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:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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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.
1969, English
Hardcover (w. dust jacket), 240 pages, 21 x 22 cm
1st US Edition, Out of print title / used / very good
Published by
Praeger Publishers Inc. / New York
$250.00 - Out of stock
First US printing of "Art Povera", the now legendary critical/photographic book by Germano Celant (Italian art historian, critic and curator) documenting the so-called "Art Povera /Arte Povera" movement (meaning "poor art", coined by Celant in 1967) and published by Studio Vista, London in 1969 and Praeger, New York, the same year.
Includes profiles of major artists of the movement, including a short text followed by pages of full-page photographs for each artist.
Artists featured: Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.
"This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. ... This book produces a collection of already old material. ... In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That."
1990, English
Softcover (w. dust jacket), 512 pages, 29.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Biennale of Sydney / Sydney
$120.00 - In stock -
First edition of the incredible (huge) catalogue published to accompany the 8th Biennale of Sydney 1990 "The Readymade Boomerang: Certain Relations in 20th Century Art", held 11 April-3 June 1990 in Sydney across various venues. The eighth Biennale began from ‘a trio of Dada originators’: Marcel Duchamp, Man Ray and Francis Picabia. A large number of artists across generations joined these key figures in Artistic Director René Block’s exploration of the ‘readymade’ in twentieth-century art, which aimed to highlight ‘its invention and pure use by Duchamp, to its resurgence in Nouveau Realism, Pop Art, and Fluxus of the 60s, all the way to new versions by young contemporary artists’. Pop, fluxus and conceptual artists such as Andy Warhol, Richard Hamilton, Marcel Broodthaers, Joseph Beuys, John Cage, Alison Knowles, César, George Brecht, Nam Jun Paik and Piero Manzoni were shown alongside Rosemarie Trockel, John Nixon, Ian Burn, Mel Ramsden, Janet Burchill, Peter Tyndall, Robert Rooney, Rosalie Gascoigne, Cindy Sherman, Bruce Nauman, Hans Haacke, Rebecca Horn, Sophie Calle, Jeff Koons, Allan Kaprow, Jenny Holzer, Robert Gober, Jill Scott, Bill Culbert, Stanley Brouwn, Peter Cripps, Terry Fox, Ian Hamilton Finlay, Fischli & Weiss, KP Brehmer, Sigmar Polke, Dieter Rot, Hanne Darboven, Robert MacPherson, Jackie Redgate, Ed Ruscha, Barbara Bloom, Oyvind Fahlstrom, amongst so many others. The industrial Bond Store at Millers Point featured site-specific works by artists such as Olaf Metzel and Simone Mangos, and several works were created on-site in Sydney, amplifying Block’s notion of the Biennale as a ‘workshop’. A comprehensive satellite program of music, performance, lectures, symposia, workshops and exhibitions at various Sydney venues complemented the exhibition, with Carles Santos’ piano recital on a barge in Sydney Harbour a highlight. Five satellite exhibitions included On Kawara, Joseph Beuys, Alain Fleischer, Fluxus and Broken Record, which featured artist’s experimentations with audio recordings, vinyl and album artwork – from John Cage’s 33 1/3 composition for 12 record players to Milan Knížák’s record-collages.
An incredible Sydney biennale, captured here across over 500 pages conceived and realised by René Block and Jennifer Cook - profusely illustrated with examples of all artists works and accompanying texts throughout by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg, Dick Higgins, René Block and Jennifer Cook. Very Good copy with only general wear/ageing. Bright and clean, includes tanned original dust jacket now preserved under plastic wrap.
Having represented Beuys, Richter and Polke, German gallery owner, art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde.
Very Good copy with original dust jacket. Common tanning to dust jacket spine, now preserved under mylar wrap.
1969, English
Softcover, 240 pages, 21 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Studio Vista / London
$320.00 - Out of stock
Rare first 1969 printing of the seminal "Art Povera", the phenomenal and now legendary critical/photographic book by the great Italian art historian, critic and curator Germano Celant (1940—2020) that internationally established the so-called Art Povera / Arte Povera movement (meaning "poor art", coined by Celant in 1967) and published by Studio Vista, London and printed in Italy.
Includes profiles of major artists of the movement, including a short text followed by pages of full-page photographs for each artist. Artists featured: Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.
"This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. ... This book produces a collection of already old material. ... In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." — text from Celant's introduction "Stating That."
A must.
Very Good copy, usual tanning.
1972, German / English / French
Vinyl ring-binder (screen printed w. design by E. Ruscha), 650 pages +, 32 x 27 cm
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$500.00 - Out of stock
Scarce copy of the only edition of the most elaborately designed, and lowest circulated Documenta catalogue, conceived by curator Harald Szeemann to accompany the fifth edition of Documenta, a quinquennial contemporary art exhibition held in Kassel, Germany.
Subtitled "100 Days of Inquiry into Reality -- Today's Imagery," curated by the team of Harald Szeemann, Jean-Christophe Ammann and Arnold Bode, Documenta 5 followed a lineage of comprehensive shows documenting conceptually and minimally charged artworks curated by Szeemann including Live in Your Head (Kunsthalle Bern, 1969), and Happenings and Fluxus (Kunstverein, Köln), 1970. The largest, most expensive and most diverse of any exhibition anywhere, Documenta 5 was criticized in 1972 as being “bizarre…vulgar…sadistic” by art critic and essayist Hilton Kramer and “monstrous… overtly deranged” by art historian and art critic Barbara Rose, yet it still resonates today as one of the most important exhibitions in history. Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials, architecture, science fiction, kitsch objects, film, advertising, children's art, etc. in addition to the more anticipated international survey of new painting and sculpture - Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society. This massive tome is housed in the iconic orange vinyl-covered, two-ring binder screen printed with the famous ant design by Edward Ruscha. The binder holds a tabbed index of illustrated artist's pages and associated texts and material, largely in German, but also many in English. All registers are present apart from the usual missing 19-25 which were not directly integrated into the catalogue and had to be ordered by the visitor separately to become their own contribution. This very complete copy also includes the additional 80 page, hole-punched Documenta 5 guide book, with floor plans, complete listing of exhibited artworks, list of exhibitions, bibliography, and many gallery, museum and other related advertisements. More than a catalogue, this publication is a piece of art history in itself.
Includes artists: Vito Acconci, Vincenzo Agnetti, Peter Alexander, John de Andrea, Giovanni Anselmo, Arbeitszeit, Archigram, Chuck Arnoldi, Art & Language, Richard Artschwager, Michael Ashkin, John Baldessari, Robert Barry, Georg Baselitz, Lothar Baumgarten, Robert Bechtle, Gottfried Bechtold, Bernd & Hilla Becher, Joseph Beuys, Karl Oskar Blase, Mel Bochner, Alighiero Boetti, Christian Boltanski, Claudio Bravo, George Brecht, K.P. Brehmer, Marcel Broodthaers, Stanley Brouwn, Günter Brus, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Pier Paolo Calzolari, Luciano Castelli, Christo and Jeanne-Claude, Chuck Close, Tony Conrad, Ron Cooper, Bill Copley, Joseph Cornell, Robert Cottingham, Paul Cotton, Hanne Darboven, Walter De Maria, David Deutsch, Jan Dibbets, Herbert Distel, Gino de Dominicis, Marcel Duchamp, John Dugger, Don Eddy, Franz Eggenschwiler, Ger van Elk, Richard Estes, Luciano Fabro, John C. Fernie, Robert Filliou, Jud Fine, Joel Fisher, Terry Fox, Howard Fried, Hamish Fulton, Franz Gertsch, Gilbert & George, Ralph Goings, Hubert Gojowczyk, Dan Graham, Walter Grasskamp, Nancy Graves, Hans Haacke, Duane Hanson, Guy Harloff, Michael Harvey, Haus-Rucker-Co, Auguste Herbin, Eva Hesse, Rebecca Horn, Jean Olivier Hucleux, Douglas Huebler, Jörg Immendorff, Will Insley, Rolf Iseli, Ken Jacobs, Neil Jenney, Alfred Jensen, Jasper Johns, Joan Jonas, Max G. Kaminski, Howard Kanovitz, Edward Kienholz, Imi Knoebel, Christof Kohlhofer, Jannis Kounellis, Tom Kovachevich, Piotr Kowalski, David Lamelas, Barry Le Va, Jean LeGac, Alfred Leslie, Sol LeWitt, Richard Long, Ingeborg Luscher, Inge Mahn, Robert Mangold, Brice Marden, Agnes Martin, Etienne Martin, Richard McLean, David Medalla, Fernando Melani, Jim Melchert, Mario Merz, Gustav Metzger, Bernd Minnich, Malcolm Morley, Ed Moses, Bruce Nauman, Hermann Nitsch, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Blinky Palermo, Panamarenko, Giulio Paolini, A.R. Penck, Giuseppe Penone, Vettor Pisani, Sigmar Polke, Stephen Posen, Markus Raetz, Arnulf Rainer, Gerhard Richter, Klaus Rinke, Dorothea Rockburne, Peter Roehr, Allen Ruppersberg, Edward Ruscha, Reiner Ruthenbeck, Ulrich Ruckriem, Robert Ryman, John Salt, Salvo, Lucas Samaras, Paul Sarkisian, Jean-Frederic Schnyder, Ben Schonzeit, Werner Schroeter, HA Schult, Rudolf Schwarzkogler, Fritz Schwegler, Richard Serra, Paul Sharits, Allan Shields, Katharina Sieverding, Robert Smithson, Michael Snow, Keith Sonnier, Klaus Staeck, Paul Staiger, Jorge Stever, Robert Strubin, Paul Thek, Wayne Thiebaud, Andre Thomkins, David Tremlett, Richard Tuttle, Ben Vautier, W + B Hein, Franz Erhard Walther, Robert Watts, William Wegman, Lawrence Weiner, John Wesley, H.C. Westermann, William Wiley, Rolf Winnewisser, Tom Wudl, Klaus Wyborny, La Monte Young, Peter Young, Gilberto Zorio.
Catalogue also includes Bob Projansky and Seth Siegelaub's "The Artist's Reserved Rights Transfer and Sale Agreement." This "Agreement form has been drafted by Bob Projansky, a New York lawyer, after my [Siegelaub] extensive discussions and correspondence with over 500 artists, dealers, lawyers, collectors, museum people, critics and other concerned people involved in the day-to-day workings of the international art world. The Agreement has been designed to remedy some generally acknowledged inequities in the art world, particularly artists' lack of control over the use of their work and participation in its economics after they no longer own it. The Agreement for has been written with special awareness of the current ordinary practices and economic realitites of the art world, particularly its private, cash and informal nature, with careful regard for the interests and motives of all concerned. It is expected to be the standard form for the transfer and sale of all contemporary art, and has been made as fair, simple and useful as possible. It can be used either as presented here or slightly altered to fit your specific situation. If the following information does not answer all your questions consult your attorney." -- from Agreement's cover. Copies of the contract are individually included in English, Germany, and French editions.
Very Good, complete (as issued) copy. Very minor wear.
1969 / 2006, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / fine
Published by
Kunsthalle Bern / Bern
$290.00 - Out of stock
One of the great art documents of the 20th century, "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. This is the impeccably re-produced facsimile edition of the exhibition catalogue published in conjunction with an exhibition honouring the legacy of Szeemann in 2006, published by the Kunsthalle Bern, the producers of the original. Strictly limited edition and immediately out-of-print, this most faithful reprint, with the unique die-cut alphabetically tabbed index bound with hardware-fittings, has become as collectible as the 1969 edition.
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
As New with only light creasing to the overhanging edges of the cover edges, otherwise a Fine copy.
2019, English
Softcover, 272 pages, 17 x 24 cm
Published by
Valiz / Amsterdam
$58.00 - Out of stock
Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not object-based, creates challenges in exhibiting or re-exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonization.
The aim of the book is not to offer clear-cut practical solutions, but to raise awareness of the issue and the different ways of dealing with it within the traditional curatorial field. It is relevant for students of art and culture (particularly in museum and curatorial studies), art and museum professionals, and everyone interested in the art of the 1960s and 1970s.
Nathalie Zonnenberg is an art historian and curator. She holds a PhD in Art History from Vrije Universiteit, Amsterdam (NL). Zonnenberg regularly writes on contemporary art, and she lectures at the post-graduate Curatorial Studies programme at KASK/the Royal Academy of Fine Arts in Ghent (BE).
1986, English / Dutch / German / French / Italian
Hardcover (cloth w. dust jacket, inc. ephemera, guide/ticket, prints), 366 pages, 27 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Museum van Hedendaagse Kunst / Gent
$220.00 - Out of stock
First and only edition of this very special, scarce exhibition catalogue / photo-book published to document and accompany the innovative exhibition Chambres d'Amis (‘friends’ rooms’), organised by Jan Hoet in Ghent in 1986, awarding him an international reputation as a leading artistic figure in Belgium. Chambres d'Amis featured about 50 European and American artists invited by Hoet to create works for 50 private homes in Ghent, which were then opened to the public for several weeks between June 21 - September 21, 1986. Artists included are Carla Accardi, Christian Boltanski, Raf Buedts, Daniël Buren, Michaël Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol LeWitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio.
The entire city-wide exhibition is comprehensively documented herein (from the domestic interior installations themselves to behind-the-scenes photography, social and working imagery of the artists installing and meeting, public events, etc.) in colour and b/w on various paper stocks with many fold-out panels and reproductions of artist's sketches, alongside extensive texts by Jan Hoet and statements accompanying the work of each artist all in Dutch, English, French, German, and Italian. Includes a list of all hosts/hostesses alongside the artists.
An incredible document of one the most important and unique contemporary art exhibitions in Belgium's history. Jan Hoet (23 June 1936 – 27 February 2014) was the Belgian founder and director of SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (director from 1975 until 2003) and subsequently managed several important exhibitions all over the world including curating Documenta IX in Kassel in 1992, presenting several hundred works by 190 artists from nearly 40 countries.
“Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior. Art here no longer offers a mirror or a window, nor constitutes the privileged sign of a choice, but is an actual, provocative presence, confirming its difference both from the museum space, which has lost its sanctity, and from the contextual frame in which the object serves as a fetish.”—Pier Luigi Tazzi, “Albrecht Dürer would have come too”, Artforum, September 1986
Very Good copy w. some wear/light spine fading to Good dust jacket, now preserved under mylar wrap. This special copy comes most complete, including exhibition guide/work checklist, Ghent map of exhibit locations, and a selection of 4 loose photographic press prints of featured installations.
1987, German
Hardcover, 236 pages, 21.5 x 27.5 cm
1st Edition, Out of print title / used / very good
Published by
Wolf und Sohn / Münich
$80.00 - Out of stock
"Möbel als Kunstobjekt" ("Furniture as Art Object") was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
First hardcover edition.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky... and so many more.
1987, German
Softcover, 236 pages, 21.5 x 27.5 cm
1st Edition, Out of print title / used / very good
Published by
Wolf und Sohn / Münich
$60.00 - Out of stock
"Möbel als Kunstobjekt" ("Furniture as Art Object") was published in 1987 to accompany an exhibition of the same name held in Munich in 1987-1988.
This heavily researched book profiles an amazing selection of fine artists, designers, and architects that have challenged the field of furniture design and experimented with furniture design forms in their practice. It traces a long history of furniture as a field of endless provocative artistic forms and publishes here alongside essays and timelines, profiles and illustrated examples of work from no less than: Peter Josef Abels, Volker Albus, Sandra Antal, Ron Arad, Richard Artschwager, Elvira Bach, Joachim Bandau, Joseph Beuys, Bernhard Johannes Blume, Rudolf Bott, Heinrich Brummack, Marcel Breuer, Carlo Bugatti, Scott Burton, Tony Cragg, Miles Davies, Otto Dressler, Andre Dubreuil, Charles Eames, Egon Eiermann, Hildegard Erhard, Suzan Etkin, Rainer Fettin, Uwe Fischer/Klaus Achim Heine, Peter Fischli/David Weiss, Wolfgang Flatz, Rupprecht Geiger, Frank Gehry, Jochen Gerz, Walter Gropius, Al Hansen, Christian Hasucha, Wolfgang Hausler, Anne Jud, Donald Judd, Bruno K., Margaret Kelley, Martin Kippenberger, Jurgen Klauke, Imi Knoebel, Lawrence Compton Kolawole, Huub Kortekaas, Shiro Kuramata, Heinz Landes, Wolfgang Laubersheimer, El Lissitzky, Adolf Loos, Inge Mahn, Wasa Marjanov, Peter Monnig, George Nelson, Meret Oppenheim, Aribert von Ostrowski, Bruno Paul, Sarah Pelikan, Gaetano Pesce, Pino Poggi, Gerrit Rietveld, Thomas Ruff, Reiner Ruthenbeck, Denis Santachiara, Berthold Schepers, Karl Friedrich Schinkel, Klaus Schmitt, Ettore Sottsass, Daniel Spoerri, Patricia Maria Staudenhochtl, Stiletto, Axel Stumpf, Gunther Uecker , Timm Ulrichs, Karl Valentin, Hermann Waldenburg, Rupert Walser, Helmut Weber, Herbert Jakob Weinand, Stefan Wewerka, Georg Wirsching, Carl Emanuel Wolff, Bernd Zimmer, Stefan Zwicky... and so many more.
1969, English
Hardcover (clothbound), 240 pages, 21 x 22 cm
1st US Edition, Out of print title / used / good
Published by
Praeger Publishers Inc. / New York
$140.00 - Out of stock
First hardcover US printing of "Art Povera", the now legendary critical/photographic book by Germano Celant (Italian art historian, critic and curator) documenting the so-called "Art Povera /Arte Povera" movement (meaning "poor art", coined by Celant in 1967) and published by Studio Vista, London in 1969 and Praeger, New York, the same year.
Includes profiles of major artists of the movement, including a short text followed by pages of full-page photographs for each artist.
Artists featured: Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.
"This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. ... This book produces a collection of already old material. ... In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That.
Good ex-library copy with light associated markings, without dust jacket. Otherwise clean, tightly bound Very Good copy throughout (never loaned).
1992, German / English
Hardcover (in original slipcase), Vol. 1 : 255 pages; Vol. 2 : 310 pages; Vol. 3 : 619 pages, 18.5 x 27 cm
1st Edition, Out of print title / used / good
Published by
Hatje Cantz / Berlin
$120.00 - Out of stock
Hardcover edition, three volume exhibition catalogue published in conjunction with Documenta IX, Kassel, Germany, June 13 - September 9, 1992.
Documenta 9 is remembered as one of the most popular of all documenta exhibitions, thanks not least of all to the influence of its artistic director, the charismatic Belgian curator Jan Hoet. Hoet wanted to make the human being and our sensual, perceptual, agonized corporeality, which had been progressively displaced by the digitized, virtual world, the focus of attention at his exhibition. “From body to body to bodies” was the meaningful, poetic motto of documenta 9. Hoet described his curatorial mission in the following words: “At a time in which the human race is confronted more than ever with such dangers as AIDS and multinational wars, nuclear catastrophes, and global climate disasters, at a time in which threats are growing increasingly abstract and the fears more and more diffuse, I see reflection on the physical conditions of life as an appropriate answer.”
Texts by Jan Hoet, Denys Zacharopoulos, Bart de Baere, Pier Luigi Tazzi, Claudia Herstatt, Joyce Carol Oates, Jacques Roubaud, Cornelius Castoriadis, Heiner Müller, Paul Robbrecht, Hilde Daem.
Artists include Marina Abramovic, Absalon, Richard Artschwager, Francis Bacon, Marco Bagnoli, Nicos Baikas, Miroslaw Balka, Matthew Barney, Jerry Barr, Lothar Baumgarten, Jean-Pierre Bertrand, Joseph Beuys, Michael Biberstein, Guillaume Bijl, Dara Birnbaum, Jonathan Borofsky, Louise Bourgeois, Herbert Brandl, Ricardo Brey, Tony Brown, Marie José Burki, Jean-Marc Bustamante, Michael Buthe, Pedro Cabrita Reis, Waltercio Caldas, Pier Paolo Calzolari, Ernst Caramelle, Lawrence Carroll, Saint Clair Cemin, Tomasz Ciecierski, Tony Clark, James Coleman, Tony Conrad, Patrick Corillon, Damian, Richard Deacon, Thierry De Cordier, Silvie Defraoui & Chérif Defraoui, Raoul De Keyser, Wim Delvoye, Braco Dimitrijevic, Eugenio Dittborn, Helmut Dorner, Stan Douglas, Marlene Dumas, Jimmie Durham, Mo Edoga, Jan Fabre, Luciano Fabro, Belu-Simion Fainaru, Peter Fend, Rose Finn-Kelcey, FLATZ, Fortuyn/O'Brien, Günther Förg, Erik A.Frandsen, Michel François, Vera Frenkel, Katsura Funakoshi, Isa Genzken, Gaylen Gerber, Robert Gober, Dan Graham, Rodney Graham, Angela Grauerholz, Michael Gross, George Hadjimichalis, David Hammons, Georg Herold, Gary Hill, Peter Hopkins, Rebecca Horn, Geoffrey James, Olav Christopher Jenssen, Tim Johnson, Andrej N. Joukov, Ilya Kabakov, Anish Kapoor, Kazuo Katase, Tadashi Kawamata, Mike Kelley, Ellsworth Kelly, Bhupen Khakhar, Per Kirkeby, Harald Klingelhöller, Kurt Kocherscheidt, Peter Kogler, Vladimir Kokolia, Joseph Kosuth, Mariusz Kruk, Guillermo Kuitca, Suzanne Lafont, Jonathan Lasker, Jac Leirner, Zoe Leonard, Eugène Leroy, Via Lewandowsky, Bernd Lohaus, Ingeborg Lüscher, Attila Richard Lukacs, James Lutes, Marcel Maeyer, Brice Marden, Cildo Meireles, Ulrich Meister, Thom Merrick, Gerhard Merz, Mario Merz, Marisa Merz, Meuser, Jürgen Meyer, Liliana Moro, Reinhard Mucha, Matt Mullican, Juan Muñoz, Christa Näher, Hidetoshi Nagasawa, Bruce Nauman, Max Neuhaus, Pekka Nevalainen, Nic Nicosia, Moshe Ninio, Jussi Niva, Cady Noland, Manuel Ocampo, Jean-Michel Othoniel, Tony Oursler, Panamarenko, Giulio Paolini, A. R. Penck, Michelangelo Pistoletto, Hermann Pitz, Stephen Prina, Richard Prince, Martin Puryear, Royden Rabinowitch, Rober Racine, Philip Rantzer, Charles Ray, Martial Raysse, readymades belong to everyone, José Resende, Gerhard Richter, Ulf Rollof, Erika Rothenberg, Susan Rothenberg, Ulrich Rückriem, Thomas Ruff, Stephan Runge, Edward Ruscha, Reiner Ruthenbeck, Remo Salvadori, Joe Scanlan, Eran Schaerf, Adrian Schiess, Thomas Schütte, Helmut Schweizer, Maria Serebriakova, Mariella Simoni, Susana Solano, Ousmane Sow, Ettore Spalletti, Haim Steinbach, Pat Steir, Wolfgang Strack, Thomas Struth, János Sugár, Yuji Takeoka, Robert Therrien, Frederic Matys Thursz, Niele Toroni, Thanassis Totsikas, Addo Lodovico Trinci, Mitja Tušek, Luc Tuymans, Micha Ullman, Juan Uslé, Bill Viola, Henk Visch, James Welling, Franz West, Rachel Whiteread, Christopher Wool, KeunByung Yook, Heimo Zobernig, Gilberto Zorio, and Constantin Zvezdochotov.
Very Good condition volumes in hardcover (much less common edition than usual softcover), preserved in their original illustrated slipcase (with common repaired splitting and bumping damage).
1969, English
Softcover, 240 pages, 21 x 22 cm
1st US Edition, Out of print title / used / very good
Published by
Praeger Publishers Inc. / New York
$200.00 - Out of stock
First US printing of "Art Povera", the now legendary critical/photographic book by Germano Celant (Italian art historian, critic and curator) documenting the so-called "Art Povera / Arte Povera" movement (meaning "poor art", coined by Celant in 1967) and published by Praeger, New York in 1969 and printed in Italy. A must!
Includes profiles of major artists of the movement, including a short text followed by pages of full-page photographs for each artist.
Artists featured: Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra.
"This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. ... This book produces a collection of already old material. ... In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That."
Very good, well-preserved copy. Only light tanning.