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
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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.
1997, English
Softcover, 320 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Serpent's Tail / London
$85.00 - Out of stock
"Cookie Mueller was a writer, a mother, an outlaw, an actress, a fashion designer, a go-go dancer, a witch-doctor, an art-hag and above all, a goddess.... It was much later in life that I realized Cookie's biggest talent was her writing. Even the worst experiences in her life were neutralized by retelling them in print as tall tales; she could become a sort of fractured but hilarious Uncle Remus for the brave but culturally wounded."—From the Introduction by John Waters
Rare first 1997 edition of the long out-of-print collection, Ask Dr. Mueller — The Writings of Cookie Mueller, published by High Risk Books / Serpent's Tail, with introduction by John Waters.
"Ask Dr. Mueller captures the glamour and grittiness of Cookie Mueller's life and times. Here are previously unpublished stories—wacky as they are enlightening—along with favorites from Walking Through Clear Water in a Pool Painted Black and other publications. Also, the best of Cookie's art columns from Details magazine, and the funniest of her advice columns from the East Village Eye, on everything from homeopathic medicine to how to cut your cocaine with a healthy substance. This collection is as much an autobiography as it is a map of downtown New York in the early '80s—that moment before Bright Lights, Big City, before the art world exploded, before New York changed into a yuppie metropolis, while it still had a glimmer of bohemian life."
Cookie Mueller was a fiction writer, columnist, cult movie star who appeared in several of John Waters films, and an art critic. She died of Aids in 1989.
Very Good copy with light tanning to pages.
1989, English / Japanese
Hardcover, unpaginated, 31 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Kyoto Shoin / Tokyo
$180.00 - Out of stock
"The work reproduced here is from three notebooks of drawings, the visual diary of my husband Vittorio's four months of bed-ridden confinement in the hospital. He has captured his plight on paper."—Cookie Mueller
Rare first, only edition of this over-sized hardcover book, "Putti's Pudding", the moving, final collaboration between writer/John Waters movie-star Cookie Mueller (1949—1989) and Italian artist/poet/sailor Vittorio Scarpati (1955—1989), wife and husband, published in 1989, the same year both died from complications related to AIDS.
“Putti’s Pudding” collects the insightful, witty, poignant drawings culled from the pages of the Italian poet and political cartoonist Vittorio Scarpati’s notebooks, all made in 1989 while Scarpati was hospitalised in New York, dying of pneumonia as a complication of AIDS. Mueller writes: "Seen chronologically this is a journey of extreme pain made bearable by his sublime imagination. It's the story of a trip along the paths of Vittorio's fantasies and for a man who hasn't felt the warmth of sunlight or the sweet breezes of fresh air for four months, there's a lot to create in the inward eye. From limitations come finally an emancipation...toward a pinnacle of inspiration." Within months of this publication in 1989, both were taken by the AIDS epidemic.
Combining honest exposition, black humour and whimsy, "Putti's Pudding" is an intimate love letter to Scarpati and Mueller’s relationship that also bears witness to the realities of living and dying with AIDS in the 1980s.
"Cookie and Vittorio met in Positano, Italy in the summer of 1983, "It was love at first sight, more aptly put, we bonded to each other because of a kindred spirit, we became inseparable." They married in New York in April 1986. Each of their separate lives is engaged in an intense, controverse relationship to the world around them. Cookie is a writer, Vittorio is a sailor and poet. Both of them now have different degrees of AIDS and have been sharing the same room in a New York hospital."—Paola Igliori's introduction.
Very Good copy, old As New copy.
1980, Japanese
Softcover, 326 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Shuppansha / Tokyo
$120.00 - In stock -
Very rare first issue (October 1980) of S&M Aburoman ("the world of beautiful perverted romance that SM love makes"), featuring cover artwork by Toshio Saeki. Founded in October 1980 by Nihon Shuppansha and edited by Mitsuo Yasuda (who also created SM Club, alongside Oniroku Dan, Sotaro Aki, and Tadao Chigusa), S&M Aburoman was a short-lived SM magazine packed with fetish illustrations, artwork galleries, photographic features, stories, pin-up spreads, and articles exploring SM sexuality. Features contributions by Toshio Saeki, Oniroku Dan, Keizo Miyanishi, Kujuro Kujuro, Shinnosuke Ougi, Haruo Shinozaki, Juan Maeda, and many more. Double sided pin-up of Japanese actress Azuma Terumi.
Very Good copy, tanning and light cover wear.
1981, Japanese
Softcover, 326 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Shuppansha / Tokyo
$100.00 - Out of stock
Rare April 1981 issue of S&M Aburoman ("the world of beautiful perverted romance that SM love makes"), featuring cover artwork by Toshio Saeki. Founded in October 1980 by Nihon Shuppansha and edited by Mitsuo Yasuda (who also created SM Club, alongside Oniroku Dan, Sotaro Aki, and Tadao Chigusa), S&M Aburoman was a short-lived SM magazine packed with fetish illustrations, artwork galleries, photographic features, stories, pin-up spreads, and articles exploring SM sexuality. Features contributions by Toshio Saeki, Tadao Chigusa, Tadao Matasuoka, Shinnosuke Ougi, Akira Kasuga, Juan Maeda, and many more.
Very Good copy, tanning and light cover wear.
2020, English
Softcover, 424 pages, 21 x 26.3 cm
1st Edition, Out of print title / as new
Published by
MMK / Frankfurt am Main
Koenig Books / London
$400.00 - Out of stock
The very quickly out-of-print, now highly sought after monographic survey on the increasingly popular postwar Caribbean painter, Frank Walter, whose subjects and styles ranged from the abstract to the heraldic, Scottish landscapes to the ancient Arawak peoples.
A brilliant autodidact, Antiguan artist and writer Frank Walter (1926-2009) created amazing, luminously colored landscape paintings, imaginary and real portraits, and near-abstractions that subtly explore themes of class, race, nuclear energy and much more. This substantial monographic volume, published for a major exhibition at the Museum für Moderne Kunst in Frankfurt, appraises his diverse oeuvre in all its visual and thematic richness, introducing a little-known protagonist of Caribbean art, whose oeuvre is only recently beginning to be recognized, to a wider audience.
Edited by Susanne Pfeffer with texts by Precious Okoyomon, Barbara Paca, Cord Riechelmann, Gilane Tawadros, Krista Thompson, Susanne Pfeffer.
Profusely illustrated throughout. A wonderful book. Highly recommended.
As New copy, still sealed.
2020, English
Hardcover, 296 pages, 19.3 x 23.6 cm
1st Edition, Out of print title / as new
Published by
Karma / New York
$350.00 - Out of stock
Long needed, and already out of print, this is the first full overview of American abstract sculptor Thad Mosley, published by KARMA, New York in a single edition of 1000 copies. Since 1959, the monumental, freestanding sculptures of Pittsburgh-based self-taught artist Thad Mosley (born 1926), crafted with reclaimed building materials and felled trees, have occupied the forefront of abstraction in American sculpture. This profusely illustrated cloth-bound, hardcover volume includes texts by Ingrid Schaffner, Sam Gilliam, Brett Littman, Jessica Bell Brown, Ed Roberson, Connie H. Choi, and an interview by Hans Ulrich Obrist.
Thaddeus Mosley (b. 1926) is a Pittsburgh-based self-taught artist whose monumental sculptures are crafted with the felled trees of Pittsburgh’s urban canopy, via the city’s Forestry Division; wood from local sawmills; and reclaimed building materials. Using only a mallet and chisel, he reworks salvaged timber into biomorphic forms. With influences ranging from Isamu Noguchi to Constantin Brâncuși—and the Bamum, Dogon, Baoulé, Senufo, Dan, and Mossi works of his personal collection—Mosley’s sculptures mark an inflection point in the history of American abstraction. These “sculptural improvisations,” as he calls them, take cues from the modernist traditions of jazz. “The only way you can really achieve something is if you’re not working so much from a pattern,” Mosley says of his improvisational method. “That’s also the essence of good jazz.” Mosley’s work has been exhibited and acquired by major museums and foundations since 1959, including the Mattress Factory Museum, Pittsburgh, and most recently, the Carnegie Museum of Art, for the occasion of the 57th Edition Carnegie International (2018).
As New.
2021, English
Hardcover, 192 pages, 17.2 x 19.8 cm
Published by
Atlas Press / London
$49.00 - Out of stock
Unica Zürn’s celebrated autobiography, plus the greatest of her short fictional texts, edited and in a revised by translation by Malcolm Green.
In the 25 years since Atlas Press first published this account by Unica Zürn of her long history of mental crises, she has come to be recognised as a great artist at least the equal of her partner, the Surrealist Hans Bellmer.
Yet her work is barely comprehensible without the texts printed here, in which she demonstrates how her familiarity with Surrealist conceptions of the psyche allowed her to welcome the most alarming experiences as offering her access to an inner existence that was the vital source for her artistic output. The introduction here was the first study to consider her life and work from this perspective.
Zürn’s initial mental collapse was initiated when she encountered her fantasy figure “the man of Jasmine” in the real world in the person of the writer Henri Michaux. Her meeting with him plunged her into a world of hallucination in which visions of her desires, anxieties and events from her unresolved past overwhelmed her present life. Her return to “reality” was constantly interrupted by alternate visionary and depressive periods, and her description of these episodes reveals how language itself formed a part of the “divinatory” method that could aid her recovery or predict a new crisis. Her compulsion for composing anagrams allowed her to dissect everyday language so as to release from it an astonishing flood of messages, threats and evocations. This method, if such it can be called, and Zürn’s eloquent yet direct style make this book a masterpiece of literature as well as providing an acute first-hand insight into extreme psychological states.
In 1970 Unica Zürn committed suicide by throwing herself from the sixth-floor apartment that she shared with Bellmer.
2023, English / French
Softcover, 219 pages, 15.2 x 21.5 cm
Published by
City Lights Books / San Francisco
$40.00 - In stock -
Erotic-macabre poetry by an overlooked Surrealist woman from the Middle East.
"You know very well, Joyce, that you are for me—and very objectively too—the greatest poet of our time. Surrealist poetry, that's you."—André Breton
"Your poems know the essential cries, those which speak of passion in its vertigo."—Gaston Bachelard, author of The Poetics of Space
The most significant Surrealist poet to emerge in 1950s Paris was a woman, Joyce Mansour. Mansour was a Syrian Jewish exile from Egypt whose fierce, macabre, erotically charged works gave André Breton's Surrealist group a much-needed jolt after the ravages of the Second World War. Among new adherents, only Mansour wrote poems commensurate with those of Robert Desnos, René Char, Benjamin Péret, and other poets from the movement's heyday. Yet she remains curiously neglected in English translation, and even her posthumous reputation in France suffers from the patriarchal and chauvinist biases of the French literary establishment.
Emerald Wounds: Selected Poems by Joyce Mansour is a much-needed corrective to this state of affairs, a compact yet career-spanning, bilingual anthology of this incendiary poet. With a biographical introduction by translator Emilie Moorhouse, Emerald Wounds showcases the entire arc of Mansour's trajectory as a poet, from the at-once gothic and minimalist fragments of her first collection in 1953, Screams, to the serpentine power of her final poems of the 1980s. Juxtaposing the original French poems with their English translations, Mansour's voice surges forward uncensored and raw, communicating the frustrations, anger, and sadness of an intelligent, worldly woman who defies the constraints and oppression of a male-dominated society that sees women as superficial objects of desire rather than multidimensional, autonomous subjects. Mansour is a poet the world needs today.
2023, English
Softcover, 192 pages, 20 x 14 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
A document of New York from an author too close to the story to be a trustworthy eyewitness.
Composed of stories, fragmentary essays, and even press releases Natasha Stagg has been commissioned to write, Artless captures the media landscape lived and generated in New York during the past almost-decade. Since the 2016 publication of her debut novel Surveys, Stagg has positioned herself as an in-demand expert on—and critic of—the psychic experience of self-mythology within the cruelly optimistic metaverse of infinite branding. Part voyeur and part participant, Stagg continues her exploration of the branded identity and its elusive, bottomless desire for authenticity.
Natasha Stagg is the author of a novel, Surveys, and a collection, Sleeveless: Fashion, Image, Media, New York 2011–2019. Her essays have appeared in the books Excellences and Perfections, Link in Bio: Art After Social Media, You Had To Be There: Rape Jokes, Intersubjectivity Vol. II: Scripting the Human, and 9th Berlin Biennale for Contemporary Art: The Present in Drag, among others.
1979, English
Softcover, 48 pages, 20.2 x 20.2 cm
1st Edition, Out of print title / used / very good
Published by
Harry N. Abrams / New York
$200.00 - Out of stock
‘CIRCLE, SQUARE, TRIANGLE, RECTANGLE, TRAPEZOID AND PARALLELOGRAM IN RED, YELLOW AND BLUE ON RED, YELLOW AND BLUE’.
First edition of LeWitt's classic artist book, "Geometric Figures & Color" published in 1979, which is beautifully made up entirely of full-bleed colour illustrations of six geometric figures six (circle, square, triangle, rectangle, trapezoid and parallelogram) presented, sequentially, in duo-chrome primary colours (yellow and blue on red, red and blue on yellow, yellow and red on blue).
Solomon "Sol" LeWitt (1928 – 2007) was one of the most distinctive and influential American artists of the 20th century. He shaped and defined many of the century's most cerebral "isms", notably minimalism and conceptualism.
Near Fine copy with only light wear/tanning.
1997, English / German
Hardcover (cloth-bound) case, 2 x audio cds, 20 page booklet, 28 x 14 cm
1st Edition, Out of print title / used / fine
Published by
Extraplatte / Austria
Steirischer Herbst / Graz
$140.00 - In stock -
Scarce copy of Roland Dahinden, Sol LeWitt — Collaboration (Sound Sculpture Wall Drawing), a deluxe clothbound 2 x CD and book set published by Extraplatte and Steirischer Herbst, Austria. Commissioned by steirischer herbst 97, Kuppelsaal, Landesmuseum Joanneum, A-8010 Graz, Austria, 5.10. - 3.12. 1997. Includes the works: 1-1 PENTAS For Piano, String 4 And Live Electronics (Robert Höldrich, Tetras Streichquartett, Hildegard Kleeb, Gerhard Hüttl) 52:23; 2-1 PENTAS For 5 Loudspeakers (Remix Of The Sound Installation) (Dimitrios Polisoidis, Robert Höldrich) 1:00:12; Sol LeWitt — wall drawing #832 — Irregular red and blue special. Packaged in a cloth-bound hardcover folder/case, containing the two CDs and book with bi-lingual English/German liner notes. A folded image of Sol Lewitt's wall drawing is glued onto the inner side of the front cover.
Solomon "Sol" LeWitt (1928 – 2007) was one of the most distinctive and influential American artists of the 20th century. He shaped and defined many of the century's most cerebral "isms", notably minimalism and conceptualism.
Roland Dahinden (b. 1962) is a Swiss trombonist and composer specializing in the performance of contemporary music and improvisation/jazz. He studied trombone and composition in Switzerland, Austria, Italy (with Vinko Globokar) and the US (with Alvin Lucier). Composers such as Peter Ablinger, Maria de Alvear, Anthony Braxton, John Cage, Peter Hansen, Hauke Harder, Bernhard Lang, Joelle Léandre, Alvin Lucier, Chris Newman, Pauline Oliveros, Hans Otte, Lars Sandberg, Wolfgang von Schweinitz, Daniel Wolf and Christian Wolff have written especially for him.
Near Fine copy all-round.
1986, French
Hardcover (w. dust jacket), 104 pages, 32.5 x 30.5 cm
1st Edition, Out of print title / used / good
Published by
Contrejour / Paris
$450.00 - In stock -
Rare first French edition of Jeanloup Sieff's 1986 classic photobook, Torses Nus, signed by the legendary French photographer that same year. Published by Contrejour, this beautiful over-sized hardcover edition was the first print of Torses Nus, an extraordinary series of nude portraits and Jeanloup Sieff at his finest. Torses Nus is a collection of 48 beautifully-toned black-and-white photographs, primarily featuring (as the title indicates) women (and a few men) show with nude torsos. These almost classical portrait images embrace the beauty of the human form while taking in the unique personality of each person. Sieff's models include Isabelle Huppert, Emmanuelle Sallet, Jane Birkin, Tierney Gearon, Isabelle Weingarten, Sylvie Guillem, Bess Stonehouse, Yasmine Haury, Florence Dauchez. Larrio Ekson, Charlotte Rampling, and many more. Each is accompanied by a short text with biographical information by Sieff. Includes an introduction by Sieff, with all texts in both French and English.
Jeanloup Sieff (1933 – 2000) was a French photographer. He was born in Paris to Polish parents. He was a photography student of Gertrude Fehr. After working for Elle magazine and the Magnum agency, he lived and worked in New York from 1961 to 1966. Once back in Paris, his work appeared frequently in Vogue, Harper's Bazaar, as well as, in many other publications. He worked mainly in black and white and in fashion. Many do not know that he was a master darkroom technician, who printed his own images. Sieff used different focal length lenses, but is known as the master of the 21.
This copy signed in pen to the title page by Jeanloup Sieff on "23.09.1986".
Good copy but with light foxing to dust jacket, endpapers and a few pages, heavy foxing to title page. Light wear to dj.
1990, French
Softcover, 60 pages, 29 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Les Editions Rares / Paris
$240.00 - Out of stock
The extremely rare "Il etait une fois..." ("Once upon a time...") photo book by French photographer Jacques Bourboulon, first published in 1990 by Les Editions Rares, Paris. A black and white collection of Bourboulon's photographs capturing the beauty of his young amateur models in nature. Largely photographed on Bourboulon's island home of Ibiza in the 1970s-80s, a refuge for hippies, artists and other free spirits from all over the world, his photographs are a testament to the freedom and experimentation of this time, and to the beauty, and natural simplicity of the island environment itself.
Jacques Bourboulon (born 8 December 1946) is a French photographer, specializing in nude photography. In 1967 he started as a fashion photographer, publishing in Vogue and working for the fashion designers Dior, Féraud, and Carven. In the mid-1970s he sought the freedom and innocence of a natural landscape and switched to nude photography, never again to work with professional models or studios. His most famed pictures portray girls and women on the Spanish island of Ibiza, where he lived from 1976-1986, playing on the juxtaposition of blue sky, white walls, and sun-tanned skin. Bourboulon's pictures were shot with a Pentax camera and focus on bright light and sharp contrasts. His images become iconic through the pages of PHOTO magazine, Club, High Society, and calendars for Pentax and BASF. Bourboulon's photography books sold over 400,000 copies.
Very Good copy.
1971, English / Italian / French
Softcover, 150 pages, 24.5 x 24.5 cm
1st Edition, Out of print title / used / good
Published by
Cento Di / Florence
$190.00 - Out of stock
Rare exhibition catalogue published on the occasion of the 7th Paris Biennale held at the Parc Floral de Paris, Bois de Vincennes, Paris, France, September 24 — November 1, 1971, curated by Achille Bonito Oliva. An important volume representing the Italian avant-garde of the various sectors of art (including music and architecture) in this critical period in history, including the work of Alighiero Boetti, Pierpaolo Calzolari, Gino De Dominicis, Luciano Fabro, Mimmo Germanà, Giuseppe Penone, Emilio Prini, Gilberto Zorio, Jannis Kounellis, Giulio Paolini, Giorgio Pressburger, Achille Bonito Oliva, Mario Franco, Umberto Silva, Paolo Mussat Sartor, Frederic Rzewski, Marcello Panni, Archizoom, Superstudio, and Ufo. Illustrated throughout with many examples by each artist, alongside artists' biographies, exhibition histories, and bibliographies, and essay by Achille Bonito Oliva. Text in English, Italian, and French.
Achille Bonito Oliva (born 1939) is an Italian art critic and historian of contemporary art. Since 1968 he has taught history of contemporary art at La Sapienza, the university of Rome. He has written extensively on contemporary art and contemporary artists; he originated the term Transavanguardia to describe the new direction taken in the late 1970s by artists such as Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola De Maria, and Mimmo Paladino. He has organised or curated numerous contemporary art events and exhibitions; in 1993 he was artistic director of the Biennale di Venezia.
Good copy w. light wear/tanning/spotting.
2020, English / French / Italian / Dutch
Softcover (3 volumes in slipcase), 400 pages, 24 x 16.9 cm
Published by
Walther König / Köln
$300.00 - Out of stock
At 400 pages, this is the definitive overview of the great and influential pioneers of Italian radical architecture, Superstudio. Immediately out-of-print and now collectible.
The avant-garde Italian architecture collective Superstudio was founded in 1966 by Adolfo Natalini (1941–2020) and Cristiano Toraldo di Francia (1941–2019), and quickly leaped to the forefront of the 1960s radical architecture movement alongside the likes of Archigram and Haus-Rucker-Co. Through their architectural projects (housing, industrial buildings, banks, interiors), design objects, photocollages, drawings, texts, installations, models, films and exhibitions, Superstudio found brilliant and highly inventive ways in which to inhabit a world transformed by capitalist forces and technological evolutions. This beautifully produced, slipcased, 400-page volume explores their oeuvre through the lens of “migrations” (migrazioni). Borrowed from Superstudio’s vocabulary, this term serves as a conceptual and poetic key to the group’s architecture and their works in all mediums.
Presented in 3 books, the first is a collection of critical essays and interviews with three prominent figures in architecture who have been in close contact with Superstudio over the past 50 years; By examining their personal and theoretical careers, these different voices show the great influence of the small group, bringing to life this “journey to the higher realms of reason.” The second book proposes a thematic journey through the work: it shows the rich iconography through a series of concepts from Superstudio’s vocabulary. They reveal the richness of the projects and images produced over the active years of the group that go beyond the narrative contained in some of the quasi-iconic photo collages. The last book presents previously unpublished letters from the archive of Adolfo Natalini. The exchanges between the members of Superstudio and the letters to prominent architects from the second half of the twentieth century form a collective autobiography in which architecture and life increasingly converge. In addition to the group’s oeuvre, the publication also presents work by 9999, Archizoom, Hiromi Fujii, Hans Hollein, Arata Isozaki, Rem Koolhaas, Ugo La Pietra, Leonardo Ricci, Aldo Rossi, Leonardo Savioli, Ettore Sottsass Jr. and Bernard Tschumi.
Edited with text by Emmanuelle Chiappone-Piriou. Text by Beatrice Lampariello, Gabriele Mastrigli, Frédéric Migayrou. Interviews with Veronique Patteeuw, Rem Koolhaas, Aurelien Vernant, Bernard Tschumi, Yûki Yosikawa, Hiromi Fujii.
As New sealed copy.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$90.00 - In stock -
Inaugural 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a pioneering platform of the 1970s subculture in Tokyo. A magazine like no-other, each issue "a paradise of 1970's heretical culture", introduces a new wave of illustrators and photographers, radical criticism, avant-garde comics, sadistic literature, poetry, underground film and theatre, and all manner of transgressive, esoteric and erotic material, alongside well-known authors... This scarce first issue with incredible cover by Japanese illustrator Ken Katayama, features work/contributions by author Izumi Suzuki, film director Michio Okabe, artist Genpei Akasegawa, critic Junzo Ishiko, author Boris Vian, film director Eiichi Uchida, film critic Jin'ichi Uekusa, manga artist Shotaro Ishinomori, author Mieko Kanai, music critic Masaaki Hiraoka, artist Koichi Tanigawa, manga artist Shigeru Sugiura, graphic designer Mad Amano, doll artist Shimon Yotsuya, illustrator G. Akechi, art critic Junzo Ishiko, art critic Yoshida Yoshie, film director Toshio Matsumoto, graphic artist Keiichi Tanaami, author Koji Suzuki, artist Toshio Saeki, manga artist Shigeru Mizuki, manga artist Mori Masaki, manga artist Mitsuhiko Yoshida, artist Tsunehisa Kimura, playwright Jūrō Kara, and many more. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
Good—Very Good copy, general wear/age.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$90.00 - Out of stock
Third 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a pioneering platform of the 1970s subculture in Tokyo. A magazine like no-other, each issue "a paradise of 1970's heretical culture", introduces a new wave of illustrators and photographers, radical criticism, avant-garde comics, sadistic literature, poetry, underground film and theatre, and all manner of transgressive, esoteric and erotic material, alongside well-known authors... This third issue, themed "Heaven and Hell", features incredible cover by renowned Japanese doll artist (and female doll actor) Simon Yotsuya, and contributions by ero guro master Toshio Saeki, artist Genpei Akasegawa, art critic Junzo Ishiko, "Funeral Parade of Roses" director Toshio Matsumoto, Butoh dancer Natsu Nakajima, poet and critic Akiko Baba, photographer Masatoshi Naitō, manga artist Ryuzan Aki, literary critic Katsutarō Isogai, illustrator Akechi Goro, writer Masaki Umehara, author Utagawa Taiga, literary critic Nobuo Kasahara, essayist Shinichi Kusamori, critic Hidetomo Kanaoka, illustrator (Flower Travellin' Band) Shinobu Ishimaru, manga artist Shigeru Sugiura, scholar Aoi Suenaga, artist Takahashi Shōtei, illustrator Yosuke Inoue, and many more. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
Good copy, general light wear/age/some creasing to corners, tanning.
1991/1992, Japanese
Various newsprint/offset ephemera, unpaginated, 26 x 18.5 cm; 20 x 19.2 cm; 20 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Jūrō Kara / Tokyo
$45.00 - In stock -
Lot of 3 pieces of ephemera relating to Jūrō Kara and his Jōkyō Gekijo (Situation Theatre) company, formed in 1963. Jūrō Kara (b. 1940) is a Japanese avant-garde playwright, theatre director, author, actor, and songwriter. He was at the forefront of the Angura ("underground") theatre movement in Japan. According to the theatre historian, David G. Goodman, "Kara conceived his theatre in the premodern mold of kabuki—not the sanitized, aestheticized variety performed today, but the erotic, anarchic, plebeian sort performed during the Edo period (1600–1868) by itinerant troupes of actors who were rejected by bourgeois society as outcasts and 'riverbed beggars.' Emulating their itinerant forebears, Kara and his troupe performed throughout Japan in their mobile red tent." Kara's troupe gave guerrilla-like performances that adopted what is known as the tokkenteki nikutairon (the theory of the privileged body). Kara boldly affirmed that there was no longer a need for great play manuscripts in contemporary drama, and that it was the dramatic body of those who were on stage that was more important. Kara's beliefs of the "privileged body" was a dichotomy where the actor was a social pariah and a medium for the manifestation of the audience's dreams and desires. Kara appeared in Nagisa Ōshima's 1969 New Wave classic, Diary of a Shinjuku Thief, amongst many other films.
Lot includes pamphlets for Jūrō Kara directed performances of Gekidan Karagumi's "Nijiyashiki" at the iconic Red Tent in Parthenon Tama Central Park, Tokyo; The Betel Seal (Act 1: Blood of The Shark, Act 2: Inside The Jar); newspaper brochure for Jūrō Kara's Electronic Castle II / Beggar of Love. All performances 1991—1992.
Very Good all. Light tanning/wear to newspaper.
1967, Japanese
Softcover, 294 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Shinpusha / Tokyo
$40.00 - Out of stock
Rare March 1967 issue of Sexology for One Million People (rough translation), a magazine published by the underground bookstore Shinpusha in Tokyo in the late 1960s. As the title suggests, the magazine covers sexual customs and sexual sciences from all over the world and throughout history, but particularly focussing on liberated modern sexuality in Japan and abroad. This March special issue with the grim theme of "Crime and Punishment" features many articles on sex crimes, voyeurism, kidnapping, molestation and rape, complete with crime photography, wild info-graphics of sex-crime statistics, police files, court cases, and much more. Also includes profile on pink film heroine Tamaki Katori, photo features of Western female nudes, articles on female physiognomy with cartoons an photographic assistance, a "sexual love law" roundtable discussion with a variety of promiscuous "reckless" Japanese teenage girls, special feature on "unusual ways to enjoy the female body by 10 celebrities"... even a photo guide to kissing. Lots of illustrations, cartoons, and wonder photo-collage and single spot-colour sections throughout.
Very Good copy with light wear/age.
1969, Japanese
Softcover (staple-bound), 54 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
ATG / Tokyo
$25.00 - In stock -
Rare copy of issue 64 of Tokyo's ATG (Art Theatre Group) publication, published in 1968/1969, with extensive cover features on the works of Japanese director Yoshida Yoshishige and French director Jean-Luc Godard. Includes many photographs, as well as filmographies on both directors, plus in-depth articles on Yoshishige's Farewell to the Summer Light (1968) and Godard's Le petit soldat (1963). Also includes an article and advertisements for Diary of a Shinjuku Thief by Nagisa Ōshima, listing for the ATG program, galleries and more.
Good—VG copt with some cover/spine wear.
1964, Japanese
Softcover (staple-bound), 240 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Kubo Shoten / Japan
$70.00 - Out of stock
Rare November 1964 issue of "THE JAPAN'S MOST REMARKABLE SM MAGAZINE", Rear Window, an early, pioneering SM magazine that played an important role in the formation of postwar SM culture, along with Kitan Club. Launched by Kubo Shoten in 1956, Rear Window was edited by Toshiyuki Suma, with Chimuo Nureki serving as editor-in-chief. In 1962—1965 Chimuo Nureki took over as editor. Heavy with wonderful artwork galleries in colour and bw, stunning kinbaku/bondage photo-features, illustrated fetish fiction, articles on sex customs, fold-outs, and much more, with contributions by Ran Akiyoshi, Mineko Tsuzuki, Kiyoshi Kimata, Chimuo Nureki (Yukio Kanai), Ayako Nakagawa (Kazutomo Fujino), Yoji Muku, Kazuyuki Kohinata, Akihiro Yamada, Taiga Utagawa, Hiroshi Urato, Hisashi Yoshida, Kimi Nakajima, and many others.
Good copy with cover wear, tanning.
1984, Japanese
Softcover (staple-bound), 18 pages, 25.5 x 21.5 cm
2nd print, 1st Ed.,
1st Edition, Out of print title / used / very good
Published by
Human-Powered Airplane Building / Tokyo
$70.00 - In stock -
1984 Shūji Terayama (1935 — 1983) self-published experimental film catalogue. Cataloguing the filmography of one of Japan’s most revered and provocative avant-garde film-makers, from 1962-1980, with film stills, texts and production information on each work. Illustrated in b/w with Japanese texts. Also includes a biography, portrait, chronology, and film distribution information. A wonderful and rare reference for anyone interested in the film work of Terayama.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. In 1967 Terayama founded Tenjō Sajiki with Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi, a Japanese experimental theater troupe. A major phenomenon on the Japanese Angura ("underground") theater scene, the group produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
Very Good copy with light spine pinches and edgewear. Second printing of the first edition, which had a different format to the later reprint in the 1990s.
1979, English
Softcover (staple-bound), 40 pages, 22.5 x 15.5 cm
1st Edition, Out of print title / used / average
Published by
Facets Multimedia Center / Chicago
$45.00 - Out of stock
Rare copy of "Images at the Horizon": A Workshop with Werner Herzog, a staple-bound publication that transcribes a far-reaching interview with German film director Werner Herzog conducted in 1979 by film critic Roger Ebert, followed by a group discussion between Herzog and attendees of the Facets Multimedia Center workshop. Excerpts from this revealing discussion are frequently quoted in essays about Herzog. Illustrations in b/w throughout texts, filmography, portrait of W. H.
Average copy. Average cover due to bug-nibbling front and back boards, light tanning, internally Good throughout with no bug damage.
1980, English
Softcover, 206 pages, 19.5 x 12.5 cm
1st Edition, Out of print title / used / very good
Published by
Tanam Press / New York
$100.00 - Out of stock
First 1980 edition of German film director Werner Herzog's Screenplays, published by Tanam Books in New York. Compiles the complete screenplays of Herzog's Aguirre, the Wrath of God; Every Man for Himself and God Against All; Land of Silence and Darkness. Introductory text by Werner Herzog, translated by Martje Herzog and Alan Greenberg. Icludes biography.
Very Good copy. Tightly bound, looks unread, only light shelf wear, foxing from storage.