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:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
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World Food Books Gift Voucher
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Australian Art
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'Pataphysics / Oulipo
Fluxus
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Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
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Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
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Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
1969, Japanese
Hardcover (clothbound w. plastic dust jacket in slipcase), 168 pages, 22 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Shoshi Soubikan / Tokyo
$180.00 - Out of stock
Very rare copy of SM Photo Collection Rose Mirror, an exquisite early 1969 hardcover collection of bondage photographic works housed in heavy cardboard slipcase adorned with Beardsley illustration. The photographic works follow in the decadent tradition, with beautiful b/w gravure photo reproductions and lush colour plates with colour fold-out spreads, each of the eight kinbaku/shibari scenarios shot by photographer Yoshimi Sunaji in response to fictional stories, the chapters titled: "`The Mirror of the Rose," "The Lesson of the Cat," "The Queen Angel," "The Ballad of the Pearl Shell," "The Trapped Agarwood," "The Play of the Twigs," "The Sacrifice of the Spider," and "The Mermaid's Bond," performed by eight women. The book concludes with the texts "Rope Arakaruto" by Arata Beppu, "Flowers of Heresy" by Akira Shiokawa, and "SM Yomoyama Story" by Oniroku Dan, "the most celebrated writer of popular SM novels in Japan."
Very Good copy with some general age and wear in gilded cloth bound hardcover and original publisher's plastic jacket (VG), housed in illustrated cardboard slipcase in Good—VG condition (light wear, age, marking). Very well preserved.
2024, English
Hardcover, 124 pages, 22 x 14.5 cm
Published by
Amphetamine Sulphate / Austin
$48.00 - In stock -
When Dennis Cooper decides to publish a new collection of short stories with Amphetamine Sulphate, you just know the master will have something extra special in mind.
Yet again, this is Dennis Cooper without limits.
Poignant, uncompromising.
The original and the best.
Full colour cover design by Michael Salerno
2024, English
Softcover (+ art cards), 112 pages, 21.5 x 14 cm
Published by
Amphetamine Sulphate / Austin
$40.00 - In stock -
I WILL FILL MY BELOVED MEXICO WITH BETTER DISFIGURED GHOSTS
David Kuhnlein writes like he’s casting a spell. Bloodletter is entrancingly evil, every sentence a revelation and a curse: “How much can you care for someone if you can’t afford to dress them in a body bag? ” A grotesque world unfurls from his searing prose: “Ghosts reveal their measurements in smoke, different shades, more rings in the middle if they died long ago. Satan can’t keep up.” Blood sacrifices have never been so beautiful.—Danielle Chelosky
"Half our clothes are on the floor. The other half hang from the ceiling. Labyrinthine flesh-piles make a staircase. Polishing the soot off a breast with my sleeve, I dance horizontally. The band regurgitates into their instruments to slow the tempo, blowing catchy bubbles of sick. Sweat snows upward, stagnant when we see ourselves pooled within it, mosquitoes in a tin can. Vestigial, amoebic replications, abominable degenerations of the ape, totems fucked through stained glass. I toast the trash.
Out of mounds, shaved together into a consciousness, a golden star excretes, floating toward me in a mist, apples singed in her teenaged hair, waist the width of a cigarette. I’m going to bugger her so hard they’ll have to put a serial number on the headstone. “If I’m to your taste, mister, this might spell the end for you.” What more could I ask of a woman?
A heart condition of a child, torqued to breed too soon. I offer dialectic fugues, 77 press her forehead, cast a sigil tuned to the cacophony around us. Swaying, she enters a canyon trance, plummeting under magma.
Beautiful funerals for all my friends. Remember me as an itch."
With cover design, illustrations and Art Cards by Steven Purtill (Human Rights, Coyote, Small Talk at the Clinic etc.)
2024, English
Softcover (staple-bound), 69 pages, 21.5 x 14 cm
Published by
Amphetamine Sulphate / Austin
$40.00 - In stock -
Are You Ready To Have Your Skull Scraped?
Introducing AS Horror
“Bodies are weird. I think that’s why I’ve always been so drawn to them. Watching them, that is. You could call it a curiosity but I get how it looks. My eyes are always drawn to skin and the way you can see the calcified pistons and joints bend and protrude, testing the limits of the soft nets protecting them. I see the jocks stretching in their muscle shirts and think about how their shoulder blades look like vultures’ wings trying to tear free.”
In my imagination I’ve killed myself a thousand times. Others, too. Max Restaino’s Coyote is a drawn out dissociative episode, a lucid nightmare of disemboweled animals, nosebleeds, vomit, tapeworms, soundtracked to System of a Down. Kids play video games, trespass into abandoned homes, chat in the school cafeteria, but the universe disintegrates slowly, leeches crawling underneath skin, every moment pierced by a knife. Coyote is raw, enveloping violence. — Danielle Chelosky
With cover design, illustrations and Art Cards by Steven Purtill (Human Rights, Small Talk at the Clinic etc.). Limited Edition.
2017, English
Softcover (staple-bound), unpaginated, 21.5 x 13.5 cm
Published by
Amphetamine Sulphate / Austin
$34.00 - In stock -
High quality art plates, exclusively designed and executed for THE RITA. My guess is that a lot of people reading this book know something personal about immersion.
The experience of watching meaning change over time solely for yourself, depth being equal to the ease with which you get information, the ability to 'read' that information, the extent to which you can invest yourself in that information.
Things you see, you can see over and over, because you love them. Love is best and most correct when you know something but you feel like you can never truly own it'? no matter what, it is always outside of you. Gabrielle Losoncy
2017, English
Softcover (staple-bound), 44 pages, 21.5 x 13.5 cm
Published by
Amphetamine Sulphate / Austin
$28.00 - Out of stock
Gabi Losoncy is a young woman from Philadelphia, Pennsylvania who makes various decisions with outer consequences based on how she feels, and to the end of expressing how she feels.
Generally working in unlayered, linear audio since her time as a member of Good Area, she expands her practice on a case-by-case basis, making great effort not to do anything unnecessary.
She has released and has relationships with Alien Passengers, c a d u c., Impulsive Habitat, Recital, and Kye, and her book, Second Person, is now available & was recently described as a "self-help book from hell".
1986, Japanese
Softcover, 106 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
V-Zone / Japan
$100.00 - In stock -
Rare 1986 collectible second issue of V-Zone, the wild, short-lived cult horror/sci-fi/fantasy movie magazine from Japan, published between 1985—1987. This issue is particularly sought after for the rare special feature on the controversial Guinea Pig 2: Flower of Flesh and Blood, a film written and directed by horror magna master Hideshi Hino, that was withdrawn from the US and Japanese video market for it's realistic gruesome special effects. The film achieved further notoriety after incident in which American actor Charlie Sheen is said to have watched the film and believed that it depicted the actual killing and dismemberment of a real woman, prompting him to report it to authorities. The feature herein includes the sealed shut pages that readers had to cut it open to see the gruesome images of various shock films. This copy is still sealed!
At the height of the home video revolution of the 1980s, V-Zone committed it's graphic-saturated pages to the explosion of horror, fantasy, and science fiction films that came with it. V-Zone's coverage of American horror is unparalleled in the world of Japanese magazines, but they also focused attention on historical and underground western science fiction and cult cinema, whilst also playing an important role in fostering the new wave of Japanese gore and V-Cinema (direct-to-video splatter films). Heavy with film features, interviews, stills, ads and reviews, each issue has amazing behind-the-scenes reportage from industry conventions and sfx fan parties, content you would not find anywhere but Japan, including a regular column by legendary Godzilla special effects artist Shinichi Wakasa on how to make your own SFX makeup, gore, and even craft realistic squibs with dimestore prophylactics.
Needless to say, V-Zone is a must for any 1980s video collector or lover of gore.
Very Good copy.
2019, English
Softcover, 312 pages, 14.8 x 19 cm
1st Edition, Out of print title / as new
Published by
Rokas Sutkaitis / Lithuania
$190.00 - In stock -
The immediately out-of-print first and only edition of Soviet Logos.
Even if thousands of logos were created in the USSR only a very small part of them managed to survive until our days. Designed by professionals of various specialties, these fine graphic creations quickly became forgotten because of the turbulent fall of the Soviet Union. This monograph aims to rediscover the unrighteously forgotten logos and to introduce them into the global design context.
The book not only comprises of a collection of more than 360 carefully redrawn marks, but also provides a thorough analysis of the ambiguous functions of Soviet logos. With the help of social, economic and cultural discourse of the times, the functions of Soviet logos are analyzed in order to reveal their utopian nature.
Printed in Lithuania
Text by Rokas Sutkaitis
Designed by Acid
As New copy.
2018, English
Hardcover (die-cut linen-bound), 64 pages, 22.9 x 29.9 cm
Ed. of 500,
1st Edition, Out of print title / as new
Published by
Small Press / New York
$115.00 - In stock -
Limited to 500 copies, and now out-of-print, Litterature pairs excerpts from Francis Picabia’s (1879–1953) novel Caravanserail with nine drawings and seventeen studies he created for the cover of André Breton’s Litterature journal between 1922 and 1924. This beautifully produced linen-bound book—whose front cover features circular die-cuts derived from one of Picabia’s dice drawings—offers a celebration of subversive play and fluid forms.
Originally produced as potential covers for André Breton's 1920s Surrealist literary journal, Littérature, the twenty-six subversive—at the time, even scandalous—Francis Picabia drawings that are collected in this remarkable new limited edition from Small Press Books had been sealed in an envelope (dated August 8, 1923) and forgotten for decades until Breton's daughter, Aube Breton-Elléouët, unearthed and exhibited them in 2008. Of the original group, only nine of these playfully insurgent works were actually published by Breton. According to a 1922 letter from fellow Dadaist Marcel Duchamp to Breton, American retailers considered Picabia's cover graphics far too salacious to be displayed on their newsstands. Thus Duchamp was forced to become the journal's only American micro-distributor, circulating it among likeminded friends until its demise in 1924.
Edited by Stephanie LaCava. Translated by Lauren Elkin. Design by Eric Wrenn Office.
1995, English / Japanese
Softcover (w. Frenchfolds), 156 pages, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Sezon Museum of Art / Tokyo
$160.00 - Out of stock
First edition of this fantastic, and very scarce Richard Tuttle catalogue. Published on the occasion of the solo exhibition of Richard Tuttle, September 7—October 10, 1995 at Sezon Museum of Art, Tokyo, this densely-packed and profusely illustrated book, surveys Tuttles career to date, reproducing many great sculptural works with fabric, on paper, reliefs and paintings, made by Tuttle between 1964 and 1994. Features an essay by Richard Tuttle alongside texts by Gerhard Mack and Shigemi Oka, the exhibition curator. All texts in both Japanese and English.
A great and rare Japanese book on the work of American artist, Richard Tuttle.
Good copy. Foxing/age spots to cover, otherwise a Very Good copy in all other aspects.
1995, English
Softcover, 276 pages, 24.5 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Creation Books / London
$80.00 - In stock -
From Peeping Tom to Videodrome, Mondo Cane to "shockumentaries", Faces of Death to live TV suicides.
The 1994 cult classic, in the updated and revised 1995 edition, Killing for Culture: Death Film from Mondo to Snuff by David Kerekes & David Slater, the definitive investigation into that controversial and inflammatory of all urban myths: the "snuff" movie. Including: Feature film, Mondo film, Death film, and a comprehensive filmography and index. Illustrated by rare and stunning photographs from cinema, documentary and real life, Killing for Culture is a vital book which examines and questions the human obsession with images of violence, dismemberment and death, and the way our society is coping with an increased profusion of these disturbing yet compelling images from all quarters.
Very Good copy, light edge wear.
1973, Japanese
Softcover, 182 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / good
Published by
The Geijutsu Seikatsu / Tokyo
$70.00 - Out of stock
Magnificent "Doll Love" Special Feature issue of The Geijutsu Seikatsu, one of the leading arts magazines in post-war Japan, with a cover feature shot by Kishin Shinoyama on Japanese doll master Simon Yotsuya. From Hans Bellmer to Hajime Sawatari's doll photography to the Ayakashi Doll Museum shot by Shigeo Anzaï to the metaphysics of "Doll Love" written by the great Tatsuhiko Shibusawa, this issue is filled with photographic features and articles on doll artists, doll museums, western automatons, karakuri dolls... plus a photo feature on Nakamura Utaemon, considered the greatest onnagata (male actors who play female roles in kabuki theatre) of the post-War period ("a divine messenger given to kabuki from heaven"), performing the legendary Japanese ghost story "Yotsuya Kaida", and much much more (Kobayashi Kiyochika, Tadanori Yokoo, Hisako Nishino, Yasufumi Konishi, Yosuke Inoue...). Always a treasure-trove!
Good copy with some wear and creases to covers.
2002, Japanese / English
Hardcover (w. die-cut dust jacket and boards), unpaginated, 26.5 x 19 cm
1st Edition, Out of print title / as new
Published by
Pan-Exotica / Tokyo
$120.00 - Out of stock
First 2002 limited hardcover edition of celebrated Japanese doll artist Ryo Yoshida's Articulated Doll artist's book, with the original die-cut dust-jacket and cloth boards to reveal the eyeball. Lavishly illustrated with Yoshida's exquisite dolls, this unique book explores the anatomy of ball-jointed dolls through the eyes of the artist and author, who, like the practices of Simon Yotsuya and Hans Bellmer before him, creates elaborate and beautiful photographs of the dolls in various poses. Like fellow contemporary Japanese doll artist Katan Amano, Yoshida's fetishistic and macabre 1990's work is steeped in gothic and decadent reference. The photographs are divided into the following themes: Good Friends, Young Kimono-Clad Girls, Girls, Nightmare, The Anatomy of Beauties, Alice's Adventures, Siesta, Girl in the Case, Fetish, Belle de Jour, Articulated Girl, Masochists, Captive, Femme Fatale, Nymphomania.
Includes bilingual (Japanese/English) biography and essay "Dissection Play" written by Ryo Yoshida.
Fine—As New copy.
1982/1992, Japanese
Softcover, 192 pages, 21 x 14.5 cm
Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$60.00 - Out of stock
"Corpse" Special Feature Issue of cult Japanese underground magazine Yaso, first published in 1982, then re-printed in 1992, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese that look at the theme of death and the dead in the arts, literature, occultism, ancient sciences, philosophy, mythology, poetry, film, crime, and much more. Features John Duncan, Tetsumi Kudo, Cosey Fanni Tutti, Masahisa Fukase, Franz Kafka, Johann Wolfgang von Goethe, Guillaume Apollinaire, Joe Potts (LAFMS), Takashi Ishii, Rudolf II — Holy Roman Emperor, Akinari Ueda, Marcel Duchamp, Chris Burden, Paul Celan, Alain Resnais, Gilyak Amagasaki, Shusaku Arakawa, Pieter Bruegel the Elder, Shuji Terayama, Andy Warhol, Charles Manson, Brian Wilson, Kyoko Endoh, Princess Yongtai, Salvador Dalí, Ono no Komachi, Kiyoshi Kasai, Caravaggio, Throbbing Gristle, Takizawa Bakin, Leno and Rosemary LaBianca, Manson Family, Fyodor Dostoevsky, Wu Zetian, Genesis P-Orridge, Yusuke Nakahara, Ranpo Lagrange, Mitsusada Fukasaku, Nakai Hideo, Richard Wagner, and many more.
Very Good copy.
1960, Japanese
Hardcover (w. dust jacket), 106 pages, 26.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Misuzu Shobo / Tokyo
$100.00 - In stock -
First edition of this lovely 1960 hardcover monograph published in Tokyo on the German Surrealist Max Ernst (1891—1976), as part of a Misuzu Shobo series on Modern European and American artists issued for Japanese readers. With accompanying text by Japanese poet, critic and fellow Surrealist artist Shūzō Takiguchi. A prolific and highly original painter, sculptor, graphic artist, and poet, Ernst's various works are surveyed (paintings, collages, and frottages dating upto the late 1950s) herein generously in colour and b/w reproductions. Ernst was a primary pioneer of the Dada and Surrealism movements.
Very Good copy with some internal blank stock paper tanning. Dust Jacket with some wear and tear to extremities, all preserved in mylar wrap. A lovely copy of this uncommon title.
2006, English
Softcover, 336 pages, 26 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Center for Curatorial Studies Bard College / New York
$290.00 - In stock -
First edition of this very special, now very rare catalogue published in 2006 on the occasion of the major survey exhibition Witness To Her Art, featuring the work of Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and the seminal magazine Eau de Cologne, published by gallerist Monika Sprüth between 1985 and 1989. Profusely illustrated throughout with artworks by all artists, reproductions of important artist publications, installation views, and many works by other related artists, alongside texts by Adrian Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Monika Sprüth, Rhea Anastas, Michael Brenson, Norton Batkin, Johanna Burton, Aruna D’Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtémoc Medina, Ann Reynolds, Hamza Walker, and many more.
Publisher's blurb:
"This radical new study aims to change the way that some of the most influential artists of the past 40 years are seen—all of them women. Emphasizing questions of autonomy, critical intelligence and artistic intention, "Witness to Her Art" presents works by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and "Eau de Cologne," a magazine published by gallerist Monika Sprüth. The artworks are accompanied by original writings by the artists, contemporaneous criticism and newly commissioned essays by Pamela Franks, Aruna D'Souza, Johanna Burton, David Levi Strauss, Hamza Walker and Cuauhtémoc Medina. The ambitious works presented and interpreted herein invite us to consider the impact of the feminist revolution across generations while rendering obsolete any stigma associated with shows or catalogues limited to women artists. Taking its lead from Conceptualism, feminism, and from its included artists, "Witness to Her Art" reaches for art history's capacity as a medium of world-making."
Highly recommended. Very Good copy with light edge wear/rounding to stiff overlay boards.
1984, English
Softcover, 62 pages, 21.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Kunsthalle Basel / Basel
$90.00 - Out of stock
Wonderful 1984 catalogue, Private Property Created Crime, surveying the work of American conceptual artist Jenny Holzer (b. 1950), published on the occasion of a major European exhibition at Kunsthalle Basel and Le Nouveau Musée.
"THIS IS A BOOK OF STREET WORK AND INSTALLATIONS; POSTERS, T-SHIRTS, PLAQUES, STICKERS AND ELECTRONIC SIGNS. THE PHOTOGRAPHS ARE ARRANGED IN SERIES: TRUISMS, 1977–1983; ESSAYS, 1979–1983; LIVING, 1981–1983; AND SURVIVAL, 1983-1984. THE BOOK ACCOMPANIES EXHIBITIONS AT THE KUNSTHALLE, BASEL AND LE NOUVEAU MUSÉE, VILLEURBANNE."
Profusely illustrated in b/w and colour. Introduction by Jean-Christophe Ammann, plus biography and bibliography. All in English.
Jenny Holzer (b. 1950) is an American conceptual artist best known for her text-based works, which are constructed from "truisms" such as "abuse of power comes as no surprise"and "protect me from what I want." By experimenting with the use of words visually displayed in public spaces, Holzer is able to stimulate public discussions about violence, sexuality, oppression, human rights, feminism, power, war, and death. Starting with street posters, Holzer's practice has come to incorporate LED screens that run with stock-ticker-like texts, painted signs, plaques, photographs, sound, video, and the Internet.
Until 1993, Holzer wrote her own texts, after which she began to appropriate texts by Polish Nobel laureate Wislawa Szymborska and other champions of human rights, including Elfriede Jelinek, Fadhil Al-Azawi, Yehuda Amichai, and Mahmoud Darwish. Recent works include I Was in Baghdad Ochre Fade (2007), a series of oil on linen transcriptions of torture documents from the Iraq War; Redaction Paintings (2009), which were created using recently released classified memos with texts blacked out by censors; and an installation in the lobby of 7 World Trade Center. In 1990, she was the first woman to represent the United States at the Venice Biennale, where she won the Golden Lion for the best artist.
Good—VG copy with cover wear.
1990, English
Softcover, 582 pages, 20 x 13 cm
1st UK Edition, Out of print title / used / very good
Published by
Paladin / London
$100.00 - Out of stock
"A very moving, intensely fascinating literary biography from an extraordinary writer"—William Gibson
First 1990 UK edition of the incredible 'early' autobiography of science fiction author Samuel R. Delany. Winner of the 1989 Hugo Award for Non-fiction, 'The Motion of Light in Water: East Village Sex and Science Fiction Writing: 1960—1965' is the self-portrait of the artist as a young African American man, an extraordinary man, showing the roots of his commitment to writing on the cutting edge — and to energetic bisexual experimentation. This first English edition contains material not found in the American edition, featuring cover photograph of Samuel R. Delany, 1961 by Bernard Kay.
Born in New York City's black ghetto Harlem at the start of World War II, Samuel R. Delany married white poet Marilyn Hacker right out of high school. The interracial couple moved into the city's new bohemian quarter, the Lower East Side, in summer 1961. Through the decade's opening years, new art, new sexual practices, new music, and new political awareness burgeoned among the crowded streets and cheap railroad apartments. Beautifully, vividly, insightfully, Delany calls up this era of exploration and adventure as he details his development as a black gay writer in an open marriage, with tertiary walk-ons by Bob Dylan, Stokely Carmichael, W. H. Auden, and James Baldwin, and a panoply of brilliantly drawn secondary characters. Among incidents often outrageous and frequently shocking, Delany tells how, walking across the Brooklyn Bridge one spring afternoon, he decided to commit his full intellectual and artistic energy to writing science fiction. He describes with great candour his relationships with both men and women. As memorable and outrageous as his best fiction, The Motion of Light in Water is both a compelling picture of the 1960s East Village scene and one of the decade's most revealing, offbeat literary autobiographies.
In the chapter, "The Future Is in the Present" of the book Cruising Utopia by José Esteban Munoz, Delany's The Motion of Light in the Water serves to explain how the future, as a form of utopia, can be "glimpsed" in the present through what Delany employed as "the massed bodies" of sexual dissidence.
Samuel R. Delany has been praised by the New York Times Book Review as 'the most interesting author of science fiction writing in English today' and by Umberto Eco as 'not only one of the most important SF writers of the present generation, but a fascinating writer in general who has invented a new style'.
Very Good copy with light creasing and tanning to spine.
1977, English
Softcover, 256 pages, 18 x 11 cm
Out of print title / used / very good
Published by
Pan / London
$30.00 - In stock -
1977 Pan edition of the first short story collection by Alice Sheldon (under the pen name James Tiptree, Jr.). Introduced by fellow SF writer Harry Harrison.
"A long awaited collection from a Nebula prizewinner who is one of SF's newest, brightest talents"
Fifteen scintillating voyages through space and time including:
Faithful to thee, Terra, in our fashion — "Directly in front of Raceworld's equatorial headquarters lay the major track for the most spectacular of all races- the giant armoured reptiles, general galaxy favourites"
The man doors said hello to — "You don't often see a really mean piece of furniture"
And I awoke and found me here on the cold hill's side —"Now we've met aliens we can't screw, and we're about to die trying"
Alice Bradley Sheldon (195—1987) was an American science fiction and fantasy author better known as James Tiptree Jr., a pen name she used from 1967 until her death. It was not publicly known until 1977 that James Tiptree Jr. was a woman. Tiptree's debut story collection, Ten Thousand Light-Years from Home, was published in 1973 and her first novel, Up the Walls of the World, was published in 1978. From 1974 to 1985 she also occasionally used the pen name Raccoona Sheldon. Tiptree was inducted into the Science Fiction Hall of Fame in 2012.
Good—Very Good copy with some light general wear/age, still tightly bound.
1979, English
Softcover, 312 pages, 17.5 x 11 cm
Out of print title / used / very good
Published by
Berkley Medallion / Berkley
$25.00 - In stock -
1979 edition of the debut novel by Alice Sheldon (under the pen name James Tiptree, Jr.), Up The Walls of The World. First published in 1978, the book explores the possibility that telepathy and other psychic phenomena are real.
"Part-being, part-machine, the Star Destroyer was cutting a "firepath" across the galaxy, consuming whole suns in deadly storms of audible light..."
"On wind-walled Tyree the fliers were gathering in the Far High, preparing the desperate mind-transfer that was their only hope of survival"
"At Norfolk Naval Base, Dr. Dann's ESP "sensitives" were taking a break from the test-series, relaxing in the messhall, when the mindstorm struck!"
Alice Bradley Sheldon (195—1987) was an American science fiction and fantasy author better known as James Tiptree Jr., a pen name she used from 1967 until her death. It was not publicly known until 1977 that James Tiptree Jr. was a woman. Tiptree's debut story collection, Ten Thousand Light-Years from Home, was published in 1973 and her first novel, Up the Walls of the World, was published in 1978. From 1974 to 1985 she also occasionally used the pen name Raccoona Sheldon. Tiptree was inducted into the Science Fiction Hall of Fame in 2012.
Very Good copy with some light general wear/age, still tightly bound.
1978, English
Softcover, 270 pages, 17.5 x 10.5 cm
1st Edition, Out of print title / used / very good
Published by
Del Rey SF / New York
$30.00 - Out of stock
First 1978 edition of the third short story collection by Alice Sheldon (under the pen name James Tiptree, Jr.), and the first of Tiptree's books published after the revelation that Tiptree was a female, rather than male, writer. Introduced by fellow SF writer Ursula K. Le Guin, and published by Del Rey Books (a specialized SF and Fantasy imprint of Ballantine Books).
"A marvelous medley of Tiptree's best"
including:
"YOUR HAPLOID HEART" — When Ian Suitlov and Pax Patton landed on Esthaa to check for humans, the job wasn't as easy as it appeared. Though the natives seemed human enough, only cross breeding would be conclusive proof. But how were they to prove anything, when sex was punishable by death?
"THE PSYCHOLOGIST WHO WOULDN'T DO AWFUL THINGS TO RATS" — Dr Tilly Lipsitz hated his name, loved his rats... and would be out of a job if he didn't come up with a real zinger of an experiment soon. He didn't have much in mind until he took a midnight trip to his lab and learned more than he would have thought possible.
"SHE WAITS FOR ALL MEN BORN" — She had eyes that could not see, but without sight she had powers that went far beyond those of all who came upon her.
Contents:
Ursula K. Le Guin Introduction
Your Haploid Heart (1969)
And So On, and So On (1971)
Her Smoke Rose Up Forever (1974)
A Momentary Taste of Being (1975)
Houston, Houston, Do You Read? (1976)
The Psychologist Who Wouldn't Do Awful Things to Rats (1976)
She Waits for All Men Born (1976)
Alice Bradley Sheldon (195—1987) was an American science fiction and fantasy author better known as James Tiptree Jr., a pen name she used from 1967 until her death. It was not publicly known until 1977 that James Tiptree Jr. was a woman. Tiptree's debut story collection, Ten Thousand Light-Years from Home, was published in 1973 and her first novel, Up the Walls of the World, was published in 1978. From 1974 to 1985 she also occasionally used the pen name Raccoona Sheldon. Tiptree was inducted into the Science Fiction Hall of Fame in 2012.
Very Good copy with some light general wear/age, still tightly bound.
2020, English
Softcover, 144 pages, 13.7 x 20.3 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
"It is really just one of the best books ever, and maybe the greatest novel ever written" - Dennis Cooper
Castle Faggot is Derek McCormack's darkest and most delicious book yet, a satire of sugary cereals and Saturday morning cartoons set in an amusement park more deranged than anything Disney dreamed up. At the heart of the park is Faggotland, a playland for gay men, and Castle Faggot, the darkest dark ride in the world. Home to a cartoon Dracula called Count Choc-o-log, the castle is decorated with the corpses of gays—some were killed, some killed themselves, all ended up as décor.
The book includes a map of Faggotland, a photobook of the castle, the instructions for a castle-shaped dollhouse, and the novelization of a TV puppet show about Count Choc-o-log and his friends—reminiscent of the classic stop-motion special Rudolph the Red-Nosed Reindeer, but even gayer and more grotesque. As scatological as Sade but with a Hanna-Barbera vibe, Castle Faggot transmutes McCormack's love of the lurid and the childlike, of funhouses and sickhouses, into something furiously funny: as Edmund White says, “the mystery of objects, the lyricism of neglected lives, the menace and nostalgia of the past—these are all ingredients in this weird and beautiful parallel universe.”
Afterword by Dennis Cooper and Zac Farley
In Derek McCormack's home province, farm boys with growing pains enjoy a little-known meal called bed-supper—a hearty bowl of sweet breakfast cereal enjoyed as a midnight snack. Here McCormack has composed a peculiarly salacious bed-supper, where the long secret sweet-tooth of the Marquis de Sade glints as it sinks into the dirtiest of dishes. This useful book will more than stay your appetite until breakfast—Castle Faggot is also a manual of redecoration, a musical, a puppet show, a theory of cosmetics, a work of poetics, and a glorious celebration of the French decadence. - Lisa Robertson, author of The Baudelaire Fractal
1996, English
Softcover, 246 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Serpent's Tail / London
$40.00 - Out of stock
First 1996 edition of this long out-of-print collection of essays by Gary Indiana, "One of the most important chroniclers of the modern psyche."—The Guardian
Gary Indiana's essays, like his fiction, take no prisoners. In his fifteen years of writing cultural criticism, he has altered the way we look at ourselves and our society. Ignoring good taste, Indiana writes discomforting home truths, because his views of home are unique and never comfortable. His insights are acute, brash, bracing, intelligent; his subjects and speculations range from Rodney King's beating to Mary McCarthy's friendship with Hannah Arendt to the presidential campaign of 1992. Let It Bleed collects for the first time some of the most engaging, provocative, and exciting writing that has been seen and produced in a long time.
Good—VG with light wear/creasing to covers.
2024, English
Softcover, 48 pages, 20.5 x 11.5 cm
Published by
no more poetry / Naarm
$25.00 - In stock -
no more poetry celebrate the launch of their 20th publication; the second poetry collection from Natalie Briggs titled ‘FLOWER ENGINE’. This collection of cinched, bright free-verse explores the passing locations of love and the slow, private operations of pain’s knocking counterweight. The book extends Briggs’ relay of concise universal suggestions, translating them through brief, intimate utility.—daniel ward
First signed edition of 100 copies.
nmp.20
FLOWER
ENGINE
(2024)
Natalie Briggs
on nmp.20:
2024, english — paperback
48 pages, 115 x 205 mm
first edition, edition of 100
signed
no more poetry presents nmp.20
FLOWER
ENGINE
by
Natalie Briggs