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
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World Food Books Gift Voucher
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Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
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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.
1978, French
Softcover (staple-bound), 98 pages, 27 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Les Humanoïdes Associés / Paris
$35.00 - Out of stock
Metal Hurlant No. 35, November 1978 issue featuring comic stories/art by Chantal Montellier, Mœbius, Alain Voss, McKie Angus, Barge Yves, Serge Clerc, Jean-Pierre Dionnet, Jacques Goimard, and many more, plus the usual fare of sci-fi, movies, music... Cover art by Barge Yves. Original French editions, very scarce outside Europe.
Métal Hurlant (literal translation: "Howling Metal") was a French comics anthology of science fiction and horror comics stories, created in December 1974 by comics artists Jean Giraud (better known as Mœbius) and Philippe Druillet together with journalist-writer Jean-Pierre Dionnet and financial director Bernard Farkas. The four were collectively known as "Les Humanoïdes Associés" (United Humanoids), which became the name of the publishing house releasing Métal Hurlant. English, German and Italian editions were also licensed, including Heavy Metal, published in the US by National Lampoon. Métal hurlant was originally released quarterly with contributors including Moebius and Druillet, depicting such iconic characters as Arzach and Lone Sloane for the first time, as well as work by Richard Corben, Guido Crepax, Alejandro Jodorowsky, Enki Bilal, Caza, Serge Clerc, Alain Voss, Berni Wrightson, Nicole Claveloux, Milo Manara, Frank Margerin, Masse, Chantal Montellier, and many others.
VG—Good copy, general light wear.
1978, French
Softcover (staple-bound), 98 pages, 27 x 21.5 cm
1st Edition, Out of print title / used / average
Published by
Les Humanoïdes Associés / Paris
$35.00 - Out of stock
Metal Hurlant No. 29, May 1978 issue featuring comic stories/art by Moebius, Jacques Lob, Gillon Paul, Joe Stallin, Frank Margerin, McKie Angus, and many more, plus the usual fare of sci-fi, movies, music... Cover art by Jean-Michel Nicollet. Original French editions, very scarce outside Europe.
Métal Hurlant (literal translation: "Howling Metal") was a French comics anthology of science fiction and horror comics stories, created in December 1974 by comics artists Jean Giraud (better known as Mœbius) and Philippe Druillet together with journalist-writer Jean-Pierre Dionnet and financial director Bernard Farkas. The four were collectively known as "Les Humanoïdes Associés" (United Humanoids), which became the name of the publishing house releasing Métal Hurlant. English, German and Italian editions were also licensed, including Heavy Metal, published in the US by National Lampoon. Métal hurlant was originally released quarterly with contributors including Moebius and Druillet, depicting such iconic characters as Arzach and Lone Sloane for the first time, as well as work by Richard Corben, Guido Crepax, Alejandro Jodorowsky, Enki Bilal, Caza, Serge Clerc, Alain Voss, Berni Wrightson, Nicole Claveloux, Milo Manara, Frank Margerin, Masse, Chantal Montellier, and many others.
Average copy due to closed tear to back cover, otherwise Good overall copy with general age/wear.
1980, English
Softcover, 8 page fold-out, 30 x 21 cm
1st Edition, Out of print title / used / average
Published by
Art Gallery of New South Wales / Sydney
$40.00 $20.00 - Out of stock
Rare fold-out slice of 1980 Oz fashion published on the occasion of the Project 33 exhibition "ART CLOTHES", Art Gallery of New South Wales, 20 Dec 1980—1 Feb 1981, featuring Peter Tully, David McDiarmid, Jenny Kee, Linda Jackson, Katie Pye, Jenny Bannister and many others. Illustrated with portraits and extensive biographies and catalogues of each designer. An exhibition of the Festival of Sydney in 1981, "this exhibition shows contemporary clothing and accessories as 'wearable art objects' by young Australian artists and designers. In a sense it is an exhibition about departures from the norm. Many of the traditional distinctions and demarcations between art, craft and fashion have been blurred." Introductory text by Jane de Teliga.
Good copy with wear and marking from dusty storage.
1996, English
Softcover (staple bound), unpaginated, 30 x 21 cm
1st Edition, Out of print title / as new
Published by
A Constructed World / St. Kilda
$10.00 - In stock -
Artfan No. 5 (Autumn 1996) — "Public Art" issue. Features contributions by Callum Morton, Rose Nolan, Mutlu Çerkez, John Nixon, Eliza Hutchison and David Noonan, Charlotte Day, Jon Campbell, and many others. "The global is often represented as an oppressive culturally controlling influence yet it has often been known to relieve oppression from overly uniform and diminishing alternatives. Apart from audience, Public Art is usually, in some way, about place and in this issue of Artfan there are contributions from many places including Estonia, India, New York, Sydney, Melbourne, Sweden, Jordan, and Israel.”—From the editors (Jacqueline Riva, Geoff Lowe, D. H. Thomas)
Artfan (Contemporary Art Review Magazine to Read) is a magazine published by artists Geoff Lowe and Jacqueline Riva in St. Kilda, Melbourne, who have been working together as A Constructed World since 1993 when they founded the magazine. Each issue is an international collaboration between the contributing editors, filled with artworks and texts, the magazine is largely centred around illustrated exhibition reviews by artists and writers, and many memories of a bygone Melbourne.
A Constructed World is the collaborative project, founded in 1993, of Geoff Lowe and Jacqueline Riva, based in Paris, France. ACW believe in the notion of collectivity. Their practice is concerned with the multiple narratives we use to construct and understand our world. They encourage the exchange of ideas and embrace the idea of chaos. Influenced by post-structuralism and relational aesthetics, ACW explores how reality is perceived through cultural models.
As New.
1998, English
Softcover (staple bound), unpaginated, 30 x 21 cm
1st Edition, Out of print title / as new
Published by
Artfan / Melbourne
A Constructed World / St. Kilda
$10.00 - In stock -
Artfan No. 7 (Autumn 1998) — "Rock On" issue. Features artworks by Callum Morton, Marco Fuscinato, Stephen Prina, Mutlu Çerkez, and many others. "Rock and Roll’s utopian drive, charged by solid state and valve technology, sexuality, pleasure and drugs, has powered a global sense of desire and community since the 50’s. Artfan 7 is a collaboration between contributing editors, Callum Morton (Melbourne), Sarah Seager (Los Angeles), and Terry Urbahn (Wellington). Using Rock On as the point of entry, artists from three countries tell something about their recent history, vinyl, unfulfilled desires, and other sexy stuff."
Artfan (Contemporary Art Review Magazine to Read) is a magazine published by artists Geoff Lowe and Jacqueline Riva in St. Kilda, Melbourne, who have been working together as A Constructed World since 1993 when they founded the magazine. Each issue is an international collaboration between the contributing editors, filled with artworks and texts, the magazine is largely centred around illustrated exhibition reviews by artists and writers, and many memories of a bygone Melbourne.
A Constructed World is the collaborative project, founded in 1993, of Geoff Lowe and Jacqueline Riva, based in Paris, France. ACW believe in the notion of collectivity. Their practice is concerned with the multiple narratives we use to construct and understand our world. They encourage the exchange of ideas and embrace the idea of chaos. Influenced by post-structuralism and relational aesthetics, ACW explores how reality is perceived through cultural models.
As New.
1999, English
Softcover (staple bound), unpaginated, 30 x 21 cm
1st Edition, Out of print title / as new
Published by
A Constructed World / St. Kilda
$10.00 - In stock -
Artfan No. 9 (Autumn 1999) — "Hot Tub" issue. Features contributions by Constance Zikos, Sharon Goodwin, John Wolseley, and many others. "This issue of Artfon began with ACW's involvement in the XXIV Sao Paulo Bienal in Brazil 1998. Its theme of cannibalism - a sprawling hymn to a practice we haven't seen and yet know about - is celebrated in a Hot Tub insert and Q&A that anticipate the dangers and pleasures of cultural cannibalism."—The Editors (Jacqueline Riva, Geoff Lowe)
Artfan (Contemporary Art Review Magazine to Read) is a magazine published by artists Geoff Lowe and Jacqueline Riva in St. Kilda, Melbourne, who have been working together as A Constructed World since 1993 when they founded the magazine. Each issue is an international collaboration between the contributing editors, filled with artworks and texts, the magazine is largely centred around illustrated exhibition reviews by artists and writers, and many memories of a bygone Melbourne.
A Constructed World is the collaborative project, founded in 1993, of Geoff Lowe and Jacqueline Riva, based in Paris, France. ACW believe in the notion of collectivity. Their practice is concerned with the multiple narratives we use to construct and understand our world. They encourage the exchange of ideas and embrace the idea of chaos. Influenced by post-structuralism and relational aesthetics, ACW explores how reality is perceived through cultural models.
As New.
1989, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Parkett / Zürich
$100.00 - In stock -
1989 issue of Parkett (Vol. 19), deluxe issue created in collaboration with artists Martin Kippenberger and Jeff Koons, lavishly illustrated with both artist's works alongside texts by with texts by Klaus Kertess, Burke & Hare, Jean-Christophe Ammann, Glenn O’Brien, Diedrich Diederichsen, Patrick Frey, Martin Prinzhorn, Bice Curiger. Anselm Stalder designed the insert. Also in this issue: exclusive Gerhard Richter interview, Annemarie Hürlimann “In Between,” Hanna Humeltenberg “The Magic of Reality,” on Thomas Ruff, Felix Philipp Ingold “The Speaking Image in Rémy Zaugg’s work.” Iwona Blazwick and Robert Gober are the authors of the Cumulus from Europe and America, in the Balkon Parkett celebrates its fifth anniversary.
Founded in the early 1980s in Zurich, with an office also in New York City, , Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.
Average—Good copy with some marking and wear.
1992, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Parkett / Zürich
$80.00 - Out of stock
1992 issue of Parkett (Vol. 31), deluxe issue created in collaboration with artists David Hammons and Mike Kelley, lavishly illustrated with both artist's works alongside texts by with texts by Robert Farris Thompson, Iwona Blazwick & Emma Dexter, John Ffarris, Lynne Cooke, Louise Neri in conversation with David Hammons, Diedrich Diederichsen, Lane Relyea, Bernard Marcadé, Mike Kelley & Julie Sylvester talking about “Failure.” The Insert artist is Candida Höfer and the spine artist is Niele Toroni. Also in this issue: Vija Celmins by Sheena Wagstaff, Larry Clark, What is This? by Jim Lewis, Jean-Pierre Bordaz “Imi Knoebel, Isa Genzken, Gerhard Merz,” Claude Ritschard “Rémy Zaugg.” Imi Knoebel: Working With Success – Working With Unsucces by Rudolf Bumiller, Imi Knoebel and Grace Kelly, The High by Rainer Crone & David Moos, Imi Knoebel First Impressions by Lisa Liebmann, Sherrie Levine: The Transgressions of Sherrie Levine by Daniela Salvioni, Presence Withdrawn by Erich Franz, Looking After Sherrie Levine by Howard Singerman, Damien Hirst — Insert, Making Work and Turning Your Back on it : Bethan Huws by Liam Gillick, The Work of Art as the Ideal Center for Human Beings, Walter de Maria’s The 2000 Sculpture by Thomas Kellein, International Time Capsule Society, Les Infos du Paradis, Inside the White Cube, Cumulus from America by Ralph Rugoff, Cumulus from Europe by Robert Fleck, Talk o’ the Town by Jeanne Sliverthorn.
Founded in the early 1980s in Zurich, with an office also in New York City, Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.
Average—Good copy with some marking and wear. Ex-sticker resudue to cover.
1994, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / good
$60.00 $40.00 - In stock -
1994 issue of Parkett (Vol. 42), deluxe issue created in collaboration with artists Lawrence Weiner and Rachel Whiteread, lavishly illustrated with both artist's works alongside texts by Brooks Adams, Frances Richard, Dieter Schwarz, Daniela Salvioni, Lane Relya, Edward Leffingwell, Neville Wakefield, Rudolf Schmitz, Trevor Fairbrother, Simon Watney. Amazing colour insert by Nan Goldin, Robert Frank: From Compromise to Collaboration by Vince Leo, Cursive by Ingrid Schaffner, Recent Sculptures of Markus Raetz – On the Subject of Metamorphoses, Les Infos du Paradis by Claude Ritschard, New Measures, Cumulus from Europe by Guy Brett, The Spirit & The Letter & The Evil Eye, Cumulus from America by Martha Fleming, Intriguing Artists by Roberto Ohrt, and more...
Founded in the early 1980s in Zurich, with an office also in New York City, Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.
Good copy with some marking and wear.
1990, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Parkett / Zürich
$40.00 $20.00 - In stock -
1990 issue of Parkett (Vol. 25), deluxe issue created in collaboration with artists Katharina Fritsch and James Turrell , lavishly illustrated with both artist's works alongside texts by with texts by Gary Garrels, Julian Heynen, Dan Cameron, Jean-Christoph Ammann, David Hickey, Frederick Ted Castle, and James Turrell in a conversation with Richard Flood and Carl Stigliano. Beat Streuli is the insert artist. And further contributions by Patrick Frey “On Schnyderian Art,” Dieter Schwarz “James Coleman: Charon,” Lynn Cooke “Richard Hamilton.” Louise Neri, Kim Levin and Andrei Kvalyov are the authors of the Cumulus from America and Europe and the Balkon.
Founded in the early 1980s in Zurich, with an office also in New York City, Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.
Good copy with some marking and wear.
1995, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Parkett / Zürich
$30.00 $15.00 - In stock -
1995 issue of Parkett (Vol. 43), deluxe issue created in collaboration with artists Juan Muñoz and Susan Rothenberg, lavishly illustrated with both artist's works alongside texts by with texts by (on Juan Muñoz) Lynne Cooke, Alexandre Melo, Juna Muñoz & James Lingwood in conversation, A Man in a Room by Gavin Bryars, (on Susann Rothenberg) Robert Creeley, Ingrid Schaffner, Jean-Christoph Ammann, Joan Simon & Susan Rothenberg. Interview by Hans Ulrich Obrist & Fabrice Hybert, Carsten Höller – Getting Real by Michelle Nicol,
Carsten Höller – Getting Real by Michelle Nicol, Yucatan is Elsewhere, On Robert Smithson’s Hotel Palenque, Les Infos du Paradis by Neville Wakefield, Whirling Dervishes by Lisa Liebmann, Celebrating the opening of the new SFMOMA by Daniela Salvioni, On the lack of British public institution interested in contemporary art by James Roberts, and more...
Founded in the early 1980s in Zurich, with an office also in New York City, Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.
Good copy with some marking and wear. Ex-shop sticker on back cover.
1991, English / German
Softcover, 200 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Parkett / Zürich
$50.00 - Out of stock
1991 issue of Parkett (Vol. 30), deluxe issue created in collaboration with Sigmar Polke, lavishly illustrated with Polke's works alongside texts by Bice Curiger, Thomas McEvilley, Gary Garrels, Laszlo Glozer, Dave Hickey, Gabriele Wix, G. Roger Denson, Anne Rorimer, Laura Cottingham. And an Insert by Glenn Ligon. Spine by Niele Toroni. Additional texts are by Edward Leffingwell and Lawrence Weiner “When You Offer Stones You Get Stones,” Andrei Kowaljow “François Boucher.” Also feature articles: When You Offer Stones You Get Stones by Edward Leffingwell & Lawrence Weiner; François Boucher by Andrei Kowaljow; On curating exhibitions of site-specific public sculpture by Dan Cameron; Reflections on a space for creation by Gloria Moure; Michael Asher by Anne Rorimer; Overstepping, Les Infos du Paradis by Carin Kuoni; December, 1989: After the Fact by Richard Flood; and more.
Founded in the early 1980s in Zurich, with an office also in New York City, , Parkett was international art magazine that aimed to foster an open dialogue between the artistic communities of Europe and America, with the goal to actively and directly collaborate with important international artists whose oeuvre was explored in several essays by leading writers and critics in both German and English. By 2017, Parkett had published 100 volumes with some 180 monographs and over 1500 in-depth texts making it one of the most comprehensive libraries on contemporary art worldwide. Critics, curators, art historians, and other commentators join in the conversation contained within its pages. Many write on the collaborating artists; some write opinions under a variety of topic headings that recur issue to issue; others write on additional artists and ideas. The result is more of a curated event-between-covers than a typical art magazine with reviews and news items.
Average—Good copy with marking and wear.
2023, Japanese / English
Hardcover, 216 pages, 15 x 22 cm
1st Edition, Out of print title / as new
Published by
Akaaka / Kyoto
$100.00 - In stock -
Photographer Masahisa Fukase (1934–2012) carved out a unique place in the history of Japanese photography in the 1960s by focusing on his personal life. He pointed his camera at those in his immediate surroundings: his wife, Yoko, his extended family, his cat. Yet, while exposing his own life through a loving gaze and carefree sense of humour, he simultaneously set about exploring the madness deep within himself. Fukase’s career was tragically cut short when he suffered a fall in 1992, subsequently suffering severe memory impairment and aphasia. He never took another photograph. This retrospective collection offers an intimate tribute to his entire oeuvre.
As New, now out-of-print.
1991, English
Softcover (staplebound), unpaginated, 17 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Iowa Chapter of the Aggressive School of Cultural Workers / Iowa
$65.00 - Out of stock
Very rare, bullet-holed, anti-Gulf War catalogue published in 1991 by the Iowa Chapter of the Aggressive School of Cultural Workers on the occasion of a huge international mailart exhibition mounted in response to the US backed United Nations coalition announcement to use force to oust Saddam Hussein from Kuwait. Opposed to the looming Persian Gulf War, a call out for work from the international correspondence network resulted in 151 contributions from a total of 25 countries, exhibited in three Iowa City locations, with plans to travel the exhibition to Kill Time Space, Philadelphia, and ABC No Rio, New York, after this catalogue was published.
Packed with xerox collage artworks reproduced full-bleed in b/w, the catalogue has a comprehensive index of the many contributors, texts by the Iowa Chapter of the Aggressive School of Cultural Workers, with the pink insert reproduced text by the Bureau of Public Secrets, 'The War and The Spectacle'. The catalogues were then shot by a member of the US Army Reserves.
Very Good copy with light age.
1998, English / French
Softcover, 21.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$280.00 - Out of stock
The scarce third issue (of eight total, published between 1998-2001) of Olivier Zahm's short-lived, erotically charged photography journal "Purple Sexe". This issue profusely illustrated throughout, containing portfolios by Anette Aurell, Vanessa Beecroft, Ben Cho, Claude Closky, Yasmine Eslami, Jason Farrer, Carolina Gonzales, Jamil Gs, Noritoshi Hirakawa, Bernadette Van-Huy, Richard Kern's photoshoot of Lucy McKenzie, Chris Moor, Justine Parsons, Jack Pierson, Terry Richardson, Katja Rahlwes, Francois Rotger, Gilles Tonelado, and more. Art Direction by Christophe Brunnquell.
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine. Soon after the birth of Purple Prose, Zahm created spin-off publications like Purple Sexe, Purple Fiction and what we now know and love, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple and Purple Fashion. Purple Sexe remains one of the scarcest of the early Purple series', published in the same format as Purple Prose and Purple Fiction in late 1990s. A magazine devoted to sexuality, only 8 issues of Purple Sexe were ever published between 1998 - 2001, edited by Olivier Zahm and commencing the same year as Purple, which was a fusion of Purple Prose, Fiction, Fashion, and Sexe.
Very Good copy.
1999, English
Softcover, 21.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$220.00 - Out of stock
The scarce fourth issue (of eight total, published between 1998-2001) of Olivier Zahm's short-lived, erotically charged photography journal "Purple Sexe". This issue profusely illustrated throughout, containing portfolios by Donald Christie, Mark Borthwick, Johnny Gembitsky, Terry Richardson, Katja Rahlwes, Marcelo Krasilcic, Martin Laporte, Jack Pierson, Thomas Schenk, Dike Blair, Richard Kern, and Viviane Sassen.
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine. Soon after the birth of Purple Prose, Zahm created spin-off publications like Purple Sexe, Purple Fiction and what we now know and love, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple and Purple Fashion. Purple Sexe remains one of the scarcest of the early Purple series', published in the same format as Purple Prose and Purple Fiction in late 1990s. A magazine devoted to sexuality, only 8 issues of Purple Sexe were ever published between 1998 - 2001, edited by Olivier Zahm and commencing the same year as Purple, which was a fusion of Purple Prose, Fiction, Fashion, and Sexe.
Very Good copy.
1979, English
Softcover (w. dust jacket), 63 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Rigmarole of the Hours / Clifton Hill
$140.00 - Out of stock
“His desires were limitless, he wanted to fly, to make himself invisible, he wanted to be able to do everything.”—Gerhard Rühm
Rare 1979 edition published by Rigmarole of the Hours, Clifton Hill, Melbourne.
Konrad Bayer (1932—1964) was an Austrian writer and poet. A member of the Wiener Gruppe, he combined apparently irreconcilable elements—violence, hermeticism, pessimism, ecstasy, banality—and influences (dadaism, surrealism, pataphysics, Wittgenstein, Stirner, Sade et al.)—into a bizarre linguistic solipsism which has held increasing fascination for German writers of the last few decades. His most important works are the novels Der Kopf des Vitus Bering (The Head of Vitus Bering) and Der sechste Sinn (The Sixth Sense), published posthumously in 1965 and 1966, respectively. Bayer committed suicide in October 1964 at the age of 32.
The Head of Vitus Bering is considered the most important work to originate from the Vienna Group during the time when it was active in the early 1960s. Gerhard Rühm and H. C. Artmann, two colleagues during this period, describe the book variously as Bayer’s “pinnacle” and “a magnificent book. Bayer’s true biography, composed with poetry and elegance.” But Bayer’s own description is more telling: “perhaps a trepanation”.
Constructed from a montage of events, images, facts and allusions that “unite and coordinate the past and future to one point,” Bayer turns the historical adventure of the ship’s captain Vitus Bering, who attempted to discover whether America was linked to Asia, into a metaphor for inner voyage and ultimate liberation “from opinions and thoughts”. Against the backdrop of a chilling reality “outside” in which the logic of a mechanical universe is beginning to run riot, and all subjective distance washed away, the reader is drawn into a vortex of unnerving paradoxes, a calculating machine of sublime horrors — “the birth pangs of initiation”.
Translated with afterword by Walter Billeter.
The small press Rigmarole of the Hours (c. 1974—1986) was born out of the experimental poetry scene in Melbourne, publishing poetry by Robert Kenny, Jennifer Maiden, Laurie Duggan, Kris Hemensley, Katherine Gallagher and Anna Couani, among others.
VG copy with edge tanning to pages.
1973, English
Softcover (staple bound), 96 pages, 20.5 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Contempa / Armadale
$45.00 - In stock -
Scarce copy of Contempa, a small literary press magazine edited by Robert Kenny and Phillip Edmonds in Armadale, Victoria, between 1972—1978. Associated with the experimental poetry scene based around Melbourne's La Mama Theatre and the "Generation of '68" poets, Kenny also established the imprint Ragman Productions, and founded a small press, Rigmorale of the Hours, later Rigmorale Books (1974—1986). A combined issue 7 & 8, this 1973 volume of Contempa features poetry, prose and short fiction (and a splash of artwork) by Robert Harris, Ken Taylor, Richard Hopkinson, Kris Hemensley, Robert Kenny, Terry Harrington, Erich Beach, John Jenkins, B.A. Breen, Andrew Robinson, Anne Parrot, David Miller, Phillip Edmonds, Arno Schmidt/Billeter, An Epistle, and more.
Very Good copy.
1970
Hardcover, 80 pages, 30 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Heinz Peter / Berlin
$100.00 - Out of stock
The wonderful, cult 1970 "Vive Le Sex" photobook from Czech photographer, Ica Vilander, who is noted for being one of the few women to shoot nudes in the 1960s.
Vilander was born in 1921 in Brux, Czechoslovakia and later moved to Berlin in 1944, where she studied graphics and experimental photography. Working for the legendary Willy Fleckhaus designed Twen magazine, Vilander garnered a lot of attention internationally with her nude portraits and dynamic, graphic approach to photography, yet by 1980 she disappeared into photo history obscurity as she almost completely retired from public life. Her originals are very rare, as most were destroyed, but her wonderful published collections have become some of the more prized and elusive nude photobooks of the 1960s/1970s.
"Vive Le Sex", in its large square format and hardcover, is a perfect example of Vilander's joyous approach to photographing the nude male and female; mixing elements of collage with photography, dynamic cropping, and a free-spirited use of styling and props that reflected the hippie lifestyle that surrounded her family and friends, who were all regular subjects of her photos, alongside actors, musicians, artists.
First, only edition.
1972, English
Softcover (staple-bound w. card covers), 72 pages, 38.5 x 27.5 cm
1st Edition, Out of print title / used / very good
Published by
Uitgeverij Bert Bakker / The Hague
$280.00 - Out of stock
The Virgin Sperm Dancer : An ecstatic journey of a boy transformed into a girl for one day only, and her erotic adventures in Amsterdam, magic centrum. This is the photographic story of Joop, a modern boy who wakes up one morning as Joopie, a succulent young lady who only has a day to enjoy the benefits of her new body before the metamorphosis is reversed. Joopie wastes no time and embarks on her erotic adventures, every step of which is documented in explicit detail. A rare, cult classic of the European sexual liberation movement of the early 1970's, conceived by the photographer Anna Beeke as an anti-pornographic statement and published as a special issue of Willem de Ridder's notorious and glorious "Suck" magazine.
"The makers of the Virgin Sperm Dancer cannot be held responsible for word burns and image jitters up to and including the first degree."
"The Virgin Sperm Dancer" features text by American expatriate and editor of Suck (as well as The Insect Trust Gazette, International Times, and The Fanatic) William Levy - known as the "Talmudic Wizard of Amsterdam", design by one of Holland's most innovative, risk taking designers, Beeke's husband Anthon Beeke, and wonderful black and white photographs Anna Beeke herself - credited as "Ginger Gordon". This joyous and provocative, uncensored and over-sized book is a tour of gender-bending counter-culture sex in and adjacent to Amsterdam's famed Vondelpark in 1972, complete with public sex and auto-eroticism, orgies and trans-sexual baked bread! "This charmingly liberated fairy story is gleefully hardcore - the point of the exercise, after all." — Martin Parr and Gerry Badger's "The Photobook: A History, volume III" (Phaidon Press, London, 2014). Also cited in Alessandro Bertelotti's "Books of Nudes" (Abrahams, New York, 2007).
Final instructions : "This is not a work of fiction or of one man. Keep your eye on it's bi-unity. I am smiling now. But if you don't think my story marvellous and you should happen to meet me, kindly pass as though we don't know each other."
"But for those readers with delicate lusts and whose curiosity reaches greater detail... When you finish this book roll the pages into thin tubes. Insert carefully into your rectal opening where this specially treated paper will dissolve and act as a chemical re-agent to push each and every word image into your blood-stream and finally into the deep memory of your brain... "
Very Good with light tanning and cover wear (some very small edge nicks and light creasing, pinching)
199?, Polish/English/German
Softcover (staple-bound), 24 pages, 22.5 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
Carmina Académica / Poland
$150.00 - In stock -
Extremely rare, self-published, undated (presumably around 1992) publication "Spiral Form" by Leoncjusz Ciuciura, one of Poland's most visionary composers of contemporary music. The message of his compositions relates to infinity, and "Spiral Form", outlined in this theoretical "score", is the most perfect instillation of this concept. Written in 1964 but according to the author's idea the piece started in the beginning of the universe and will play literally forever. "The basic feature of the spiral form is the dynamic intergrating tendency of all elements to an inner unity, cohesion and substantial perfection. The spiral form is a total form "in statu nascendi" and transits from micro to macro form."
Tri-lingual Polish/English/German texts by the composer, accompanied by graphics and biography.
A member of the Polish Authors’ Society, ZAiKS, from 1962, many of Ciuciura’s compositions combined elements of improvisation, linking music and pantomime, dance, theatre and other forms of art. A firm believer in the “self-improvement” of his compositions, Ciuciura argued that:
"Since 1964 until the present, each performance [of my work] is a world premiere and therefore the date of that performance should be changed and updated accordingly. Beginning with my Spirale per uno e piu’ I have launched my own concept of musical form, a spiral form, where the starting point could be visual graphics, sonorist elements, prepared sounds, as well as minimal music, Momentformen, collage, happening, conceptualism, etc. Thanks to the elements of expectation, virtual reality and eschatology, this new, spiral form of a musical composition opens the door to self-realization, self-discovery and self-improvement."
Leoncjusz Ciuciura (1930—2017) was a Polish composer, an ardent advocate for contemporary music and co-organizer of the Polish Chapter of Jeunesses Musicales International. He studied composition with Tadeusz Szeligowski at the State Higher School of Music in Warsaw (1954–60). He founded the music publishing firm Carmina Académica, with which he was active as an editor. In 1960 he received the Minister of Culture and Arts Award, in 1962 first prize in the International Competition for Composers in Prague, and in 1963 third prize in the Grzegorz Fitelberg Competition in Katowice. Virtually all of his works are essays in combinatorial permutation with optional instrumental or vocal additions, subtractions, multiplications, or divisions.
Good—VG copy with light wear, staple rusted.
1969, English
Softcover, 52 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / good
Published by
Still Earth / Melbourne
$140.00 - In stock -
Exceptionally rare first 1969 poetry collection published by Still Earth Publications, Melbourne, an imprint founded by poet Russell Deeble and gallerist, artist, poet and publisher, Sweeney Reed, son of Albert Tucker and Joy Hester, adopted son of Heide founders John and Sunday Reed, whose Strines and Sweeney Reed Galleries championed concrete poetry, abstraction, and pop art in Australia.
This inaugural collection features a generous selection of daring poetry by Melbourne poets Russell Deeble and Shelton Lea, American poet Diane Di Prima, and British poets Christopher Logue and Tom Pickard.
"Disgusting" as one catalogue put it.
Good copy with wear to gold foiled covers, very good internally.
1990, Japanese
Softcover (w. dust jacket and obi strip), 269 pages, 13 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Ota Shuppan / Tokyo
$300.00 - In stock -
Rare first Japanese edition of Nobuyoshi Araki's most controversial book, and cited by Martin Parr and Gerry Badger (in The Photobook Vol.1) as Araki's best and most famous work. Includes original publisher's obi-strip issued with the first 1990 printing. Tokyo Lucky Hole is Araki's intimate document of Japan's sex industry in full flower. Before Shinjuku's infamous red-light district was closed in 1985, the Japanese photographer made this obsessive documentation of its every aspect: the pleasure-seekers and providers, street scenes, performances, peep-shows, parlours, parks, dungeons. Tokyo Lucky Hole reveals the core of Araki's art: the desire to create a portrait of Tokyo without the niceties (and prudishness) of convention. Through mirrored walls, bed sheets, bondage and orgies, this is the last word on an age of bacchanalia, infused with moments of humor, precise poetry, and questioning interjections. Text by Nobuyoshi Araki. Design by Katsumi Komagata.
Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.
Very Good copy with VG obi-strip.
1980, Japanese
Softcover (w. metallic dust jacket), 324 pages, 25.6 x 15.3 cm
1st Edition, Out of print title / used / very good
$200.00 - Out of stock
First 1980 edition of Nobuyoshi Araki's Pseudo-Reportage, over 300 pages of Araki's photographic reportage spanning 1977—1979, and one of more uncommon and best Araki books. Wrapped in silver and pink metallic dust jacket, Pseudo-Reportage is akin to his famed Tokyo Luckyhole, a visual record tracing Araki's movements through the Tokyo nightlife (mostly) of the late 1970's and a tour to the haunts of New York City in 1979 on the occasion of a group exhibition at the International Center of Photography — JAPAN: A SELF PORTRAIT, in which Daido Moriyama, Eikoh Hosoe, Tomatsu, Fukase also participated. Lots of sex clubs, bars, restaurants, and lots of women — the Japanese Empress, female kickboxers, girl glam rockers, hostesses, girls, girls, girls. Explicit, profound, charming, Araki.
"With an epigraph, Photos are jokes on society. The high ([Japan's] Empress) and the low (female kickboxers) are combined; Araki's great wit in full display."—Kōtarō Iizawa
Good—VG copy in Good—VG dust jacket, with only very light general wear/age. Foxing to unseen under-side of dust jacket.