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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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.
1942, German
Softcover (w. dust jacket), 126 pages, 19 x 13 cm
1st Edition, Out of print title / used / good
Published by
Rudolf Geering / Basel
$35.00 - In stock -
Rare 1942 edition of Hermann Beckh's Vom Geheimnis Der Stoffeswelt (Alchymie) — (Alchymy: The Secrets of the World of Substances) — published Rudolf Geering, Basel.
As a practising Christian priest, Hermann Beckh was profoundly aware that the mystery of substance – its transmutation in the cosmos and the human being – was a mystical fact to be approached with the greatest reverence, requiring at once ever-deepening scholarship and meditation. He viewed chemistry as a worthy but materialistic science devoid of spirit, while the fullness of spiritual-physical nature could be approached by what he preferred to call ‘chymistry’ or ‘alchymy’, thereby taking in millennia of spiritual tradition.
In consequence, Beckh’s Alchymy: The Secrets of the World of Substances is not limited to the conventional workings of Western alchemy, nor to what can be found in the Bible from Genesis to Revelation – although he does unveil hidden riches there. Neither should Beckh be considered only as a learned Professor with impeccable academic qualifications and European-wide recognition. Beckh writes about such topics as ‘Isis’, ‘the Golden Fleece’, traditional fairy-stories and Wagner’s Parsifal in a way that enables the reader to catch glimpses of the Mystery of Substance; to share the writer’s authentic experience of the divine substantia – the living reality – of Christ in the world.
Beckh’s Alchymy set an entirely new standard, and went on to become his most popular publication.
Hermann Beckh (1875—1937) was a pioneering German Tibetologist and prominent promoter of anthroposophy.
Good copy with tanning, marking, closed edge tears, water marking to dust jacket. Book well preserved. 3rd printing of this edition.
2024, English
Softcover, 160 pages, 17.8 x 11.4 cm
Published by
Wakefield Press / Cambridge
$32.00 - In stock -
An indefinable polymath of fin de siècle Paris, Charles Cros made work that was simultaneously grounded in literature and science. This collection brings together for the first time in English all of his literary prose. The collection includes proto-science-fiction stories; prose poems; an essay on methods of communication with other planets; and the patent application written with his brother for a (never-built) notating keyboard.
The literary imagination Cros was able to bring into the field of science was matched by the humorous scientific sobriety he introduced into his literature, which he did nowhere so effectively as in the title piece, “The Science of Love”: depicting a young scientist’s painstakingly executed seduction of a woman for the sake of scientific analysis. Also included are stories such as “The Newspaper of the Future” (which presents a 19th-century imagining of artificial intelligence) and “The Stone Who Died of Love.”
Charles Cros (1842–88) was a French writer and inventor. He is credited with submitting the earliest method for recording sound, but his idea for the “Paleophone” was obscured by Thomas Edison’s patent for the phonograph less than a year later.
1961, English
Hardcover (w. dust jakcet), 256 pages, 22.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Frederick Muller Limited / London
$110.00 - Out of stock
Rare first 1961 hardcover edition of Secret Societies, Afghan author Arkon Daraul's absolute classic occult study, kept in print ever since its first publication.
"This unique and sensational book is the fruit of many years of investigation. The author, in order to make his material as complete as possible, has travelled through Europe and the Middle East to track down survivals of secret societies and has attended ceremonies held by clandestine organisations in the heart of London. He gives the reader details, never before revealed, of the causes of the rise-and fall of secret confederacies; and of the signs, passwords and secret writings used by such organisations. He describes such diverse entities as the underground groups of the Illuminati, the religious ecstatics of Russia, the dread Assassins of Persia and Arabia and the People of The Peacock of Britain and Iraq, and he reveals the secret initiation rites and rituals of magicians. The book shows that almost every social system has produced its secret societies, and that almost anyone you meet may be a member of one!"
Good—Very Good copy in Good—Very Good dust jacket. DJ has general wear and tear to extremities, foxing, tanning, clip to front inner flap. Book G—VG with foxing to end papers, previous owner's name, light tanning. Preserved in mylar wrap.
1959, English
Hardcover (w. dust jacket, 215 pages, 22 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Rider / UK
$290.00 - In stock -
Very rare first 1959 hardcover edition, first printing of Eliphas Levi's grimoire masterwork, The Key of the Mysteries, translated from the French, with an introduction and notes by Aleister Crowley, published by Rider, UK.
Eliphas Levi (1810-1875), born Alphonse Louis Constant, was a sage, poet and author of over twenty esoteric books. He began writing at 22 years of age and was imprisoned twice for the critical nature of his work. Eliphas Levi was steeped in the Western occult tradition and a master of the Rosicrucian interpretation of the Qabalah, which forms the basis of magic as practiced in the West today. The "Key of the Mysteries" represents the culmination of Levi's thoughts and is written with subtle and delicate irony. It reveals the mysteries of religion and the secrets of the Qabalah, providing a sketch of the prophetic theology of numbers. The mysteries of nature, such as spiritualism and fluidic phantoms, are explored. Magical mysteries, the Theory of the Will with its 22 axioms are divulged. And finally it offers "the great practical secrets." The true greatness of this work, however, lies in its ability to place occult thought firmly in Western religious traditions. For Levi, the study of the occult was the study of a divine science, the mathematics of God.
Éliphas Lévi Zahed (1810—1875), born Alphonse Louis Constant, was a French esotericist, poet, and writer. Initially pursuing an ecclesiastical career in the Catholic Church, he abandoned the priesthood in his mid-twenties and became a ceremonial magician. At the age of 40, he began professing knowledge of the occult.
Good—Very Good copy in Good seldom preserved dust jacket. DJ has general wear and tear to extremities, chipping. Book G—VG with foxing to end papers/block edges, previous owner's name, light tanning. Preserved in mylar wrap.
1993, English
Softcover, 632 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
University of California Press / Berkley
$40.00 - In stock -
First 1994 edition.
Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance.
Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty.
His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, Downcast Eyes will consolidate Jay's reputation as one of today's premier cultural and intellectual historians.
Martin Jay is Sidney Hellman Ehrman Professor Emeritus of History at the University of California, Berkeley. His books include Force Fields (1992), Marxism and Totality (California, 1984), Adorno (1984), and The Dialectical Imagination (1973).
Good copy due to contact laminating, otherwise VG.
1996, English
Softcover, 274 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Yale University Press / New Haven
$25.00 - Out of stock
First 1996 edition, second print. In this illuminating book, a prominent art historian explores the links between avant-garde art and modern mass culture, showing that the connections between the two have always been strong, and even necessary to both. The author recounts vivid episodes involving Jackson Pollock, Andy Warhol, Christopher Williams, and many others, arriving at fresh and original insights into modern art and its place in late twentieth-century culture.
Thomas E. Crow is an American art historian and art critic who is best known for his influential writing on the role of art in modern society and culture. Since 2007, Crow has served as the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, NYU.
Very Good copy, light wear.
1992, English
Softcover, 232 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Duke University Press / North Carolina
$25.00 - Out of stock
Miniature books, eighteenth-century novels, Tom Thumb weddings, tall tales, and objects of tourism and nostalgia: this diverse group of cultural forms is the subject of On Longing, a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world. Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.
Good—VG copy, light wear.
1988, English
Hardcover (w. dust jacket), 200 pages, 22.5 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Weidenfeld and Nicolson / London
$40.00 - In stock -
First 1988 hardcover edition of Bodysnatchers: A History of the Resurrectionists , 1742—1832 by Martin Fido.
From 1740 to 1832, freshly buried corpses were dug up and surreptitiously hawked to surgeons and anatomists in London and Edinburgh to dissect for research and teaching purposes. The resurrection trade brought together Fellows of the Royal Society and slum-dwelling criminals in an unholy alliance. By the beginning of the nineteenth century, the illicit trade had become one of London's most efficiently organized departments of crime, with gang-leader Ben Crouch securing a virtual monopoly of delivery to half the teaching hospitals. In Scotland, several surgeons of great eminence loved the adventure of association with desperadoes and willingly accompanied them on their nocturnal excavations. Not surprisingly, there was great public consternation about the activities of the bodysnatchers, but it was only when Burke and Hare introduced murder as a means of acquiring 'subjects' that the authorities acted to eradicate the ghoulish practice.
Martin Fido's book is an enthralling study of a strange byway of criminal low life. It provides the first full and accurate accounts of murderers Helen Torrence and Jean Waldie, Bishop and Head and El iza Ross. With sketches of the great surgeons who encouraged and sought to control the trade, 'Bodysnatchers' will interest many in the medical profession and social historians as well as devotees of the true crime genre.
Martin Fido is best known for his popular biographies of Oscar Wilde, Shakespeare and Rudyard Kipling. For twenty years he taught English literature in universities as far apart as Oxford, Michigan and the West Indies. His special field was the Victorian social novel. He has always been interested in true crime, and he is the author of the Murder Guide to London and The Crimes, Detection and Death of Jack the Ripper.
When in London, he devotes as much time as possible to his much-loved cabin- cruiser, and takes guided tours over the Jack the Ripper territory and into graveyards where the bodysnatchers worked. At home in Cornwall, his principal recreation is walking over the West Penwith moors.
Very Good in VG dust jacket, light spotting to book block edges.
1982, English
Softcover, 224 pages, 23 x 14 cm
Out of print title / used / very good
Published by
University of Chicago Press / Chicago
$45.00 - Out of stock
Ambroise Paré, born in France around 1510, was chief surgeon to both Charles IX and Henri III. In one of the first attempts to explain birth defects, Paré produced On Monsters and Marvels, an illustrated encyclopedia of curiosities, of monstrous human and animal births, bizarre beasts, and natural phenomena. Janis L. Pallister’s acclaimed English translation offers a glimpse of the natural world as seen by an extraordinary Renaissance natural philosopher.
Scarce 1982 edition. Good—VG copy, light wear and spotting to block edges.
2007, English
Softcover, 335 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Duke University Press / North Carolina
$35.00 - Out of stock
First 2007 edition of Jasbir K. Puar’s pathbreaking Terrorist Assemblages, which remains one of the most influential queer theory texts and continues to reverberate across multiple political landscapes, activist projects, and scholarly pursuits. Puar argues that configurations of sexuality, race, gender, nation, class, and ethnicity are realigning in relation to contemporary forces of securitization, counterterrorism, and nationalism. She examines how liberal politics incorporate certain queer subjects into the fold of the nation-state, through developments including the legal recognition inherent in the overturning of anti-sodomy laws and the proliferation of more mainstream representation. These incorporations have shifted many queers from their construction as figures of death (via the AIDS epidemic) to subjects tied to ideas of life and productivity (gay marriage and reproductive kinship). Puar contends that this tenuous inclusion of some queer subjects depends on the production of populations of Orientalized terrorist bodies. Heteronormative ideologies that the U.S. nation-state has long relied on are now accompanied by homonormative ideologies that replicate narrow racial, class, gender, and national ideals. These "homonationalisms" are deployed to distinguish upright "properly hetero," and now "properly homo," U.S. patriots from perversely sexualized and racial- ized terrorist look-alikes-especially Sikhs, Muslims, and Arabs-who are cordoned off for detention and deportation.
"By articulating terrorism, patriotism, and U.S. exceptionalism not only to race but also to homophobia, heteronormativity, and queerness, Terrorist Assemblages offers a trenchant cri- tique of contemporary bio- as well as geopolitics. As an author on a hotly debated topic, Jasbir K. Puar is as gracious about acknowledging other authors' contributions as she is un- yielding in her interrogations of secular-liberalist epistemic conventions. This is a smart, admirably researched, and courageous book."—Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility
"I could not stop reading this outraged, meticulous, passionate, and brilliantly visioned book. Jasbir K. Puar's analysis of the neoliberal, imperial, sexual, and racist present reaches into the U.S. academy and multiple transnational publics and is critical of them all, even when she has solidarity with them. It's been a long time since I read something so smart and so thorough in its storytelling."—Lauren Berlant, author of The Queen of America Goes to Washington City: Essays on Sex and Citizenship
"In this powerful book, Jasbir K. Puar offers a stunning critique of 'homonational' politics. She rethinks intersections as assemblages, as networks of affect, intensity, and movement. The very rigor of her critique suggests an unflinching optimism about what is possible for queer politics."—Sara Ahmed, author of Queer Phenomenology: Orientations, Objects, Others
Jasbir K. Puar is Associate Professor of Women's and Gender Studies at Rutgers University.
Near Fine copy.
1992, English
Softcover, 172 pages, 23 x 17 cm
Reprint,
Published by
October Books / New York
The MIT Press / Massachusetts
$59.00 - In stock -
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle.
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity.
Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision.
Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.
Jonathan Crary is Meyer Schapiro Professor of Modern Art and Theory at Columbia University. A founding editor of Zone Books, he is the author of Techniques of the Observer (MIT Press, 1990) and coeditor of Incorporations (Zone Books, 1992). He has been the recipient of Guggenheim, Getty, Mellon, and National Endowment for the Arts fellowships and was a member of the Institute for Advanced Study in Princeton.
"Nimbly interweaving the histories of science, technology, philosophy, popular culture, and the visual arts, Jonathan Crary provides a stunning challenge to conventional wisdom about the epochal transformation of visual culture in the nineteenth century. Techniques of the Observer will be a vital resource for anyone concerned with the complex interaction of technological modernization and aesthetic modernism."—Martin Jay, University of California at Berkeley
1998, English
Softcover, 278 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Polity / US
$30.00 - In stock -
First 1998 edition of Sexology Uncensored. This landmark collection brings together, for the first time, many of the key documents of the modern science of sexuality that emerged in the late nineteenth century. The early pioneers of the new field of sexology examined and classified sexual behaviors, identities, and relations. For years much of the material here has been “censored” in the sense that it is difficult to obtain, subject to restrictive circulation, or available only in medical archives. The extracts (which date from the 1880s to the 1940s) cover a variety of topics including gender and sexual difference; homosexuality; transsexuality and bisexuality; heterosexuality; marriage and sex manuals; reproductive control; eugenics; race; and various sexual proclivities.
Offering readers access to the primary materials on which contemporary sexology is founded, Sexology Uncensored is an invaluable record for all those interested in how we have come to think about sex and sexuality over the last hundred years.
Sexology in Culture and its companion Sexology Uncensored will interest all those concerned with understanding modern sexual discourse in its historical context.
Very Good copy.
1990, English
Hardcover, 258 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
University of California Press / Berkley
$45.00 - Out of stock
First 1990 hardcover edition of Epistemology of the Closet by Eve Kosofsky Sedgwick. Since the late 1980s, queer studies and theory have become vital to the intellectual and political life of the United States. This has been due, in no small degree, to the influence of Eve Kosofsky Sedgwick's critically acclaimed Epistemology of the Closet. Working from classic texts of European and American writers-including Melville, James, Nietzsche, Proust, and Wilde-Sedgwick analyzes a turn-of-the-century historical moment in which sexual orientation became as important a demarcation of personhood as gender had been for centuries.
"Brilliant as a work of literary criticism, a cultural study, a political analysis, and as a landmark in the development of lesbian and gay studies."—Women's Review of Books
Eve Kosofsky Sedgwick (May 2, 1950 – April 12, 2009) was a poet, artist, literary critic and teacher. She is perhaps best known as one of the originators of Queer Theory. Her work and her example continue to have a significant effect in shaping the lives and thought of many people.
Very Good copy, lacking dust jacket.
2016, English
Hardcover, 288 pages, 29.2 x 24 cm
1st Edition, Out of print title / as new
Published by
Yale University Press / New Haven
$220.00 - In stock -
Out-of-print and immediately collectible major monographic study of visionary French furniture designer and architect, Pierre Chareau, highlighting his virtuoso designs and versatile creativity. First edition hardcover of this now highly sought after, stunning and in-depth volume committed to Chareau.
The designer and architect Pierre Chareau (1883–1950) was a pivotal figure in modernism. His extraordinary Art Deco furniture is avidly collected and his visionary glass house, the Maison de Verre, is celebrated, but the breadth of his design genius has been little explored. Chareau linked architecture, fine arts, and style; designed furniture for avant-garde films and chic homes; collected artists such as Picasso and Mondrian; and was a radical innovator in the use of materials. Essays by leading scholars embrace the full scope of his invention, offering detailed analyses of individual projects, the interdisciplinary nature of his work, his Jewish background, his place in the avant-garde of Paris between the wars, and his more recent reception. Extensive illustrations present a rich sampling of Chareau’s furniture, architecture, interiors, fabrics, and wallpapers, as well as his own important art collection.
Esther da Costa Meyer is professor of modern architecture at Princeton University. Bernard Bauchet is an architect and scholar based in Paris. Olivier Cinqualbre is chief curator of architecture at the Centre Pompidou, Paris. Jean-Louis Cohen is Sheldon H. Solow Chair for the History of Architecture at New York University’s Institute of Fine Arts. Robert M. Rubin is an independent scholar and curator. Kenneth E. Silver is professor of modern art at New York University. Brian Brace Taylor is professor of history and theory of architecture at the New York Institute of Technology.
As New copy.
2020, English
Softcover (in sealed wax sleeve), 80 pages, 16 x 22 cm
1st Edition, Out of print title / as new
Published by
Roma / Amsterdam
$100.00 - In stock -
‘Tokyo Papers’ comprises a collection of 41 monoprints created by Dutch graphic designer and typographer Karel Martens between 2019 and 2020. In 2018, Martens received a package from artist-curator Pierre Leguillon that contained filled-in Japanese forms which he had found at a street market in Tokyo. Martens was intrigued by the collection of thin paper with a rectangular black-blue layer of carbon on the back. In 2019 he started to print on these back sides, but because the overprinting on the carbon layer caused unwanted damage, he switched to printing them on the front sides as well. “The closing image is related to Tokyo in a different way,” he explains.
As New, sealed in wax sleeve copy.
1992, English
Softcover (staple-bound), 10 pages, 21 x 14.8 cm
1st Edition, Out of print title / as new
Published by
Store 5 / Melbourne
$45.00 - In stock -
John Nixon catalogue for an exhibition at Store 5, Melbourne, 1992. Includes a black monochrome, selection of Nixon's texts, along with texts on Nixon by László Réber and John Barlycorn.
John Nixon (1949-2020) was a seminal figure in contemporary Australian abstraction. Since 1968 his work has been dedicated to the ongoing experimentation, analysis and development of radical modernism, minimalism, the monochrome, constructivism, non-objective art and the readymade – key reference points in his work. Experimental Painting Workshop (EPW), which began in 1978, forms the basis of Nixon’s rigorous and long-standing intellectual investigation into the making of art, over time expanding to encompass not only painting, but collage, photography, video, dance and experimental music performance.
As New.
1985, English / German
Softcover, 96 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
$45.00 - Out of stock
Excellent catalogue published on the occasion of an exhibition of Five Australian artists exhibiting at Daadgalerie, Berlin, Sep 2—Oct 6, 1985, organised by René Block with Mike Parr. Extensive and heavily illustrated chapters on each artist, Richard Dunn, John Lethbridge, Mike Parr, Peter Tyndall, and Ken Unsworth, alongside illustrated texts by curators René Block and Anthony Bond, and independent artist texts by George Alexander, Bernice Murphy, John Barbour, and more, in both English and German. Installation photographs and all works in colour and b/w, plus biographies, and much more. Catalogue by René Block.
Very Good copy, light wear.
1989, English
Hardcover (w. both dust jackets), 236 pages, 25 x 31.3 cm
1st Edition, Out of print title / used / very good
Published by
Schirmer & Mosel / Munich
$240.00 - In stock -
First 1989 hardcover edition of what is still one of the finest books on the work of American fashion photographer Bruce Weber (b. 1946). Edited and designed by John Cheim, this collection of 140 photographs is testimony to the breadth of Weber's photographic talent, from his male nudes charged with nostalgia and classicalism; his humanist portraits of artists, actors and athletes; his glorious homages to his beloved golden retrievers; his lyrical tributes to eroticism or his arcadian vision of the American landscape, it is all here, all beautifully reproduced. Working for Calvin Klein, Karl Lagerfeld, Comme des Garçons, Gianni Versace, Ralph Lauren, and Abercrombie & Fitch, Weber pioneered a nostalgic, aspirational style that redefined the industry. He is widely considered to have introduced a new level of artistry to commercial photography.
First hardcover edition in dust jacket, wrapped within printed translucent dust jacket.
Very Good copy with tanning/minor chips to translucent jacket spine and edges, light spotting to block edges, general age.
2024, English
Softcover, 80 pages, 26.7 x 35.6 cm
Published by
Primary Information / New York
$44.00 - Out of stock
The Fluxus Newspaper collects all eleven newspapers published by the Fluxus art collective between January 1964 and March 1979. The newspapers were edited by an ever-changing team of artists known as the Fluxus Editorial Council for Fluxus and every issue, except the last two, was designed by Fluxus founder George Maciunas.
Although published irregularly, the newspapers were used to promote Fluxus events and publications, especially the group’s famous multiples and Fluxkits, with advertising materials, order forms, and pricelists interspersed throughout. More than just a space for promotion and information, the Fluxus newspapers featured the work of over sixty artists as well as appropriated newspaper headlines, advertisements, articles, and comic strips that are indicative of the group’s anti-art sensibility and characteristic humour.
The Fluxus Newspaper is exemplative of the 'do-it-yourself' creative attitude characteristic of Fluxus – an approach that is collaborative, interdisciplinary, anti-commercial, humorous, and open to anyone. The periodical is also an early example of the artist newspaper, a medium which grew out of the underground press movement and flourished in the late 60s and 70s as artists began to seek new mediums for presenting and distributing their work.
Artists featured in The Fluxus Newspaper include: Ay-O, Carol Bergé, Joseph Beuys, Elaine Bloedow, George Brecht, Christo, Philip Corner, Walter De Maria, Willem de Ridder, Bern Erismann, Nye Ffarrabas [participating as Bici Forbes], Robert Filliou, Henry Flynt, Ken Friedman, Carolyn Krumm, Heinz Gappmayr, Eugen Gomringer, Raymond Hains, Dick Higgins, Geoffrey Hendricks, Jon Hendricks, Alice Hutchins, Tatsu Izumi, Ray Johnson, Joe Jones, Allan Kaprow, Milan Knížak, Alison Knowles, Arthur Köpcke, Takehisa Kosugi, Ruth Krauss, Philip Krumm, György Ligeti, George Maciunas, Angus MacLise, Jackson Mac Low, Larry Miller, Peter Moore, Hans Nordenström, Yoko Ono, Nam June Paik, Benjamin Patterson, James Riddle, Dieter Roth, Takako Saito, Mieko Shiomi, Tomas Schmit, Daniel Spoerri, Christer Strömholm, Yasunao Tone, Stan VanDerBeek, Ben Vautier, Jacques Villeglé, Wolf Vostell, Yoshimasa Wada, Robert Watts, Emmett Williams, William S. Wilson, La Monte Young, Marian Zazeela.
80 pages, 26.7 x 35.6cm, softcover, Primary Information (New York).
1993—2000, Japanese
Softcover, 300—400 pages ea., 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$300.00 - In stock -
Huge lot of 11 issues of Sabu, "Magazine For Men Who Love Men", the trailblazing gay erotic magazine from Japan, founded in 1974. All issues from the 1990s, with one issue from 2000 thrown in, 1993—2000, all featuring the gorgeous wrap-around (front and back) cover artwork by legendary gay erotic illustrator Ben Kimura (1947—2003). Packed with illustrations by Gengoroh Tagame, Gekko Hayashi, Go Mishima, Ben Kimura, and many other artists, at roughly 350—400 pages in each issue, Sabu is more of a book (a "mook" as it were). Filled to the brim with gay erotic art galleries, glossy hardcore erotic photography, loads of fetish and bondage materials, wild "bara" manga, classifieds/letters/sexmate messageboards, articles, ads for Japanese gay bars, clubs, saunas, dungeons, gyms, mail-order toys, publications, media, news and reports on international scenes, and much more.
Each issue Very Good—Good, with light wear and tear. Specific shipping costs may apply.
2023, English / Japanese
Hardcover (w. slipcase and postcard), 176 pages, 31 x 21.5 cm
Edition of 1000,
1st Edition, Out of print title / as new
Published by
Gallery Naruyama / Tokyo
$240.00 - Out of stock
Remarkable, comprehensive new book published on the occasion of the retrospective exhibition of Sadao Hasegawa (1945—1999) at Gallery Naruyama, Tokyo, in 2023, divided into two periods for a span of six months. This lavishly produced and limited edition hardcover book (housed in gallery slipcase with removable cover sticker — a temporary censor for distribution purposes), reproduces all of his amazing homo-erotic artwork works in this extensive exhibition, making it the most comprehensive book on the artist yet. From his early romantic works drawn under the influence of psychedelic drugs, to works that interweave Hasegawa’s longing for foreign and exotic lands, erotic images of men created for magazines and manga, this book covers his vast array of styles, revealing many never before published sketches, preparatory drawings and graphic works. All works completely uncensored in their full glory — Hasegawa's unique blend of fantasy, Asian folklore, sado-masochism, and the homoeroticism of Yukio Mishima. Beautifully presented across many different paper stocks, with accompanying essay in English/Japanese. A must for any fan. This copy with illustrated exhibition invite laid in.
Inspired by Nobel Prize nominee Yukio Mishima, beauty, eroticism and death are recurring themes in the self-taught Hasegawa’s work. His unique vision incorporates Japanese, Indian, South-East Asian and African mythology, combined with homo-erotic depictions of men in acts of sado-masochism, juxtaposed with lush tropical flowers, strings of pearls, birds and animals that float through the margins of dreamy, ecstatic scenes. After Hasegawa’s suicide in Bangkok, Thailand, in 1999, his family was going to dispose of the artists archive but discovered a portrait of Mishima painted on a stone, accompanied by a note requesting that the works be bequeathed to Gallery Naruyama, Tokyo, where the artist’s estate is today.
"When I was a child, I was alone with kūsō (daydreams and wild imagination). Always I went to the fields and the woods. I liked talking to animals and plants. In my imagination, I changed into birds and insects and flowers... These childhood experiences are the basis for my pictures." Sadao Hasegawa (In Touch for Men)
As New copy.
2022, English
Hardcover, 76 pages, 25 x 20 cm
Published by
Baron / UK
$70.00 - In stock -
Back in print! Baron is pleased to present the first posthumous book by Japanese artist Sadao Hasegawa (Jan 1945- Nov 1999), dedicated to Hasegawa’s rarely-published archive.
Hasegawa work is notable for incorporating Japanese, Indian, South-East Asian and African mythology, combined with homo-erotic depictions of hyper-masculine men, in acts of BDSM.
Beauty, eroticism and death are recurring themes in Hasegawa’s work; he was inspired by Nobel Prize nominee Yukio Mishima. After Hasegawa’s suicide in 1999, his family was going to dispose of the artists archive but discovered a portrait of Mishima painted on a stone, accompanied by a note requesting that the works be bequeathed to Gallery Naruyama, Tokyo, where the artist’s estate is today.
Whilst gaining acclaim in queer publications in the USA and Europe, with critics historicising Hasegawa’s work as an influence on contemporary Japanese queer culture, and the gay manga genre, Hasegawa's works have not been widely recognized: his only book is the highly collectable Paradise Visions (Kochi Studio, 1996).
The book also includes an essay by Dr Thomas Baudinette, author of Regimes of Desire: Young Men, Media and Masculinity in Tokyo (University of Michigan Press, 2021) and is designed by Sam Boxer, Art Director of Gut Magazine.
1982, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Daini Shobo / Tokyo
$60.00 - Out of stock
Rare early September 1982 issue of the trailblazing Barazoku, “The Rose Tribe”, Japan's first commercially circulated gay men's magazine, founded in 1971 by Bungaku Itō. Features cover artwork by Ben Kimura, colour gallery by Go Mishima, and many illustrations by Sadao Hasegawa, just to get started! A leader in Japanese gay culture, Barazoku was the longest running magazine of its kind, surviving 33 years, and despite mainstream disapproval and legal injunctions it became such a cultural phenomenon that its title, the term "bara", has entered the mainstream language as a synonym for "gay" and gay manga. Barazoku published an interview with Japan's first known AIDS sufferer at a time when the mainstream media refused to address the issue. The magazine was also instrumental in introducing seminal Japanese gay erotic artists such as Ben Kimura, Go Mishima, Rune Naito, and Sadao Hasegawa, amongst others. Each issue was packed with gay erotica art galleries, manga, colour and b/w glossy erotic photography, classifieds/letters/personal ads, articles, ads for Japanese gay bars, clubs, saunas, dungeons, gyms, mail-order toys, publications, media, news and reports on international scenes, and much more.
VG—Good copy. Wear.
1989, German
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Michael Werner / Köln
$30.00 - In stock -
1989 catalogue published to accompany the exhibition A. R. Penck "Future of The Soldiers" at Michael Werner in Cologne. Published in an edition of 700 copies, this lovely catalogue reproduces in colour the drawings, paintings and sculptures featured in the exhibition, with texts in German.
Very Good, but National Gallery of Victoria ex-libris stamping to covers and first two pages.