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:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
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.
1993, English
Softcover, 160 pages, 19 x 14 cm
Published by
Duke University Press / North Carolina
$55.00 - In stock -
Originally published in 1972 in France, Guy Hocquenghem's Homosexual Desire has become a classic in gay theory. Translated into English for the first time in 1978 and out of print since the early 1980s, this new edition, with an introduction by Michael Moon, will make available this vital and still relevant work to contemporary audiences. Integrating psychoanalytic and Marxist theory, this book describes the social and psychic dynamics of what has come to be called homophobia and on how the "homosexual" as social being has come to be constituted in capitalist society.
Significant as one of the earliest products of the international gay liberation movement, Hocquenghem's work was influenced by the extraordinary energies unleashed by the political upheavals of both the Paris "May Days" of 1968 and the gay and lesbian political rebellions that occurred in cities around the world in the wake of New York's Stonewall riots of June 1969.
Drawing on the theoretical work of Gilles Deleuze and Félix Guattari and on the shattering effects of innumerable gay "comings-out," Hocquenghem critiqued the influential models of the psyche and sexual desire derived from Lacan and Freud. The author also addressed the relation of capitalism to sexualities, the dynamics of anal desire, and the political effects of gay group-identities.
Homosexual Desire remains an exhilarating analysis of capitalist societies' pervasive fascination with, and violent fear of, same-sex desire and addresses issues that continue to be highly charged and productive ones for queer politics.
“This remarkable essay was one of the first efforts to describe the psychological structure of homophobia into which we all were born and which still confine us. It examines, principally from the male perspective, the powerful and insideous ways the dominant heterosexual culture defines and marginalizes gay experience.”—Michael Roberts , Bay Windows
"Homosexual Desire represents the best of left social theory of sexual politics, a tradition that has never had an adequate reception in the United States. Reprinting this book now is a step toward recovering that tradition, and could therefore open debates about the significance of sexuality."—Michael Warner
"Written over two decades ago, in the aftermath of May '68 and Stonewall, Hocquenghem's Homosexual Desire may well be the first example of what we now call queer theory. But its significance is more than historical: it remains an indispensable analysis of, and polemic against, institutionalized homophobia.”—Douglas Crimp
1980, English
Softcover (staple-bound), 16 pages, 30.5 x 12 cm
1st Edition, Out of print title / used / fine
Published by
Galerie Watari / Tokyo
$400.00 - In stock -
Stunning, exceptionally rare Japanese Sol LeWitt artist book/catalogue, "All Four Part Combinations of Six Geometric Figures", published to accompany his 1980 solo exhibition at Galerie Watari, Tokyo. Handsome LeWitt book design of minimal title texts introducing this unusual staple-bound oblong book of 15 b/w drawings of Six Geometric Figures in variation by LeWitt, 1980. First and only edition, printed in Japan and only available at the exhibition itself.
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 tanning to cover and page edges, otherwise beautifully preserved, no spine pinching.
2009, English
Hardcover (w. dust jacket), 128 pages, 15.2 x 22.9 cm
Published by
Zone Books / New York
$50.00 - In stock -
The Signature of All Things is Giorgio Agamben's sustained reflection on method. To reflect on method implies for Agamben an archaeological vigilance: a persistent form of thinking in order to expose, examine, and elaborate what is obscure, unanalyzed, even unsaid, in an author's thought. To be archaeologically vigilant, then, is to return to, even invent, a method attuned to a ''world supported by a thick weave of resemblances and sympathies, analogies and correspondences.'' Collecting a wide range of authors and topics in a slim but richly argued volume, Agamben enacts the search to create a science of signatures that exceeds the attempts of semiology and hermeneutics to determine the pure and unmarked signs that signify univocally, neutrally, and eternally.
Three conceptual figures organize Agamben's argument and the advent of his new method: the paradigm, the signature, and archaeology. Each chapter is devoted to an investigation of one of these concepts and Agamben carefully constructs its genealogy transhistorically and from an interdisciplinary perspective. And at each moment of the text, Agamben pays tribute to Michel Foucault, whose methods he rethinks and effectively uses to reformulate the logic of the concepts he isolates. The Signature of All Things reveals once again why Agamben is one of the most innovative thinkers writing today.
Giorgio Agamben is Professor of Philosophy at the University of Venice. He is the author of Profanations (2007), Remnants of Auschwitz: The Witness and the Archive (2002), both published by Zone Books, and other books.
2021, English
Hardcover (w. dust jacket), 144 pages, 20.5 x 13.7 cm
Published by
Orion / London
$35.00 - Out of stock
A lovesong to London in the early 80s: a pre-computer, pre-digital, pre-mostmodern, New Wave age.
'The best evocation I've read of London in the '80s'—Neil Tennant
'I loved Souvenir . . . it rescued some things for me - a certain aesthetic, a philosophical engagement with time and poignant beauty and lived history that I have found myself looking for, and not finding, elsewhere in recent years . . . the book gave me new hope'—John Burnside
'A suspended act of retrieval, a partisan recall; a sustained, subtle summary of our recent past, and an epitaph for a future we never had'—Philip Hoare
'Michael Bracewell proves himself to be nothing less than the poet laureate of late capitalism'—Jonathan Coe
A vivid eulogy for London of the late 1970s and early 80s - the last years prior to the rise of the digital city. An elliptical, wildly atmospheric remembrance of the sites and soundtrack, at once aggressively modern and strangely elegiac, that accompanied the twilight of one era and the dawn of another. Haunted bedsits, post-punk entrepreneurs in the Soho Brasserie, occultists in Fitzrovia, Docklands before Canary Wharf, frozen suburbs in the winter of 1980...
Michael Bracewell is the author of six novels and two works of non-fiction including SAINT RACHEL, PERFECT TENSE, REMAKE/REMODEL and ENGLAND IS MINE. His writing has been published in THE FABER BOOK OF POP and a selection of his writings on art and culture, THE SPACE BETWEEN was published in 2012. He has written widely on modern and contemporary art, most notably about the work of Bridget Riley and Richard Hamilton on the occasion of recent exhibitions of their work at The National Gallery, London. Also on the art of Damien Hirst and Gilbert & George for the Tate Gallery, London. His most recent publications include the Introduction to a new edition of Oscar Wilde's classic essay, 'The Critic As Artist'.
2023, English
Softcover, 288 pages, 21.6 x 14 cm
Published by
Nightboat Books / New York
$39.00 - Out of stock
A baroque work of intimate myth exploring one woman's interdimensional search for beauty and embodiment, through kaleidoscopic renderings of hospital corridors, brutal breakups, and passionate romance.
The Fifth Wound is a phantasmagorical roman clef about passion as a way of life. In one dimension, this is a love story—Aurora & Ezekiel—a separation and a reunion. In another, we witness a tale of multiple traumatic encounters with transphobic violence. And on yet another plane, a story of ecstatic visionary experience swirls, shatters, and sparkles. Featuring time travel, medieval nuns, knifings, and t4t romance, The Fifth Wound indulges the blur between fantasy and reality. Its winding sentences open like portals, inviting the reader into the intimacy of embodiment—both its pain and its pleasures.
"If Gertrude Stein had a child with Virginia Woolf, they would produce an exquisite comma/semi-colon named Aurora Mattia. In Mattia's highly magnetic & hyperconscious world of say boudoir shadows, sugarglass, operating tables, transsexuality, auroral wounds, strident malefic forces, a sentence, a paragraph, an entire chapter does bleed; and, it bleeds hyperchromatically, hyperphilosophically, hyperinventively, and hyper-nonbinarily from The Fifth Wound's 'mouth, genitals, genitals, pores, eyes, ass, and nose' into her body's impeccable sheath."—Vi Khi Nao
2023, English
Softcover, 296 pages, 20.5 x 14 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
A dark yet compassionate comedy of art aspirations and friendships come to naught.
First published in 2003, Gary Indiana's turn-of-the-millennium novel traces the lives of a loosely connected group of New York artists and the dissolution of their scene.
During the summer of 2001, the narrator of Do Everything in the Dark, a gallery curator, receives intermittent dispatches from his far-flung friends-many of whom resemble well-known figures in the art and intellectual worlds-who are spread out across the globe, from Istanbul to Provincetown to Santa Fe. Seeking various reprieves from a changed New York, the long-festering, glossed-over incompatibilities of these aging bohemians blossom into exotic and unbearable relief. Beneath the contemporary excesses Indiana chronicles, we can see the outlines of the earlier New York bohemia captured by Dawn Powell.
Arguably Indiana's most intimate, internal, and compassionate work to date, Do Everything in the Dark is a chilling chronicle of madness and failure, success and disappointment, and the many ways love dies in a world people find increasingly unlivable.
"A great book-melancholic and funny and wicked smart."—Michael Miller, National Book Critics Circle
"With scrupulously intense sentences-pitch-perfect, pitch-dark-Indiana conjures a hugely sad New York novel that feels once state-of-the-art and stunningly ancient."—Ed Park, The Believer
2023, English
Softcover, 64 pages, 10.8 × 17.8 cm
Published by
David Zwirner Books / New York
$25.00 - Out of stock
Derek Jarman’s Blue weaves a sensory tapestry that serves as both a political call to action and a meditation on illness, dying, and love.
“For Blue there are no boundaries or solutions.” —Derek Jarman
Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman’s death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film and its script, as reproduced in this volume, serve as an impassioned response to the lack of political engagement with the AIDS crisis.
Jarman’s Blue moves through myriad scenes, some banal, others fantastical. Stories of quotidian life––getting coffee, reading the newspaper, and walking down the sidewalk––escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue—a color, a feeling, a funk. Michael Charlesworth’s compelling introduction brings Blue into conversation with Jarman’s visual paintings.
Introduction by Michael Charlesworth
2023, English
Hardcover (w. dust jacket), 307 pages, 20 x 27.5 cm
Published by
Galerie Buchholz / Köln
$85.00 - Out of stock
The Books and Life of Raymond Roussel is a biographic and bibliographic study of the French author Raymond Roussel (1877–1933). It was researched and written by the art historian Michael Sanchez. The book takes the form of an inventory of every known state of every edition of Roussel’s lifetime publications. Interwoven into this bibliographic data are texts that analyze the relationship between Roussel’s literary procedures, the material construction of his books, and his life. The book also includes a list of primary and secondary literature related to Roussel.
2014, English / German
Softcover (w. dust jacket), 160 pages, 25.3 x 18 cm
Ed. of 1000,
Published by
Galerie Buchholz / Köln
$65.00 - Out of stock
This beautiful catalogue is published on the occasion of Isa Genzken's exhibition "Early Works" that took place at Galerie Buchholz, Berlin in 2013. The book contains a new essay by B.H.D. Buchloh, both in English and in German as well as an extensive documentation on the artist's early work starting in the late 1960s.
Produced in an edition of 1000.
2021, English
Softcover (w. dust jacket), 96 pages, 22.5 x 17.5 cm
Ed. of 800,
Published by
CCA Wattis Institute for Contemporary Arts / San Francisco
Daniel Buchholz Galerie / Köln
$65.00 - Out of stock
This catalogue is published on the occasion of Vincent Fecteau's exhibition at the Wattis in the fall of 2019. Along with a group of new sculptures by Vincent Fecteau, the exhibition also featured two works by Lutz Bacher. The catalogue includes new texts by exhibition curator Anthony Huberman and by art historian Fanny Singer, as well as excerpts from a lecture by the artist Don Potts and an interview between the curator Renny Pritikin and Fecteau. Profusely illustrated throughout with many installations photographs and individual works views for each piece, as well as many reference illustrations throughout texts.
Published in an edition of 800 copies.
Highly recommended.
Vincent Fecteau (b. 1969) has, over the last two decades, forged a singular aesthetic that mixes homespun materials (popsicle sticks, champagne corks, string, and the like), meticulous craft work, and a curious formal grammar. By turns wonky, erotic, extraterrestrial, or baroque—and sometimes all of these at once—his sculptures are built from small, slow accumulations in which layering, texture, and the work of the hand are all visible. You Have Did the Right Thing When You Put That Skylight In, the San Francisco–based artist’s largest exhibition to date and his first solo show in Switzerland, is a selection of sculptures spanning from 2000 to the present plus the premiere of a large new body of work. Comprised of images culled from magazines and other ready-made elements (shoeboxes, jewelry boxes, wicker baskets, and other lo-fi containers, all painted the matte-est of blacks), these wall sculptures manifest both a return to his origins (collage) and a significant new direction.
2022, English
Hardcover (w. dust jacket), 69 pages, 22 × 25.5 cm
Published by
Walther König / Köln
$70.00 - Out of stock
Hardcover catalogue published on the occasion of the exhibition "I hear the ancient music of words and words, yes, that’s it.", curated by Bärbel Vischer at the Schindler House/MAK Center for Art and Daniel Buchholz, Berlin. Designed by Florian Pumhösl and contains images of the installation at Schindler House and documentation of the exhibited works along with an introductory text by MAK curator Bärbel Vischer and a conversation between Vincent Fecteau and Florian Pumhösl.
Set against the context of modernity, the exhibition examines the relationship of images, objects, and legacies of abstraction. Together, the artists Vincent Fecteau and Florian Pumhösl orchestrate a dialogue between pictorial and three-dimensional work, studio production, and the architectural setting of the Schindler House as it relates to aspects of materiality, surface, pattern, color, and light.
The title of the exhibition, I hear the ancient music of words and words, yes, that’s it., quotes the Brazilian writer Clarice Lispector, echoing the intimate sense she generated in her writing and corresponding to space, moods, and history. The exhibition, evolving in Rudolph M. and Pauline Schindler’s former studio and residence, includes objects from their private collections and work studies by both artists. Fecteau and Pumhösl evoke an exchange with their studios and focus on inventories, studies, attempts, materials, and snapshots of production that lead to imaginative leaps in which we can follow blurred lines and raw edges of modern art from today’s perspective.
Vincent Fecteau (b. 1969) is a San Franciscan based artist who produces sculptures of various materials including papier-mâché, cardboard, resin clay. Often described as abstract, their forms and colors, symbolic fragments of architecture, and found objects engage with representation, specifically photography and its depiction of space. For this exhibition, Fecteau interweaves digital photographic images with collages. Loosely arranged, and integrating furniture pieces they interlink sculpture and architecture. Everyday objects, architectural structures, mass media artifacts, and impressions of social interaction build a momentum in the setting of a communal home. He is interested in the atmosphere of the rooms and living spaces. There are images the artist has collected as well as images he has taken over the years. Fecteau likes the idea of showing them as one would family photos, in a series of arrangements throughout the house. The display creates a narrative between ideas and reality. He thinks of these photographic works – snapshots – as sculptures deployed in the architecture. Patterns and shapes, curved elements, expressive forms, architectonical surfaces, found objects, and the play of color define his photograph-as sculpture works.
Florian Pumhösl (b. 1971) currently lives and works in Vienna. He contextualizes the abstraction of images, materials, and forms by mediating contemporaneity in the history of crafts and objecthood. His matrix of works combines the quality of the graphic picture and the presence of paintings, expanding the boundaries of their medium and material – like sheets of steel, aluminum, and lead or ceramics and casts of plaster – as well as the ephemerality of color and light. In his studio archive, Pumhösl keeps a large selection of works, which mark the process of thought, image, and production. Interested in the deformation of the pictorial space, Pumhösl is aware of the ambiguity of the memory of materials. Forms, shapes, and cut-outs relate as negative forms to warped reliefs. Found roofing material, as models, led him to studies in lead foil. These works are made of folded lead sheets, with small irregularities in their angles and shapes. Defined by singular construction and its repetition, some of the constellations and compositions appear like textile fragments (and are engendered by that association). Pumhösl painted the works in a range of uncommon pigments: a ‘rusty red’ addresses the iron oxide-base of the material, black creates an infinite depth, and shades of blue and white enhance the idea of abstraction, balance, and space.
2016, English
Hardcover (cloth-bound), 150 pages, 21 x 24 cm
Ed. of 1000,
Published by
Daniel Buchholz Galerie / Köln
Greengrassi / London
Kunsthalle Basel / Basel
Matthew Marks / New York
$85.00 - Out of stock
Beautiful hardcover cloth-bound catalogue published on the occasion of Vincent Fecteau's large survey solo exhibition at Kunsthalle Basel in 2015 (curated by Elena Filipovic). In addition to numerous full-colour reproductions of the exhibited works the book (including installation views and numerous photographs of individual works from different angles, including details) contains a new essay by Bruce Hainley. Also includes an exhibition work list, biography and bibliography.
Co-published byKunsthalle Basel, Matthew Marks (New York), Galerie Daniel Buchholz (Cologne) and greengrassi (London).
Edition of 1000.
Highly recommended.
Vincent Fecteau (b. 1969) has, over the last two decades, forged a singular aesthetic that mixes homespun materials (popsicle sticks, champagne corks, string, and the like), meticulous craft work, and a curious formal grammar. By turns wonky, erotic, extraterrestrial, or baroque—and sometimes all of these at once—his sculptures are built from small, slow accumulations in which layering, texture, and the work of the hand are all visible. You Have Did the Right Thing When You Put That Skylight In, the San Francisco–based artist’s largest exhibition to date and his first solo show in Switzerland, is a selection of sculptures spanning from 2000 to the present plus the premiere of a large new body of work. Comprised of images culled from magazines and other ready-made elements (shoeboxes, jewelry boxes, wicker baskets, and other lo-fi containers, all painted the matte-est of blacks), these wall sculptures manifest both a return to his origins (collage) and a significant new direction.
2020, English
Softcover, 64 pages, 18 x 12 cm
Published by
Galerie Buchholz / Köln
$30.00 - In stock -
This publication contains the German philosopher Juliane Rebentisch’s seminal text Camp Materialism. Natural History in Jack Smith revised by the author and presented together with a new addendum A note on Camp Ridiculousness.
Juliane Rebentisch (born 1970, Bonn) is a German philosopher and art historian whose research focuses on the history and politics of aesthetics. She is the author of three major books: Aesthetics of Installation Art (Sternberg, 2003), The Art of Freedom: On the Dialectics of Democratic Existence (Polity, 2012), and Theorien der Gegenwartskunst (Junius, 2013), and has edited numerous volumes on aesthetics, ethics, and political philosophy in both German and English. Josef Chytry, in the academic journal Journal of Aesthetics and Art Criticism, called Aesthetics of Installation Art a "formidable work." In 2017, she received the Lessing Prize from the city of Hamburg, an award given to major German cultural figures who have a connection to the city; she was the first woman to be awarded the Lessing Prize since it was given to Hannah Arendt in 1959.
1994, Japanese
Softcover, 108 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
G-Modern / Tokyo
$95.00 - Out of stock
Vol. 5 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter 1994, this early issue features Derek Bailey, Motoharu Yoshizawa, Captain Beefheart, George A. Romero, Keiji Haino, Smegma, Patti Smith, Jean-Luc Godard, Hawkwind, Pierre Henry, Shinro Ohtake, Shoichi Ozawa, Alvin Lucier, Frank Zappa, history/discography of Akifumi Nakajima's (Aube) G.R.O.S.S. label, articles on extremely obscure psych from around the world, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, light cover wear.
1995, Japanese
Softcover, 110 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$95.00 - Out of stock
Vol. 8 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Spring 1995, this early issue features Albert Ayler, Kenji Endo, AMM, Nihilist Spasm Band, Can / Holger Czukay, Stever Beresford, LAFMS, Miles Davis, Hawkwind, Butch Morris, The Pop Group, Television, Hiroshi Mikami, Q-65, unknown masterpieces, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, cover wear.
1995, Japanese
Softcover, 112 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$85.00 - In stock -
Vol. 10 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter 1995-1996, this early issue features Chisato Yamada, Dagmar Andrtova, AMM, Han Bennink, Captain Beefheart, Don Cherry, the ESP label, The Fanatics, Hawkwind, Die Krupps, LAFMS, Mu, Pearls Before Swine, Hiroshi Mikami, St.Mikael, Suicide, John Zorn, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, light cover wear.
1996, Japanese
Softcover, 112 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / fine
Published by
G-Modern / Tokyo
$85.00 - Out of stock
Vol. 12 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Summer '96, this early issue features Peter Brotzmann, Keizo Inoue, Captain Beefheart, Eric Dolphy, Einstruzende Neubauten, Gong, Antonio Inoki, Hiroshi Mikami, David Jackman (Organum), Gonn, Lee Konitz, LAFMS, Pain Jerk, Astor Piazzola, Tiny Tim Vajra, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Fine copy.
1995, Japanese
Softcover, 110 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$85.00 - Out of stock
Vol. 7 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter 1995, this early issue features Tori Kudo (Maher Shalal Hash Baz), AMM, Nihilist Spasm Band, Chie Mukai, Miles Davis, Misha Mengelberg, Faust, John Duncan, Mayo Thompson, George Lewis, Television, Captain Beefheart, Yoshio Hayakawa (Jacks), Hawkwind, Kazuo Hara, Canadian psych/folk, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, light cover wear.
1997, Japanese
Softcover, 112 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / fine
Published by
G-Modern / Tokyo
$75.00 - Out of stock
Vol. 17 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter '97-'98, this early issue features Jutok Kaneko, Congregation, Current 93, Arthur Doyle, Klaus Dinger, Kikuchi Kōji, Barre Phillips, Chu Ishikawa, Nelly Pouget, Screamin' Mee-Mees, Solmania, Mike Whilhelm, Sumegma, unknown psychedelia, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Fine copy.
2006, Japanese
Softcover, 102 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$55.00 - Out of stock
Vol. 26 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in 2006, this early issue features Keiji Haino, Derek Bailey, Wataru Okuma, Hiroyuki Usui, Suishou no Fune, Aural Fit, Hiroshi Mikami, Masayuki Takayanagi, Luc Ferrari, musical archeology by Yoshiyuki Konno, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good—Fine copy.
1999, English
Softcover, 494 pages, 15.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Purple Institute / Paris
$150.00 - Out of stock
PURPLE magazine ("Fashion, Prose, Special, Fiction, Interior") Number 4, Winter 1999-2000.
A rare copy of this early edition of Purple, edited by Elein Fleiss, this wonderful early issue that features work by: Mark Borthwick, Juergen Teller, Jutta Koether, Jack Pierson, Tobjorn Rodland, A.F. Vandervorst, Ann-Sofie Back, Takashi Homma, Anders Edstrom, Balenciaga, Hussein Chalayan, Susan Cianciolo, Comme des Garcons, Fabrics Interseason, Martin Margiela, Kim Gordon, Doug Aitken, Junya Watanabe, Hermés, Bernard Willhelm, Helmut Lang, Leah Singer, Louis Vuitton, Lewis Baltz, Liz Bougatsos, Bless, Experimental Jetset, Antek Walzcak, Harmony Korine, Mark Gonzales, Terry Richardson, Giasco Bertoli, and many many more....
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple Fashion.
1989, English
Softcover, 26 pages, 25 x 20 cm
Signed,
1st Edition, Out of print title / used / good
Published by
Anthony dOffay Gallery / London
$70.00 - In stock -
Signed copy of Gilbert & George's For AIDS Exhibition catalogues, published in 1989 by Anthony dOffay Gallery in London to benefit CRUSAID, a local charity responding to the growing AIDS crisis. The exhibition featured the large scale photo works from the collaborative duo’s Pictures series, often self-portraits composed with striking iconography in bold colour that explore life and death, power, freedom, compassion, sexuality, and queer identity. Stating in the foreword, “Early in 1988 we had a strong feeling that we should be doing something more to help people with AIDS,” Gilbert & George raised nearly $1 million in proceeds, selling out the show. Signed by the artists in red marker.
Good copy with marking / tanning to covers, but internally Very Good.
1959, English
Softcover, 222 pages,12 x 11 cm
1st Edition, Out of print title / used / good
Published by
World Distributors / London
$45.00 - Out of stock
First edition, 1959 third impression of this classic pulp title on youth transgression in the conservative 1950s by Wenzell Brown. Considered one of the giants in juvenile delinquency literature of this era, Brown almost single-handedly created the subgenre of True Teen Crime.
"Here are the terrifying experiences of "junkies" who started "blasting" for thrills and couldn't "kick" the habit — and the crimes they committed to get "the monkey off their backs." Told by a man who lived with them intimately, and who spares no one in exposing the menace of teen-age drug addiction."
SHOCKING STORY! "Accounts of young dope addicts and how they gave in to the habit, or fought against it and how some of them won. While the story is shocking, it is less so than it would have been five years ago because of recent revelations."—Detroit News
First printed in 1954, at a time when juvenile delinquency stories were at their most popular and as the "Youthquake" phenomenon was taking shape and becoming a major societal concern and a international obsession — this combined fascination made it easy for a well seasoned student of society like Wenzell Brown to hone his craft. A veteran and world traveller, Brown worked with troubled teens and salvaged many first-hand accounts for what would become some of the most popular reads in pulp fiction. His sharp prose and keen use of contemporary youth lingo was drafted into lurid tales of vicious street punks, gutter girls, switchblade gangs and beatnik drug addicts. "Monkey on My Back" is one of his most popular books in his canon which includes other classics such as "Gang Girl", "Jailbait Jungle" and "Teen-Age Mafia".
Good copy with wear, creasing and tanning from age.
1960, English
Softcover, 114 pages, 18 x 11 cm
1st Edition, Out of print title / used / good
Published by
Ballantine Books / New York
$65.00 - In stock -
Scarce first 1960 edition of The Virgin Spring by Ulla Isaksson, "the complete, uncensored screenplay of Ingmar Bergman's Most Powerful Film(!), with 16 pages of photographs".
In Sweden there is a legend so powerful, so moving, that it has been told and sung for more than seven centuries. A young girl, in her innocence and pride, rides alone through the forest. There she is caught and brutally raped by three herdsmen. This shocking explosion of evil, and the terrible vengeance the girl's father wreaks on the herdsmen, are shown in scenes of savage impact. Yet beneath the harsh realism, another theme is developing, and the story closes on an image of mystic reconciliation that is profoundly moving yet utterly believable—the miracle of the spring.
Ulla Isaksson, one of Sweden's greatest novelists, wrote THE VIRGIN SPRING at the suggestion of Ingmar Bergman, the world-famous director of "The Magician," "Wild Strawberries" and "The Seventh Seal." In her hands, the screenplay becomes a work of genuine literary distinction. In THE VIRGIN SPRING, the collaboration of these two great Swedish artists — Isaksson and Bergman—captures all the cruelty and beauty, the harshness and faith of the old legend, so that its truth may speak to people today just as it spoke to those of the Middle Ages.
Good copy, tightly bound with light wear and tanning.