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.
1989, English
3 Vols. softcovers, 500 + 560 + 584 pages, 23.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Zone Books / New York
$190.00 - Out of stock
Complete set (3 volumes) of ZONE : Fragments for a History of the Human Body, published in 1989 by Zone Books, and all long out-of-print. The forty-eight essays and photographic dossiers in these three volumes examine the history of the human body as a field where life and thought intersect. They show how different cultures at different times have entwined physical capacities and mental mechanisms in order to construct a body adapted to moral ideas or social circumstances — the body of a charismatic citizen or a visionary monk, a mirror image of the world or a reflection of the spirit.
Each volume emphasizes a particular perspective. Part 1 explores the human body’s relationship to the divine, to the bestial, and to the machines that imitate or simulate it. Part 2 covers the junctures between the body’s “outside” and “inside” by studying the manifestations — or production — of the soul and the expression of the emotions and, on another level, by examining the speculations inspired by cenesthesia, pain, and death. Part 3 brings into play the classical opposition between organ and function by showing how organs or bodily substances can be used to justify or challenge the way human societies function and, conversely, how political and social functions tend to make the bodies of the persons filling them the organs of a larger body — the social body or the universe as a whole.
Among the contributors to Fragments for a History of the Human Body are Mark Elvin, Catherine Gallagher, Françoise Héritier-Augé, Julia Kristeva, William R. LaFleur, Thomas W. Laqueur, Jacques Le Goff, Nicole Loraux, Mario Perniola, Hillel Schwartz, Jean Starobinski, Jean-Pierre Vernant, and Caroline Walker Bynum.
“ZONE is unequivocally the most innovative, informative, and intellectually stimulating journal I have ever encountered…It belongs in all but the smallest personal, public, and academic collections.” —Library Journal
Very Good copies all, only light wear, light page tanning. All first editions, second printings.
1967, English / German / French
Hardcover (w. dust jacket), 199 pages, 24.2 x 30.5 cm
1st Edition, Out of print title / used / good
Published by
The Graphis Press / Zürich
$80.00 - Out of stock
The great "FILM & TV GRAPHICS", published in 1967 by the legendary Graphis Press, Zürich. Bound in a Celestino Piatti illustrated hardcover this landmark volume from the Graphis hardcover book series, edited by Swiss graphic designer Walter Herdeg, forms an extensive survey of the best of international film and television animation art and graphics from the 1960s. Together with the 2nd volume, published in 1976, these compendiums are very highly recommended for anyone interested in animation from this period, showcasing many important works and artists little documented elsewhere.
Profusely illustrated throughout with 1079 b/w and colour examples, and, as per usual for Graphis publications, handsomely designed and heavily researched, with all texts in English, German and French.
Features the work of : Jiri Trnka, Bruno Bozzetto, Peter Foldes, Saul Bass, John Halas, Jan Lenica, Jacques Colombat, Jiri Brdecka, Rene Laloux, Roland Topor, Dean Spille, Joy Batchelor, Kiyoshi Awazu, Emanuelle Luzzati, Wolfgang Reitherman, Ken Anderson, Bill Peet, Milt Kahl, Gerald Potterton, Walerian Borowczyk, Zlatko Bourek, Yoji Kuri, Helmut Herbst, Jean Michel Folon, William Klein, Harold Whitaker, Jack Kuper, Faith and John Hubley, Fred Mogubgub, Anton van Dalen, Jean-François Laguionie, Art Goodman, Bohdan Butenko, Bill Justice, Roberto Gavioli, Larry Janiak, Richard Oden, Marco Biassoni, Ronald Searle, Ryohei Yanagihara, Pablo Ferro, Jiří Kalousek, John David Wilson, Peter Clark, Colin Cheesman, Harold F. Mack, and many others.
Walter Herdeg was a Swiss graphic designer, noted for his travel posters and work with Graphis Magazine, who was awarded an AIGA medal in 1986.
Good with Good dust jacket. Some ex-libris remnants to blank end papers.
1976, English / German / French
Hardcover, 212 pages, 24 x 24 cm
1st Edition, Out of print title / used / good
Published by
The Graphis Press / Zürich
$90.00 - Out of stock
The great "FILM + TV GRAPHICS 2", published in 1976 by the legendary Graphis Press, Zürich. Bound in a Raymond Savignac illustrated hardcover this landmark volume from the Graphis "square books series", edited by Swiss graphic designer Walter Herdeg, forms an extensive survey of the best of international film and television animation art and graphics from the 1970s, following on from the first edition, published in 1967. Both very highly recommended volumes for anyone interested in animation from this period, showcasing many important works and artists little documented elsewhere.
Profusely illustrated throughout with over 1200 b/w and colour examples, and, as per usual for Graphis publications, handsomely designed and heavily researched, with all texts in English, German and French.
Features the work of : Saul Bass, Jan Lenica, Rene Laloux, Faith and John Hubley, Ralph Bakshi, Bruno Bozzetto, Sally Cruikshank, Heinz Edelmann, Stanley Kubrick, Robert Crumb, Iwao Takamoto, Joseph Barbera and William Hanna, Jan Svankmajer, Maurice Sendak, Zlatko Grgić, Pavel Prochazka, Paul Grimault, Emma Heinzelmann, Paul and Gaëtan Brizzi, Jacques Colombat, Sadao Tsukioka, Yoji Kuri, Jacques Cardon, Jan Habarta, Jean-François Laguionie, Roberto Miller, Paul Brühwiler, Robert Abel, Rosemary Held, Etienne Delessert, Morton Goldsholl, Robert O. Blechman, Harold F. Mack, Ogilvy and Mather, Seymour Chwast, Pushpin Studios, Andre Chante, Ishu Patel, Bob Godfrey, Paul Birkbeck, Jan Habarta, John Worsley, Marguerita Bornstein, Gary Jackson, Lester Feldman, Ronald Searle, George Dunning, Jaroslav Bradac, Jean Michel Folon, Lou Dorfsman, Pierre L'Amare, Klaus Georgi, Andrzej Piliczewski, Jiří Šalamoun, the animations of Montreal Expo 1967, Osaka Expo 1970, and much more.
Walter Herdeg was a Swiss graphic designer, noted for his travel posters and work with Graphis Magazine, who was awarded an AIGA medal in 1986.
Good copy with catalogue sticker to spine and spine wear repaired with adhesive, internally VG with only light tanning. May differ slightly from cover image.
1984, Japanese
Softcover, 96 pages, 20 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Cinefex / California
$70.00 - Out of stock
Rare early (no. 3) Winter 1984 issue of the mighty Cinefex journal, the Japanese edition, the in-depth cover feature of the publication is dedicated to the making of ALIEN, profusely illustrated throughout with the creature development of artist H.R. Giger, alongside the work of concept artists Ron Cobb and Chris Foss, drawings, paintings, behind-the-scenes and on-set photography, film stills, etc. of Ridley Scott and Dan O'Bannon's 1979 science fiction horror masterpiece, accompanied by text by Cinefex editor Don Shay (translated to Japanese). The second portion of the book dedicated to Twilight Zone The Movie, the 1983 film based on Rod Serling's 1959–1964 television series of the same name, featuring four stories directed by Landis, Spielberg, Joe Dante, and George Miller. One of the most collectible early issues, for obvious reasons.
Cinefex, founded by Don Shay in 1980, was a bimonthly journal covering visual effects in films. Each issue featured lengthy, detailed articles that described the creative and technical processes behind current films, the information drawn from interviews with the effects artists and technicians involved. Each issue also featured many behind-the-scenes photographs illustrating the progression of visual effects shots – from previsualization to final – as well as the execution of miniatures, pyrotechnics, makeup and other related effects.
Very Good copy with only light wear/age.
1983, Japanese
Softcover, 160 pages, 30 x 22.5 cm
1st Edition, Out of print title / used / good
Published by
Graphic-sha / Tokyo
$70.00 - Out of stock
Published in 1983 by Graphic-sha, this lavish book reproduces 270 images of women rendered by 77 of Japan's leading Illustrators of the late 1970s—early 1980s. Akira Uno, Harumi Yamaguchi, Iku Akiyama, Ayumu Ohashi, Hajime Sorayama, Yosuke Kawamura, Peter Sato, Yosuke Onishi, Hiroshi Nagai, Osamu Harada, Tara Yumura, Katsu Yoshida, Yoko Ochida, Sawako Goda, Aoi Fujimoto, Akira Yokoyama, and so many more! Includes interviews with a number of the artists, profiles for all, plus preface by Keisuke Nagatomo and Teruhiko Yumura.
Good copy with general wear and some foxing.
1988, English
Hardcover (w. dust jacket), 128 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Rizzoli / New York
$100.00 - In stock -
First English-language hardcover edition of this major monograph on Jean Arp (1886—1966) published in 1988 by Rizzoli, New York, authored by Serge Fauchereau. Traces the life and career of the Franco-Swiss artist, lavishly illustrated throughout with wonderful colour and b/w reproductions of his collage, graphics, stone and bronze sculptures, and wooden reliefs. Jean Arp, also called Hans Arp, French sculptor, painter, and poet was one of the leaders of the European avant-garde in the arts during the first half of the 20th century, heavily associated with Dada, Surrealism and Abstract art.
Very Good copy in VG dust jacket.
2012, English
Hardcover (faux leather w. illustrated obi-strip), 304 pages, 23 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Prestel / Munich
$220.00 - Out of stock
Rare English edition of the lavish hardcover catalogue to the critically-acclaimed ECM exhibition at Munich’s Haus der Kunst in 2012, and fast out-of-print. As stunning and complex as the music it celebrates, this book presents essays, rare photographs, archival material, film stills, original album artwork, and artworks that pay tribute to one of the world's most daring and innovative record labels. Founded by the legendary producer Manfred Eicher in 1969, a moment when contemporary music was being redefined across all genres, ECM (Edition of Contemporary Music) aimed to bring jazz, improvised, and written music out of the studio and into living rooms around the world. ECM's productions set new standards in sonic complexity, recording some of the world's most extraordinary music and it's enormous stable of artists includes some of the most influential musicians of the twentieth century, such as Keith Jarrett, Chick Corea, Steve Reich, Carla Bley, Meredith Monk, Marion Brown, Codona, and Art Ensemble of Chicago - along with music from the New Series that includes Arvo Part's choral work as well as works by Komitas Vardapet and George Gurdjieff. This comprehensive volume showcases ECM's cultural breadth, not just in the music world but also within the broader artistic universe. It highlights aspects of African-American music of the 1960s in Europe at the height of the American Civil Rights Era, as well as the changing relationships between musicians, music, and listeners. Lavishly illustrated with essays by Diedrich Diederichsen, Okwui Enwezor, Kodwo Eshun, Renée Green, Markus Müller, Wolfgang Sandner, and Jürg Stenzl, the book also contains a comprehensive chronology and discography of the ECM label, and biographies of artists and authors, as well as an extensive round-table talk with Manfred Eicher, Okwui Enwezor, Steve Lake, Karl Lippegaus, and Markus Müller. The most illuminating book ever published on the legendary label, and highly recommended.
Amongst the many artists included in the book are Jan Garbarek, Don Cherry, Nana Vasconcelos, Eberhard Weber, Gary Burton, Meredith Monk, Chick Corea, Wolfgang Dauner, Carla Bley, Keith Jarrett, Paul Bley, Pat Metheny, John McLaughlin, Evan Parker, Annette Peacock, Gary Peacock, Terje Rypdal, Ralph Towner, and so many more.
Very Good-Fine copy with only light edge wear to heavy covers and light wear to obi-strip, depicting Don Cherry on the front and the Art Ensemble of Chicago on the verso.
2005, English / Portuguese
Hardcover, 160 pages, 31 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Serralves Museum of Contemporary Art / Porto
$200.00 - Out of stock
First edition of the best book ever published on Robert Grosvenor. One of the outstanding American sculptors of our age, Grosvenor produces large scale pieces which defy easy categorisation. His work is, according to critic Yve-Alain Bois, "vastly underrated". This now long out-of-print hardcover book provides the first comprehensive overview of his work from 1965 to the present, containing illustrations that are for the most part full page. Comes accompanied by reference pictures, Grosvenor's own commentaries, an anthology of texts and an extensive biography.
Very Good copy with a few knocks/scratches to the cover/spine.
2017, English
Softcover, 343 pages, 19.5 x 12.4 cm
1st Edition, Out of print title / used / fine
Published by
Serpent's Tail / London
$36.00 - Out of stock
Notes from the Sick Room takes place in an imaginary hospital that bends the rules of time and space.
Within its wards and departments we meet artists, musicians and writers who have suffered from various physical illnesses – cancer, tuberculosis, HIV/AIDS and physical trauma. Their lives and works are discussed in an attempt to diagnose how their complaints influenced their work or how their creativity affected their symptoms. We meet Virginia Woolf, Kathy Acker, Frida Kahlo, Katherine Mansfield, Bob Dylan Bruce Chatwin and many others as they struggle to produce works of art, literature and music while in denial, acceptance or flight and through periods of serious illness and convalescence. As we move through the hospital, specialists keep us informed of the history of creativity and illness and the author divulges his own medical history.
Fine copy, light pressure line on cover.
2023, English
Hardcover, 184 pages, 25.4 x 24.1 cm
Published by
Gregory R. Miller & Co. / New York
$95.00 - Out of stock
"Sibony's meticulous engagement with the scavenged object, his reverence for the mundane, has ... seemingly been an influence on a host of emerging artists worldwide."—Lauren O'Neill-Butler, Artforum
For over 20 years, Brooklyn-based artist Gedi Sibony (born 1973) has transformed cast-offs and other found materials into spare, elusive works of art, forging an evocative new strain of Minimalism from the salvage of contemporary life. This richly illustrated monograph surveys a decade of his varied production. Featuring newly commissioned texts by art historian Rhea Anastas and artist/poet Renee Gladman, as well as an interview with Sibony by Robert Enright, All These Hands Are Made of Crumbs surfaces points of connection between distinct bodies of work: from the artist's acclaimed series of found paintings cut from the sides of decommissioned semi-trailers to the subtle sculptural objects that, for him, serve as "guideposts for reframing the experience of place."
2009, English
Hardcover, 64 pages, 20.5 x 28.6 cm
Published by
JRP Ringier / Zürich
$70.00 - Out of stock
Gedi Sibony’s sculptures and installations feature a singular aesthetics characterized by a sensual use of materials and forms. Cardboard, wood, carpet, plastic sheets, and latex paint are embedded into the exhibition rooms’ architectural context. The interaction of these “materials without qualities” results in fragile arrangements which emphasize their particular tactile properties. The artist’s “spatial collages” oscillate between object-like appearance and installation ensembles. They could be described as low-key high art.
Born in 1973 in New York where he lives and works, Gedi Sibony is the 2006 Metcalf Award winner. His work has been shown at Midway Contemporary Art Center in Minneapolis (2006) and New York’s New Museum in 2007, among other venues.
Published with Kunst Halle Sankt Gallen, FRAC Champagne-Ardenne, Reims, and Contemporary Art Museum St. Louis.
Texts by Anthony Huberman, François Quintin, Giovanni Carmine, Philippe Vergne.
1973, English
Softcover, unpaginated, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Dragon's Dream / Paris
$55.00 - Out of stock
First English-language graphic book edition of award-winning French sci-fi author and illustrator Philippe Druillet's master work, Lone Sloane — Delirius, made with textwriter Jacques Lob and published by Dragon's Dream and Heavy Metal magazine in 1973. The adventures of Lone Sloane through time and space and on the incredible world of Delirius are here presented for the first time in English. An astounding example of Druillet's "technical psychedelia", with lush, saturated colour-work and complex, painterly, decadent panel construction.
He says that his ultimate ambition is "To create a whole universe of science fiction. It would be terrible to think of not doing it. I have worlds to create, characters to develop. It's what I have in me, and I want to experiment. I believe that I will always draw comics; they are among the most beautiful things that can be imagined and they are true."
Philippe Druillet (b. 1944) is one of Europe's most prominent and popular artists in the field of illustrated fantasy and science fiction. A co-founder of Les Humanoïdes Associés and the Métal Hurlant periodical with fellow artist/author Moebius, Druillet made his debut in comics with 'Lone Sloane, le Mystère des Abîmes', a comic book published by Losfeld in 1966, that drew inspiration from Druillet's favorite science fiction writers Van Vogt and Lovecraft. In 1970, he joined Pilote magazine with 'Lone Sloane', using innovative page-setting and contrasted colours for the designs of gigantic structures, that earned him the nickname "space architect". The early—mid 1970's saw Druillet publish some of his most acclaimed and iconic works, including Lone Sloane Delirius (1973), Yragaël (1973), Urm le Fou (1974), and Vuzz (1976), as well as founding Les Humanoïdes Associés and Métal Hurlant in 1975, together with Bernard Farkas, Jean-Pierre Dionnet and Moebius, leading a renaissance in avant-garde science fiction the world over. In 1975 and 1976, he drew 'La Nuit', a cry of revolt after the death of his wife, that was published in Rock and Folk magazine. He also continued working for Pilote with short stories, 'Nosferatu' (from 1979) and the sequel of 'Salammbô' (from 1981). As a comic writer, he worked with artists like Moebius, Gotlib, Alexis, Bihannic, Picotto and Didier Eberoni on stories published in Métal Hurlant, Pilote and Rock and Folk.
Very Good, tightly bound, preserved copy with some light wear and tanning/discolouration strips to covers.
1994, Japanese / English
Slipcase (w. obi), corrugated envelope, 64 looseleaf plates, 29.7 x 21 cm
1st Edition, Out of print title / as new
Published by
B-Sellers / Japan
$220.00 - Out of stock
First stunning printing of Scene of Death, a rare 1994 death photo collection, published by B-Sellers in Japan only, compiled by Noriaki Nakagawa, Hitomi Komukai, and Yoichi Shihata. An elaborate and beautiful print production of the macabre. Housed in an illustrated slipcase with illustrated obi-strip and further within a stamped, button-and-tie-bound corrugated envelope, 64 looseleaf monochrome photographic plates reproduce images from "Atlas der Gerichtsmedizin", an absolutely fascinating collection by Weiman / Prokop, first published in 1963. Atlas der Gerichtsmedizin was originally a serious German scientific reference book for criminal investigators and those in the medical field — a photobook scrapbook of thousands of images of graphic human death scenes — suffocation and strangulation, drowning and death by water, death by burning and electrocution, crimes of passion, abuse and neglect, and more. In turn, this visual opus became a bible of reference imagery to a wave of musicians, artists and authors during the industrial avant-garde, from Throbbing Gristle to Paul Buck to Atrax Morgue. This meticulous and unique Japanese offering further influenced many Japanese artists in the 1990's.
Stamped and numbed.
"We believe the scenes of death is, in one sense, the most erotic of human nature. It is at the time of death that man no longer can attempt to control his inner self and therefore the real self appears vividly. Here we have opened the doors to a topic that is usually not only hidden but also shut out of the minds of man. Please share our excitement and take a glance into the world of hidden eroticism"—Scene of Death blurb.
As New, still sealed copy! Note: images taken from open/aged copy only to illustrate.
1996, Japanese
Hardcover (clothbound), 136 pages, 27 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
NG Publication / Tokyo
$600.00 - Out of stock
Very rare, highly sought after first book, Danse Macabre To The Hardcore Works, by Japanese "corpse photographer" Kiyotaka Tsurisaki, published by NG Publication (imprint of editor Kotaro Kobayashi — Too Negative, Ultra Negative, ORG, etc.) in 1996 in an edition of 1000 copies. This deluxe clothbound hardcover volume contains an unwavering, unapologetic look at death, collecting Tsurisaki's first works (a three year survey) bound together in glossy full-colour. Most never before published, the book includes his first published photographs from the second issue of Kobayashi's Too Negative magazine. Since 1994, Japanese photographer, film director, and writer Kiyotaka Tsurisaki (b. 1966) has become known for prolifically photographing dead bodies; his images of death and conflict from global "hot-spots" earning him a reputation as a leading underground photographer. For Kiyotaka’s raw photo-journalistic practice he habitats disaster areas, accident sites and war zones, locations where society has collapsed to seek out and photograph man's ultimate taboo — death. Many of these people met with violent ends, whether by vehicle crash, homicide, or suicide. The images are stark, confronting, bleak and profound. Tsurisaki also brings the viewer into morgues and forensics labs, where the macabre work of embalming and autopsy is unapologetically documented. His work has led him from Fukoshima and Japan’s suicide forest Aokigahara, Thailand, Colombia, Mexico, Russia, and Palestine, as well as other lawless or war-torn parts of the world, to photograph human corpses. In El Cartucho, Bogota, Kiyotaka filmed the shockumentary Orozco The Embalmer (2001) — a now cult classic in its genre, alongside his Junk Films (2007) and Wasteland (2012). Tsurisaki has published several photo books and authored Book Of The Dead (2011), and The Dogs of the Nuclear War: A Chronicle Of The Fukushima Daiichi Nuclear Power Plant (2017).
Very Good—Near Fine copy.
2007, Japanese
DVD (90 mins)
Signed.,
Published by
Uplink / Japan
$180.00 - Out of stock
Signed copy of the original 2007 Japanese issue DVD of "corpse photographer", director and author Kiyotaka Tsurisaki's collection of short shockumentaries, Junk Films. Signed on the disc by Kiyotaka Tsurisaki.
"Tsurisaki Kiyotaka, the infamous Japanese death photographer and director of Orozco the Embalmer picks up his video camera and heads into the depths of Hell yet again. Junk Films is a collection of short shockumentaries filmed between the late 1990's and early 2000's, with footage including everything from disemboweled auto accident victims in Krung Thep, to the self mutilating participants of the Vegetarian Festival in Phuket, and even footage of festering corpses in a Bogota landfill. 'Junk Films: The Collected Short Shockumentaries of Tsurisaki Kiyotaka' presents death with a sense of rawness and voyeurism. An unflinching look at the gruesome aftermath of combat, disasters, and accidents, this is like no other shockumentary you've ever seen."
As New copy with some wear to insert sheet, light rippling to back cover. Signed by Kiyotaka Tsurisaki on the disc.
1997, Japanese
Softcover (plastic acetate cover), 67 pages, 30 x 21 cm
Numbered edition.,
1st Edition, Out of print title / used / very good
Published by
NG Publication / Tokyo
$200.00 - In stock -
Extremely rare limited edition hand-numbered catalogue book published by NG Publication on the occasion of the exhibition Abnormal Baby, held at NG Gallery in January 1997. The catalogue collects all the works from the exhibition, "photographs by NG Gallery", documenting "Abnormal" babies, fetuses, newborn and child medical anomalies, child birth, with Anne Geddes thrown in for good measure. Anyone who knows Too Negative magazine will understand the obsessive content. Edited by Jun Aoto, with airbrushed cover artwork by Sigeharu Tamura, Abnormal Baby is Number 6 in the NG Copybook series, a series of very limited run photocopy books produced in cut 'n' paste fanzine fashion and distributed in the gallery or by mailorder by publisher and gallerist Kotaro Kobayashi (Too Negative, Ultra Negative, ORG, NG Publication, etc.). Hand-bound with thermal binding with clear protective plastic cover, b/w photocopied throughout, colour cover, hand-numbered (this copy "26"), including the exhibition flyer, Copybook catalogue listing, advertisements for NG Gallery and NG Publication (including Kiyotaka Tsurisaki's Danse Macabre To The Hardcore Works, Too Negative, etc.), other affiliated events and publications, and a full NG distribution list.
Not for the faint of heart!
Very Good copy with general light age/wear.
1987, Japanese
Softcover, 152 pages, 26 x 18 cm
1st Edition, Out of print title / used / very good
Published by
V-Zone / Japan
$100.00 - Out of stock
Fifth issue of V-Zone, the wild, short-lived cult horror/sci-fi/fantasy movie magazine from Japan, published between 1985-1987. Profiles/reviews/articles on Wicked City, Mutant Hunt, Trancers, From Beyond, The Vindicator, Critters, The Oracle, Crawl Space, Blue Velvet, April Fool's Day, Rome 2072, Squirm, a feature report from Festival d'Avoriaz '87 - the international fantasy film festival held in France - including a fold-out poster (backed with a Re-Animator mini poster), and so much more!
At the height of the home video revolution of the 1980s, V-Zone committed it's graphic-saturated pages to the explosion of horror, fantasy, and science fiction films that came with it. V-Zone's coverage of American horror is unparalleled in the world of Japanese magazines, but they also focused attention on historical and underground western science fiction and cult cinema, whilst also playing an important role in fostering the new wave of Japanese gore and V-Cinema (direct-to-video splatter films). Heavy with film features, interviews, stills, ads and reviews, each issue has amazing behind-the-scenes reportage from industry conventions and sfx fan parties, content you would not find anywhere but Japan, including a regular column by legendary Godzilla special effects artist Shinichi Wakasa on how to make your own SFX makeup, gore, and even craft realistic squibs with dimestore prophylactics. Needless to say, V-Zone is a must for any 1980s video collector or lover of gore.
1986, Japanese
Softcover, 98 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
V-Zone / Japan
$100.00 - Out of stock
November 1986 issue of V-Zone, the wild, short-lived cult horror/sci-fi/fantasy movie magazine from Japan, published between 1985-1987. Profiles/reviews/articles on the history of Troma, Guzoo: The Thing Forsaken by God, Highlander and director Russell Mulcahy, El Topo, Critters, The Horror Films of Byron Orlok, Lewis Carroll, Dreamchild (and Jim Henson), Night of The Comet, Creature, The Last Wave, Poltergeist 2, Texas Chainsaw Massacre 2, Breeders, Pleasure Planet, Mutant Hunt, Day of The Woman, Eyes of Fire, Oracle, Dario Argento, Thou Shalt Not kill, Evils of The Night, Aurora Encounter, Roller Blade, Raiders of the Living Dead, Planet of Dinosaurs, Big Trouble in Little China, Giger/Alien, Halloween, and so much more!
At the height of the home video revolution of the 1980s, V-Zone committed it's graphic-saturated pages to the explosion of horror, fantasy, and science fiction films that came with it. V-Zone's coverage of American horror is unparalleled in the world of Japanese magazines, but they also focused attention on historical and underground western science fiction and cult cinema, whilst also playing an important role in fostering the new wave of Japanese gore and V-Cinema (direct-to-video splatter films). Heavy with film features, interviews, stills, ads and reviews, each issue has amazing behind-the-scenes reportage from industry conventions and sfx fan parties, content you would not find anywhere but Japan, including a regular column by legendary Godzilla special effects artist Shinichi Wakasa on how to make your own SFX makeup, gore, and even craft realistic squibs with dimestore prophylactics. Needless to say, V-Zone is a must for any 1980s video collector or lover of gore.
1987, English
Softcover (staple-bound), 48 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$40.00 - Out of stock
DEEP RED No. 1, December 1987 — PREMIERE ISSUE!, Argento's INFERNO, What Happened to Tobe Hooper?, Interviews with David (LAST HOUSE ON THE LEFT) Hess and James (RETURN OF THE LIVING DEAD) Karen, Movies with Guts, News Slashes, Fulci's NEW YORK RIPPER, BLOOD DINER, Gore Scoreboard, New FX Artists, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1988, English
Softcover (staple-bound), 64 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$40.00 - Out of stock
DEEP RED No. 2, March 1988 — Foreign and domestic ZOMBIES, Clive Barker's HELLRAISER, DOCTOR BUTCHER, Gunnar Hansen's Post-Chainsaw Dating Etiquette, Interview with Mark (EVIL DEAD 2, FROM BEYOND) Shostrom, Fanzines A-Z, Sybil Danning, Video Dog House, Gore Scoreboard, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1989, English
Softcover (staple-bound), 72 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$40.00 - Out of stock
DEEP RED No. 3, June 1988 — Exclusive 14-Page Interview with Tom Savini, In-Depth Analysis of COMBAT SHOCK, New FX Artists, H.P. Lovecraft, Forrest J. Ackerman Interview, Uncut - SLAUGHTER- HOUSE, Video Pick-O-The-Pack, Gore Scoreboard, Loaded with Rare Stills, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1988, English
Softcover (staple-bound), 48 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$30.00 - Out of stock
DEEP RED No. 5, December 1988 — Censorship in Europe, Profile of John (GATES OF HELL, CANNIBAL FEROX) Morghen (Giovanni Lombardo Radice), Films of Peter Walker, Fanzine Update, Horror Ob- scurities, LONG ISLAND CANNIBAL MASSACRE, Mark Williams FX, Gallery of Rare Ad Mats!, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1989, English
Softcover (staple-bound), 48 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$30.00 - Out of stock
DEEP RED No. 6, March 1989 — "Cruelty. Carnage & Christianity", Steve Bissette Interview, Goblin's Splatter Soundtracks (Music To Bleed By), Dario Argento, Directors' Forum — Pericles Lewnes, Nathan Schiff, Buddy Giovinazzo, Spawn 2, FantaCo Horror Con Coverage, NINTH & HELL STREET excerpt, Splatter Art, Foreign Gore, Mass Horror, Gore Scoreboard, Bloody Bookshelf, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1990, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 8, 1990 — SEXY GIRLS WITH SEXY GUNS cover, features Peter Jackson, The Cramps, Chinatown Beat, An American Trash Film Tour, Confessions from the Porn Industry, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.