina Pirak Sikku, Buffy Sainte-Marie, Niillas A. Somby, Paulus Utsi, Nils-Aslak Valkeapää, Magne Ove Varsi
Design: Hans Gremmen
2022, English
Hardcover (w. dust jacket), 400 pages, 23 x 15.3 cm
Published by
Bard Graduate Center Gallery / New York
$95.00 - Out of stock
For as long as people have made things and kept things, they have cared for them and repaired them. The field of conservation developed in Europe and the United States and then spread around the world. Today’s conservator uses a variety of tools and categories developed over the last 150 years to do this work. But in the next decades, new kinds of materials and a new scale of change will pose unprecedented challenges. Thinking through the lens of “active matter,” as understood by philosophers, historians, materials scientists, conservators, and those who work on Indigenous artifacts, this project raises questions and establishes new lines of inquiry for the future rethinking of conservation and the human sciences of the object.
Conserving Active Matter draws together the main lines and interim conclusions of a five-year research project embedded in a ten-year effort to reimagine the relationship between conservation knowledge and the humanistic study of the material world—Cultures of Conservation. The effort to conserve things is part of the human struggle with the pervasive activity of matter.
Peter N. Miller is dean and professor at Bard Graduate Center.
Soon Kai Poh is a conservator and Andrew W. Mellon Foundation Postgraduate Fellow at Bard Graduate Center.
1978, English
Hardcover (w. dust jacket), 278 pages, 21.5 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Houghton Mifflin / Boston
$90.00 - Out of stock
"This is a book like a mountain stream — fast, clean, clear, exciting, beautiful" — Ursula Le Guin
Rare first hardcover edition of Dreamsnake, American writer Vonda N. McIntyre's acclaimed 1978 science fiction novel. An expansion of her 1973 novelette "Of Mist, and Grass, and Sand", for which she won her first Nebula Award, Dreamsnake is a haunting story set in a far-future post-apocalyptic world. Snake, a healer who uses her genetically modified serpents to cure sickness—including the rare alien "dreamsnake", whose venom can ease the fear and pain of death. But the blasted landscape of a far-future post-holocaust Earth is a dangerous place, even for such an elite healer . . . especially when an unexpected death sends her on a desperate quest to reclaim her healing powers.
Winner of the 1978 Nebula Award, the 1979 Hugo Award, and the 1979 Locus Poll Award, McIntyre's Dreamsnake is considered a prime example of second-wave feminism science fiction, subverting conventionally gendered narratives by rewriting a typical heroic quest to place a woman at its center, and by using devices such as avoiding gender pronouns to challenge expectations about characters' gender identities. Dreamsnake also explored social and sexual paradigms from a feminist perspective, with themes of healing and cross-cultural interaction.
First edition with original dust jacket. Book in fine condition and DJ VG with only spine wear/fading. Well preserved copy, looks unread.
1984, English
Hardcover (w. dust jacket), 186 pages, 21.5 x 14.5 cm
1st Edition, Out of print title / used / fine
Published by
St. Martin's Press / New York
$70.00 - Out of stock
Scarce first hardcover edition of Clay's Ark by multiple Hugo and Nebula award-winner Octavia E. Butler, published in 1984 by St. Martin's Press, New York.
An innocent family, carjacked on a desolate highway, is abducted to a bizarre new world. A world being born in the Californian desert. They discover Earth has been invaded by an alien microorganism. The deadly entity attacks like a virus, but survivors of the disease genetically bond with it, developing amazing powers, near-immortality, unnatural desires - and a need to spread the contagion and create a secret colony of the transformed. Now the meaning of "survival" changes. For the babies born in the colony are clearly, undeniably, not human...
“ . . . Butler’s plotting is as irresistible as the alien invader itself. This is a genuine SF thriller, as hard to stop reading as THE ANDROMEDA STRAIN . . . “ — Publisher’s Weekly (from the dust jacket)
Blurb from the front flap of the dust jacket: "In CLAY’S ARK Ms. Butler has created a horrifyingly believable world in the not-too-distant future, a time when the bonds of civilization have all but disappeared, when violence and vigilante justice are the rule rather than the exception. In such a world, the kidnapping of a doctor and his two daughters traveling across the California desert is hardly exceptional. But the small band of emaciated strangers who capture them is. They do not speak of ransom. Although sometimes their glint with almost animal cunning, their bodies are wracked and wasted — the consequence of drugs or disease. Paradoxically, they possess almost superhuman strength. Let by Asa Elias Doyle, the sole survivor of the ill-fated Clay’s Ark, the desperate people have become innocent victims of a ‘close encounter’ with an alien life-form — one so sinister and ultimately destructive of humankind that it has forced them into exile in a remote corner of a desolate wasteland, the better to resist a compulsion to spread the infection. To resist is to ensure mental agony, but to surrender is to relinquish one’s humanity and free will — to be ruled by physical drives that know no morality or restraint . . . Chilling, exciting, and suspenseful, CLAY’S ARK is a thought-provoking story of what it really means to be ‘human.’ Octavia E. Butler’s tale is unique and hauntingly original . . . "
Octavia Estelle Butler (1947-2006) was an American science fiction writer, one of the best-known among the few African-American women in the field. Butler was the renowned author of numerous ground-breaking novels and recipient of the Locus, Hugo and Nebula awards, and a PEN Lifetime Achievement Award for her body of work, in 1995 she became the first science-fiction writer to receive the MacArthur Fellowship ‘Genius Grant’. A pioneer of her genre, Octavia’s dystopian novels explore myriad themes of Black injustice, women’s rights, global warming and political disparity.
Fine copy in VG dust jacket with only light wear.
2015, English
Softcover, 298 pages, 14 x 20.3 cm
Published by
AK Press / Edinburgh
$36.00 - Out of stock
Whenever we envision a world without war, without prisons, without capitalism, we are producing speculative fiction. Organizers and activists envision, and try to create, such worlds all the time. Walidah Imarisha and adrienne maree brown have brought twenty of them together in the first anthology of short stories to explore the connections between radical speculative fiction and movements for social change. The visionary tales of Octavia’s Brood span genres—sci-fi, fantasy, horror, magical realism—but all are united by an attempt to inject a healthy dose of imagination and innovation into our political practice and to try on new ways of understanding ourselves, the world around us, and all the selves and worlds that could be. The collection is rounded off with essays by Tananarive Due and Mumia Abu-Jamal, and a preface by Sheree Renée Thomas.
PRAISE FOR OCTAVIA'S BROOD:
"Those concerned with justice and liberation must always persuade the mass of people that a better world is possible. Our job begins with speculative fictions that fire society's imagination and its desire for change. In adrienne maree brown and Walidah Imarisha's visionary conception, and by its activist-artists' often stunning acts of creative inception, Octavia's Brood makes for great thinking and damn good reading. The rest will be up to us." —Jeff Chang, author of Who We Be: The Colorization of America
“Conventional exclamatory phrases don’t come close to capturing the essence of what we have here in Octavia’s Brood. One part sacred text, one part social movement manual, one part diary of our future selves telling us, ‘It’s going to be okay, keep working, keep loving.’ Our radical imaginations are under siege and this text is the rescue mission. It is the new cornerstone of every class I teach on inequality, justice, and social change....This is the text we’ve been waiting for.” —Ruha Benjamin, professor of African American Studies at Princeton University and author of People’s Science: Bodies and Rights on the Stem Cell Frontier
"Octavia [Butler] once told me that two things worried her about the future of humanity: The tendency to think hierarchically, and the tendency to place ourselves higher on the hierarchy than others. I think she would be humbled beyond words that the fine, thoughtful writers in this volume have honored her with their hearts and minds. And that in calling for us to consider that hierarchical structure, they are not walking in her shadow, nor standing on her shoulders, but marching at her side." —Steven Barnes, author of Lion’s Blood
“Never has one book so thoroughly realized the dream of its namesake. Octavia's Brood is the progeny of two lovers of Octavia Butler and their belief in her dream that science fiction is for everybody. In these pages we witness the power of sci-fi to map our visions of worlds we want, or don't, through the imaginations of some of our favorite activists and artists. We hope this is the first of many generations of Octavia's Brood, midwifed to life by such attentive editors. Butler could not wish for better evidence of her touch changing our literary and living landscapes. Play with these children, read these works, and find the children in you waiting to take root under the stars!” —Moya Bailey and Ayana Jamieson, Octavia E. Butler Legacy
“In this provocative collection of fiction, Walida Imarisha and adrienne maree brown provide boundless space for their writers—changemakers, teachers, organizers and leaders—to untether from this realm their struggles for justice.... Like Butler's fiction, this collection is cartography, a map to freedom.” —dream hampton, filmmaker and Visiting Artist at Stanford University’s Institute for Diversity in the Arts
Walidah Imarisha is a writer, organizer, educator, and spoken word artist. She is the author of the poetry collectionScars/Stars and facilitates writing workshops at schools, community centers, youth detention facilities, and women's prisons.
adrienne maree brown is a 2013 Kresge Literary Arts Fellow writing science fiction in Detroit, Michigan. She received a 2013 Detroit Knight Arts Challenge Award to run a series of Octavia Butler–based writing workshops.
1997, English
Softcover, 256 pages, 12.7 x 20.5 cm
Published by
Little Brown & Company / New York
$34.00 - Out of stock
Dawn (1987) is the first novel in Octavia E. Butler's Xenogenesis trilogy.
One woman is called upon to rebuild the future of humankind after a nuclear war, in this revelatory post-apocalyptic tale from the award-winning author of Parable of the Sower.
When Lilith lyapo wakes from a centuries-long sleep, she finds herself aboard the vast spaceship of the Oankali. She discovers that the Oankali - a seemingly benevolent alien race -- intervened in the fate of the humanity hundreds of years ago, saving everyone who survived a nuclear war from a dying, ruined Earth and then putting them into a deep sleep. After learning all they could about Earth and its beings, the Oankali healed the planet, cured cancer, increased human strength, and they now want Lilith to lead her people back to Earth -- but salvation comes at a price.
Hopeful and thought-provoking, this post-apocalyptic narrative deftly explores gender and race through the eyes of characters struggling to adapt during a pivotal time of crisis and change.
Octavia Estelle Butler (1947-2006) was an American science fiction writer, one of the best-known among the few African-American women in the field. She won both Hugo and Nebula awards. In 1995, she became the first science fiction writer to receive the MacArthur Foundation "Genius" Grant.
1997, English
Softcover, 304 page, 15.5 x 23 cm
Published by
Little Brown & Company / New York
$34.00 - Out of stock
Adulthood Rites (1988) is the second novel in Octavia E. Butler's Xenogenesis trilogy.
From the award-winning author of Parable of the Sower: After the near-extinction of the human race, one young man with extraordinary gifts will reveal whether the human race can learn from its past and rebuild their future . . . or is doomed to self-destruction.
In the future, nuclear war has destroyed nearly all humankind. An alien race intervenes, saving the small group of survivors from certain death. But their salvation comes at a cost.
The Oankali are able to read and mutate genetic code, and they use these skills for their own survival, interbreeding with new species to constantly adapt and evolve. They value the intelligence they see in humankind but also know that the species-rigidly bound to destructive social hierarchies-is destined for failure. They are determined that the only way forward is for the two races to produce a new hybrid species - and they will not tolerate rebellion.
Akin looks like an ordinary human child. But as the first true human-alien hybrid, he is born understanding language, then starts to form sentences at two months old. He can see at a molecular level and kill with a touch. More powerful than any human or Oankali, he will be the architect of both races' future. But before he can carry this new species into the stars, Akin must reconcile with his own heritage in a world already torn in two.
Octavia Estelle Butler (1947-2006) was an American science fiction writer, one of the best-known among the few African-American women in the field. She won both Hugo and Nebula awards. In 1995, she became the first science fiction writer to receive the MacArthur Foundation "Genius" Grant.
1997, English
Softcover, 224 pages, 12.8 x 20.5 cm
Published by
Little Brown & Company / New York
$34.00 - Out of stock
Imago (1989) is the final novel in Octavia E. Butler's Xenogenesis trilogy.
Child of two species, but part of neither, a new being must find his way.
Human and Oankali have been mating since the aliens first came to Earth to rescue the few survivors of an annihilating nuclear war. The Oankali began a massive breeding project, guided by the Ooloi, a sexless subspecies capable of manipulating DNA, in the hope of eventually creating a perfect starfaring race. Jodahs is supposed to be just another hybrid of human and Oankali, but as he begins his transformation to adulthood he finds himself becoming Ooloi—the first ever born to a human mother.
As his body changes, Jodahs develops the ability to shapeshift, manipulate matter, and cure or create disease at will. If this frightened young man is able to master his new identity, Jodahs could prove the savior of what’s left of mankind. Or, if he is not careful, he could become a plague that will destroy this new race once and for all.
Octavia Estelle Butler (1947-2006) was an American science fiction writer, one of the best-known among the few African-American women in the field. She won both Hugo and Nebula awards. In 1995, she became the first science fiction writer to receive the MacArthur Foundation "Genius" Grant.
2003, English
Softcover, 288 pages, 13 x 19.8 cm
Published by
Penguin Books / London
$23.00 - Out of stock
Introduction by Patrick Mcguiness
Translated by Robert Baldick
Notes by Patrick Mcguiness
Infamous as the inspiration for the novel which slowly corrupts Oscar Wilde's "Dorian Gray", Joris-Karl Huysmans' "Against Nature" is the original handbook of decadence. A wildly original fin-de-siecle novel, Against Nature contains only one character. Des Esseintes is a decadent, ailing aristocrat who retreats to an isolated villa where he indulges his taste for luxury and excess. Veering between nervous excitability and debilitating ennui, he gluts his aesthetic appetites with classical literature and art, exotic jewels (with which he fatally encrusts the shell of his tortoise), rich perfumes and a kaleidoscope of sensual experiences. Against Nature, in the words of the author, exploded 'like a grenade' and has enjoyed a cult following to this day. This revised edition of Robert Baldick's lucid translation features a new introduction and a chronology, and reproduces Huysmans' original 1903 preface as well as a selection of reviews from writers including Mallarme, Zola and Wilde.
Joris-Karl Huysmans (1848-1907) is now recognized as one of the most challenging and innovative figures in European literature and an acknowledged principal architect of the fin-de-siecle imagination. He was a career civil servant who wrote ten novels, most notably "A Rebours and La-Bas". Huysmans died in 1907.
Robert Baldick (d.1972) translated widely from the French and wrote a biography of Huysmans. Patrick McGuinness is a Fellow and Tutor in French at St Anne's College, Oxford, and editor of Symbolism, Decadence and the Fin de Siecle (Exeter UP, 2000).
2003, English
Hardcover (w. dust jacket), 128 pages, 26 x 21 cm
1st Edition, Out of print title / as new
Published by
Little Bear Press / US
$700.00 - Out of stock
As new, first edition sealed copy of extremely collectible monograph by pioneering male-figure photographer Jim French, of Man and Another Man fame, showcasing French's 1972 nude study collection of the popular Colt model, Erron, also known as David Scrivanek. A beautifully produced monograph designed by Dimitri Levas with an essay and interview with French by photographer and publisher Bruce Weber. As with all of Little Bear’s books, the quality of the design, paper and printing is impeccable. Now near impossible to find.
Jim French (1932 – 2017) was an American artist, illustrator, photographer, filmmaker, and publisher. He is best known for his association as co-founder of Colt Studio, using the pseudonym Rip Colt, created in late 1967, where French built what would become one of the most successful gay male erotica companies in the U.S. French began drawing and photographing male erotica in the mid-1960s while working as an illustrator and artist for Madison Avenue advertising agencies. His first published book, Man, was issued in 1972. Other books include Another Man, Jim French Men, Quorum, Opus Deorum, Masc., The Art of Jim French and The Art of the Male Nude. Publication of Colt magazines began in 1969 with the digest-size "Manpower!". During the 1970s, French began marketing his short films in 8mm format; they were soon collected on video-cassette format, which were remastered for DVD format in the 1990s. French's artwork and photography has been hailed as “iconic, groundbreaking, and singularly influential”, leaving a legacy of homoerotic images in artwork, illustrations, photo sets, slides, film, fine-art photographs, magazines, books and calendars that presented his work exclusively and set a new standard in photography of men.
As New copy.