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:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
1967, Japanese
Softcover, 6 page card fold-out w. insert, 23.8 x 23.8 cm
1st Edition, Out of print title / used / very good
Published by
Tokyo Gallery / Tokyo
$100.00 - In stock -
Incredibly scarce catalogue published on the occasion of the 1967 exhibition "19 Surrealists" held at Tokyo Gallery, Japan. Fold-out catalogue with insert, illustrated with the exhibited works (along with biographies in Japanese) by Enrico Baj, Hans Bellmer, Victor Brauner, Salvador Dali, Paul Delvaux, Max Ernst, Wifredo Lam, Felix Labisse, René Magritte, Man Ray, Andre Masson, Roberto Matta, Joan Miro, Taro Okamoto, Francis Picabia, Kurt Schwitters, Max-Walter Svanberg, Yves Tanguy, Wols.
Very Good with light wear and mild spotting and a couple of pencil notations in Japanese. Preserved in sleeve.
1977, English
Hardcover (w. dust jacket), 308 pages, 24 x 16 cm
1st UK Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$70.00 - In stock -
First 1977 hardcover edition of Passages in Modern Sculpture, Rosalind E. Krauss classic study of major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.
"...Krauss's book is undoubtedly the best treatment of its subject yet written. As a textbook, it ought to raise the level of discourse in art history classes, for it is the meaning, not the chronology, of sculpture since Rodin that is the book's central concern. Krauss avoids the conventional plodding survey and divides the book into a sequence of 'case studies' that permit sustained attention to specific works and artists. In so doing, she attempts to trace a 'tradition' to stand behind that portion of American sculpture of the past 15 years which she espouses critically."—Art in America
"Distinguished art historian and critic Rosalind Krauss analyzes with exceptional clarity and insight the major works that have led 20th century sculpture from the traditional and figurative to the revolutionary conceptual art of the 1970s—an art which has developed a new 'syntax' that discards 'narrative' for instantaneous impact and boldly breaks new ground. Beginning with a penetrating study of Rodin's modernity in rejecting 'narrative' in his 'The Gates of Hell,' she moves successively through detailed examinations of futurism, constructivism, Duchamps' 'readymades,' Brancusi, David Smith's 'Tanktotem,' sculptural realism, and the introduction of light, motion, and theatrical elements into sculpture by Picabia, Calder, Oldenburg, and others right up to younger sculptors like Carl Andre, Blochner, and others [including Robert Morris, Don Judd, Richard Serra, Sol Le Witt, Robert Smithson, and Michael Heizer]. As critic and theorist, Krauss makes demands that will challenge even the most sophisticated."—Publishers Weekly
Rosalind E. Krauss, editor and cofounder of October magazine, is University Professor at Columbia University. She is the author of The Originality of the Avant-Garde and Other Modernist Myths, The Optical Unconscious, Bachelors, and Perpetual Inventory, all published by the MIT Press.
Very Good in VG dust jacket designed by Krauss with interior architect Alan Buchsbaum!
1974, Japanese
Hardcover (cloth-bound w. original illustrated card box and dust jacket) 160 pages, 21 x 21.6
1st Edition, Out of print title / used / very good
$150.00 - In stock -
Stunning boxed first printing of the Japanese edition of "Surrealist Drawings" by František Šmejkal, printed and bound in cloth-covers in Japan in 1973. A beautiful clothbound hardcover folio of drawings by artists affiliated with Surrealism. What makes this lovely collection special is the inclusion of many of the Czech Surrealists, and a generally broad European scope of artists. Czech art historian František Šmejkal has collated a wonderful selection of works on paper by Toyen, Jindřich Štyrský, Wolfgang Paalen, Giorgio de Chirico, Hans Bellmer, Alfred Kubin, Francis Picabia, Jacques Hérold, Yves Tanguy, Man Ray, Josef Istler, Max Ernst, André Breton, František Muzika, Paul Delvaux, Wilfredo Lam, Richard Oelze, Mikuláš Medek, Joan Miró, Josef Sima, Kurt Seligmann, Odilon Redon, Andre Masson, Max Walter Svanberg, Salvador Dali, Arshile Gorky, Victor Brauner, Rene Magritte, and many more.
Very Good copy in original slipcase and plastic jacket over cloth. Almost Fine, but with corner bumping to top.
2024, English
Softcover, 328 pages, 21 x 28 cm
Published by
Spector Books / Leipzig
$110.00 - In stock -
The book Archive of Dreams is published in conjunction with the exhibition of the same name that will open the Archiv der Avantgarden. Marking the hundredth anniversary of the first surrealist manifesto and the founding of the Bureau of Surrealist Research in Paris in 1924, the volume is dedicated to the surrealist movement as well as the networks it engendered and the artistic stimuli it provided in the twentieth century. The idea was for the Bureau to collect dream testimonies in whatever form, not only to preserve and analyse them but also to give active expression to them in artistic processes. The publication shows how the practices of the avantgardes blurred the boundaries between dream and reality, between the traditional, passive notion of the archive and the idea of active, innovative artistic experiment — and thus ultimately also between the past, the present, and possible futures.
Works and documents from the period before, during, and after the Second World War shed light on the working methods of international artists and the global network they were involved in. They are complemented by diverse reflections on global protest movements and the traumas of war, thus connecting, too, to everyday experiences in a Europe beset by warfare.
1991, English
Softcover, 304 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
John Hopkins University Press / Baltimore
$45.00 - Out of stock
First 1991 John Hopkins edition.
What connects the Romantic essays of Thomas De Quincey and the violent cinema of Brian De Palma? Or the "beautiful" suicides of Hedda Gabler and Yukio Mishima? Or the shootings of John Lennon and Ronald Reagan? In The Aesthetics of Murder, Joel Black explores the sometimes gruesome interplay between life and art, between actual violence and images of violence in a variety of literary texts, paintings, and films.
Rather than exclude murder from critical consideration by dismissing it as a crime, Black urges us to ponder the killer's artistic role—and our own experience as audience, witness, or voyeur. Black examines murder as a recurring, obsessive theme in the Romantic tradition, approaching the subject from an aesthetic rather than a moral, psychological, or philosophical perspective. And he brings into his discussion contemporary instances of sensational murders and assassinations, treating these as mimetic or cathartic activities in their own right.
Combining historical documentation with theoretical insights, Black shows that the possibilities of representing violence—and of experiencing it—as art were recognized early in the nineteenth century as logical extensions of Romantic theories of the sublime. Since then, both traditional art forms and the modern mass media have contributed to the growing aestheticization of violence.
Very Good copy, light wear.
1968, Japanese
Hardcover in hard slipcase, unpaginated, 19 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Futami Shobo / Japan
$160.00 - In stock -
Scarce hardcover, slipcased volume on the "Art of Eroticism", published only in Japan in 1968. An amazing history of humanity that collects erotic masterpieces from around the world. With illustrated slipcase by Japanese artist Kuniyoshi Kaneko, this book functions as a separate visual volume to Ove Brussendorf and Poul Henningsen's celebrated History of Eroticism, depicting sexual customs from ancient times to the present day with 700 illustrations reproduced on glossy stock.
Very Good copy with general age and some wear to slipcase. Book well-preserved!
1986 / 1988, English
Softcover, 320 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
St. Martin's Press / New York
$35.00 - Out of stock
"What is the postmodern scene? Baudrillard's vision of excremental culture par excellence or a final coming home to a mediascape which even as a 'body without organs' (Deleuze and Guattari), a 'negative space' (Krauss), a 'pure implosion' (Lyotard) or 'a symbolic experience' (Kristeva) is now first nature, and thus the terrain of a new political refusal?"
THE POSTMODERN SCENE is a series of major theorisations about key artistic and intellectual tendencies in the postmodern condition. A variety of texts, ranging from Nietzsche's The Will to Power, Serres' Hermes, Baudrillard's Precession of Simulacra, the visual art of Fischl, Hopper, Colville, and Magritte and recent performance art are used as probes of the human fate in the contemporary century. Here, theoretical reflection is viewed as a privileged artistic act: simultaneously a critical encounter with the 'shock of the real', and a meditation in the form of a lament over the 'intimations of deprival' which speak to us now of postmodern culture, art, and philosophy in ruins.
Arthur Kroker is the founding editor of the Canadian Journal of Political and Social Theory. He teaches political science and the humanities at Concordia University, Montreal.
David Cook teaches political theory at Erindale College, University of Toronto.
Good copy, Second 1988 expanded edition. Light general wear, tanning to spine edge.
1980, Italian
Hardcover, 50 pages, 32 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Casa Vogue / Milan
Edizioni Condé Nast / Milan
$80.00 - In stock -
First edition, published in 1980 by Edizioni Condé Nast / Casa Vogue (Milan), of this little known furniture book, edited by Casa Vogue editor Isa Vercelloni, who brought us the 1985 classic “Styles of Living: The Best of Casa Vogue”.
This fantastic hardcover book, the first in Casa Vogue's book library, is dedicated entirely to showcasing furniture by (amongst many other deisgners) Aldo Rossi, Gaetano Pesce, Andrea Branzi, Ettore Sottsass, Afra and Tobia Scarpa, Toshiyuki Kita, Achille Castiglioni, Alchimia, Paolo Nava, Antonio Citterio, Enzo Mari, Alessandro Mendini, B&B Italia, Cassina, Flos, Poltronova, Vico Magistretti, Artemide, Stilnovo, Mario Bellini, Josef Hoffman, Studio Driade, Poltronova, Carlo Scarpa, Gae Aulenti, Angelo Mangiarotti, Eileen Grey, Charles Rennie Mackintosh, Gerrit T. Rietveld, Le Corbusier, Charlotte Perriand, , Pierre Jeanneret, C&B Italia, Mario Ceroli, Cini Boeri, Arflex, Zanotta, Superstudio, Archizoom, Knoll, Meret Oppenheim, Max Ernst, René Magritte, Jonathan de Pas, De. Pas + D'urbino + Lomazzi, Donato d'Urbino, Paolo Lomazzi, Gufram, Giani Ruffi, Piero Gilardi, Joe Columbo, Sergio Asti, Hans Hollein...
Scarce, wonderfully compiled Italian title of 1970's-1980's furniture design and its influences.
Very Good copy.
1985, English
Hardcover (w. dustjacket), 224 pages, 30 x 22.6 cm
1st Edition, Out of print title / used / very good
Published by
Rizzoli / New York
$200.00 - Out of stock
First edition, published by Rizzoli in 1985, of this classic interior design book, "Styles of Living: The Best of Casa Vogue"
Making appearances in these rooms: Gae Aulenti, Man Ray, Enzo Mari, Carlo Scarpa, Pablo Picasso, Josef Hoffman, Cinzia Ruggeri, Max Ernst, Wols, Matteo Thun, Ettore Sottsass, Le Corbusier, Salvador Dali, René Magritte, Lucio Fontana, Eileen Grey, Daniel Buren, Gaetano Pesce, Charles Eames, Verner Panton, Massimo Vignelli, Andy Warhol, Frank Lloyd Wright, Antoni Tàpies, Michelangelo Pistoletto, Alver Aalto.....
"Ever since the end of the Second World War, Italian style, design and decoration have maintained an unprecedented predominance in the Western World. It was in the early 1950s that a great surge of decorative talent welled up in Italy, and this resulted in the 'Italian look' in clothes and in homes - a new standard of chic inventiveness.
The Italian view of interior design has been most enterprisingly expressed in the magazine Casa Vogue, which was founded in 1968 and has consistently been one of the most admired publications of Condé Nast International.
This book, garnered from the many issues of Casa Vogue, has been written and produced under the guidance of Isa Vercellonim who has been its editor ever since its inception. The choice of picture-stories is intended to reflect the unusual and distinctive diversity of the magazine - ranging from traditional decoration to the more advance examples of minimal design, most the most significant of contemporary buildings to the spectacular reconstructions and reconversions of old palazzi and coachhouses, from the 'post modern' to the 'anti-modern' and any other 'moderns' that may have been advocated recently. Italian trends naturally provide the main focus, but Casa Vogue also includes developments in the United States, France, Switzerland - indeed, wherever unusual and meaningful designs are being created."
Very good copy in Good dust-jacket, protected under mylar wrap.
1976, German
Softcover, 96 pages, 19 x14 cm
1st Edition, Out of print title / used / good
Published by
Walther König / Köln
Edition Lebeer Hossmann / Brüssels
$40.00 - Out of stock
First edition of this rare collection of the photographs of Belgian surrealist artist René Magritte (1898—1967). German language edition issued by Walther Koenig in Cologne and Edition Lebeer Hossmann in Brüssels, on the occasion of the traveling exhibition La fidélité des images — René Magritte: Cinématograph et photographie. With 111 photos and film images by Rene Magritte.
René François Ghislain Magritte (1898—1967) was a Belgian surrealist artist known for his depictions of familiar objects in unfamiliar, unexpected contexts, which often provoked questions about the nature and boundaries of reality and representation. His imagery has influenced pop art, minimalist art, and conceptual art.
Good copy with some marking and tanning to covers.
2008, English / German
Hardcover, 176 pages, 21.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Schirn Kunsthalle / Frankfurt
$190.00 - Out of stock
Now out-of-print and collectible, this wonderful hardcover monograph is entirely dedicated to the exceptional, radical and nearly unknown period of paintings from famed Belgian Surrealist painter René Magritte known as the Période Vache, from 1948.
René Magritte numbers not only among the most important, but also among the most popular twentieth-century artists. Often against the grain of the artistic tendencies of his time, the Belgian Surrealist painter developed a unique and unmistakable pictorial language. His work’s continuing crucial influence on later generations of artists and his impact on today’s visual culture are almost without par. Many of his enigmatic and equally hard-to-forget solutions have been reproduced in the millions and become famous icons far beyond the world of art.
However, a fascinating period of the artist’s landmark oeuvre has remained nearly unknown: his so-called Période vache. In 1948, Magritte made a group of paintings and gouaches distinctly different from the rest of his work for his first solo exhibition in Paris. Relying on a new, fast and aggressive style of painting – and particularly inspired by popular sources such as caricatures and comics, but also interspersing his works with stylistic quotations from artists like James Ensor or Henri Matisse – Magritte, within only a few weeks, produced about thirty entirely uncharacteristic works that caused an outrage in Paris. The artist deliberately conceived the exhibition as a provocation of and an assault on the Parisian public. Painting in an unexpectedly crude, playful, and intentionally “bad” manner, he reflected his own work and painting in general.
The fact that Magritte’s first solo presentation in Paris did not take place before 1948 is of crucial relevance for the genesis of his Période vache. Paris was not only the center of the art world, but also the capital of the Surrealist movement, and Magritte, as the central figure of Belgian Surrealism, had been in close contact with the circle around André Breton since the 1920s. Yet, it was not only his attempt to establish himself in the French metropolis that failed after only a three-year stay (1927–1930); even after his international recognition had grown in the 1930s, he was denied an adequate appreciation of his work in Paris. In addition, Magritte came into direct conflict with Paris after the war when his redefinition of Surrealism met with the disapproval of the Surrealist group’s protagonists returning home from exile.
This was the context in which Magritte regarded his invitation to Paris in 1948 less as an overdue chance of success in the French metropolis but rather as an opportunity for taking revenge – for the arrogance of the capital’s art scene and the ossified attitude of a Surrealism that had outlived itself and become far too socially acceptable – by pulling off a surprising coup.
The term “vache” used by Magritte for his new group of works is mostly understood as an ironical allusion to the historical movement of the Fauves, whose exaggerated coloring Magritte’s works parodied as much as their decoratively pleasing character. Yet in French, “vache” does not only mean “cow,” but also as much as “mean” or “nasty”; “vacherie” signifies a mean trick. Thus, the term hints at the aggressive and deliberately crude quality characteristic of the pictures.
The exhibition in Paris turned out the expected failure. Not one picture was sold. The press reacted frostily. The public was appalled. The Paris Surrealists kept their distance. Only one of the vache works was exhibited again during Magritte’s lifetime, i.e. until 1967. For exhibition makers as well as art dealers and art historians, this group of works constituted an alien element in an otherwise extraordinarily consistent oeuvre. In addition, it did not fit in with the image of an artist who had, above all, been presented as a pioneer of Pop art and Concept art since the 1960s. It was not before thirty years after their making that these hitherto forgotten works began to be gradually reevaluated and appreciated starting with the “Westkunst” exhibition in Cologne. In the context of the 1980s’ Post-Conceptual painting, the strategies Magritte had relied on for subverting the prevailing standards of painting in the medium itself appeared both exemplary and highly topical. Today, about forty years after Magritte’s death, contemporary artists such as John Currin or Sean Landers often come to understand his oeuvre by making themselves familiar with the works of his Période vache at first. The works’ humor, spontaneous style, and daring bad taste provide an example for a form of painting deriving its momentum from the apparent meaningless of its subjects in order to refute the clichés of today’s world of images. With his manifesto-like protest against all varieties of arrogance and reprimands in the arts, Magritte has become a model for the artist’s triumph over the workings of an art scene that seem to be more overpowering today than they ever were.
Edited by Esther Schlicht and Max Hollein. With a preface by Max Hollein and texts by Michel Draguet, Robert Fleck, Florence Hespel, and Esther Schlicht.
Very Good copy, with knock to top of back boards (not effecting contents)
2003, English
Hardcover, 256 pages, 21 x 25.4 cm
1st Edition, Out of print title / used / very good
Published by
The Tate Gallery / London
$110.00 - Out of stock
First edition of this lovely hardcover catalogue, published on the occasion of a special travelling exhibition of drawings at The Drawing Centre, New York; Tate, London; MCA, Sydney, 2003 — over 140 important works from the Tate Collection organised, from William Blake to Andy Warhol, selected by the British artist Avis Newman and curated Catherine de Zegher. Newman chose these works because they demonstrated her interest in drawing as an exploratory or discursive act - ie as 'the nearest equivalent to the operation of thought'. The presentation of rarely-seen drawings by so many major artists gives way to fresh and startling connections between their work and new insights into their creative processes. Edited by Catherine De Zegher, this lavishly illustrated book features so many rarely seen drawings by artists, alongside interviews and essays.
Artists : Eileen Agar, Carl Andre, Jean Arp, Heneage Finch Aylesford, Francis Bacon, Aubrey Beardsley, Max Beckmann, William Blake, Pierre Bonnard, Constantin Brancusi, André Breton, British School, Marcel Broodthaers, John Cage, Paul Cézanne, Alexander Cozens, Jean Crotti, George Dance, Nathaniel Dance-Holland, John Charles Denham, Marcel Duchamp, Jacob Epstein, Luciano Fabro, Jean Fautrier, Barry Flanagan, John Flaxman, Lucio Fontana, Henry Fuseli, Naum Gabo, Henri Gaudier-Brzeska, Alberto Giacometti, Natalya Goncharova, Juan Gris, Richard Hamilton, Barbara Hepworth, Eva Hesse, William Henry Hunt, Giles Hussey, John William Inchbold, Gwen John, Jasper Johns, John Latham, Fernand Léger, Sol LeWitt, El Lissitzky, René Magritte, Piero Manzoni, Brice Marden, André Masson, E.L.T. Mesens, Henri Michaux, John Hamilton Mortimer, Barnett Newman, William Young Ottley, Blinky Palermo, Giuseppe Penone, Francis Picabia, Sir Joshua Reynolds, Elizabeth Rigby, Edward Ruscha, Kurt Schwitters, Albert Seba, Thomas Stothard, James Thornhill, Joseph Mallord William Turner, Cy Twombly, Andy Warhol, George Montard Woodward, Joseph Wright.
Very Good copy.
1978, English
Hardcover (clothbound w. dust jacket), 160 pages, 24.5 x 32 cm
1st Edition, Out of print title / used / very good
Published by
Octopus / London
$65.00 - Out of stock
English edition of the great "Surrealist Drawings", edited by František Šmejkal, designed and printed in Czechoslovakia. A beautiful clothbound hardcover folio of drawings by artists affiliated with Surrealism. What makes this lovely collection special is the inclusion of many of the Czech Surrealists, and a generally broad European scope of artists. Czech art historian František Šmejkal has collated a wonderful selection of works on paper by Toyen, Jindřich Štyrský, Wolfgang Paalen, Giorgio de Chirico, Hans Bellmer, Alfred Kubin, Francis Picabia, Jacques Hérold, Yves Tanguy, Man Ray, Josef Istler, Max Ernst, André Breton, František Muzika, Paul Delvaux, Wilfredo Lam, Richard Oelze, Mikuláš Medek, Joan Miró, Josef Sima, Kurt Seligmann, Odilon Redon, Andre Masson, Max Walter Svanberg, Salvador Dali, Arshile Gorky, Victor Brauner, Rene Magritte, and many more.
Highly recommended.
Very Good copy with light edge wear. Very Good dust jacket.
2015, English
Hardcover (w. dust jacket), 160 pages, 27 x 31 cm
Published by
Marot / Brussels
$90.00 - Out of stock
From the start, the Belgian Surrealists—among them René Magritte, Paul Delvaux, Paul Nougé, E.L.T. Mesens and Marcel Mariën—distinguished themselves from their Parisian counterparts with their dry wit, brilliant conceptualism and knack for combining the fantastical and the everyday (e.g., Magritte's bowler-hatted men, or Marcel Mariën's iconic single-lensed spectacle), and their disinclination to issue Breton-style manifestos.
This revelatory volume celebrates the Surrealist movement in Belgium through a group of more than 250 paintings, drawings, photographs, prints and books by artists such as Rachel Baes, Paul Delvaux, Camille Goemans, Jane Graverol, Tom Gutt, Jacques Lacomblez, René Magritte, Marcel Mariën, Jacques Matton, Edouard (E.L.T.) Mesens, Paul Nougé, Gilbert Senecaut, Louis Scutenaire, Max Servais, Armand Simon, André Stas Raoul Ubac, Louis Van de Spiegele, Rogier Van de Wouwer and Robert Willems.
1984, Japanese
Softcover, 224 pages, 21 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Night Vision / Japan
$55.00 - Out of stock
First 1984 edition of cult Japanese underground magazine Night Vision, a special edition dedicated to Surrealism. Packed with content, including many important Surrealist texts translated to Japanese, this heavily illustrated book includes features on Hans Bellmer and Unica Zürn, Yves Tanguy, Remedios Varo, Max Ernst, Belgian Surrealism, female Surrealist artists and poets (Remedios Varo, Mimi Parent, Valentine Penrose, Gisèle Prassinos, Dorothea Tanning, Bona de Mandiargues, Isabelle Walberg, Lise Deharme, Leonora Carrington, Dora Maar, Aube Elléouët, Jane Graverol, Nelly Kaplan (Belen), Joyce Mansour, Nora Mitrani, Unica Zürn, Valentine Hugo, Marianne Van Hirtum, Leonora Fini, Marie-Laure de Noailles, Kay Sage, Toyen, Annie Le Brun, Meret Oppenheim), Latin American Surrealism and Frida Kahlo-Diego Rivera, Surrealist literature and activities (Artaud, Picabia, Apollinaire, Bataille, Duchamp, Satie, Breton, etc.) plus much more, text contributions by Georges Bataille, Paul Eluard, Midori Wakakuwa, Kuniharu Akiyama, Takashi Tanyuya, Shigeo Goto, Takahiko Okada, Octavio Paz, André Breton, Kunio Iwaya, Gonzalo Cerorio, Yuichi Konno, Satoshi Takamura, and much more. Illustrated in b/w throughout (with many more artists than mentioned above) in that great Night Vision semi-fanzine/cheap reader quality.
Very Good - Fine copy.
2011, Japanese / French
Softcover (w. printed plastic jacket over reflective cover), 296 pages
1st Edition, Out of print title / used / very good
Published by
National Art Centre / Tokyo
$90.00 - Out of stock
First printing of this great exhibition catalogue from the National Art Centre Tokyo via Centre Pompidou Paris, on occasion of the most comprehensive Surrealist exhibition ever staged in Japan, “Le Surrealism: Exposition organisee par Le Pompidou a partir de sa Collection” at The National Art Center, Tokyo in 2011.
Housed in mirrored cover and profusely illustrated in colour with the work of André Breton, Victor Brauner, Rene Magritte, Joan Miro, Andre Masson, Francis Picabia, Claude Cahun, Hans Bellmer, Dorothea Tanning, Max Ernst, Salvador Dali, Toyen, Guilaume Apollinaire, Meret Oppenheim, Luis Buñuel, Jindrich Heisler, Andre Masson, Yves Tanguy, Alberto Giacometti, Man Ray, Marcel Duchamp, Jean Arp, Giorgio de Chirico, Wilhelm Freddie, and many others, alongside comprehensive documentation of major historical Surrealist exhibitions and documents/publications.
Very Good copy.
2010, English
Softcover, 197 pages, 15 x 23 cm
Published by
Solar Books / US
$44.00 - Out of stock
The Marquis de Sade (1740–1814), best known for his violent, erotic novels, such as 120 Days of Sodom and Justine, was also one of the key inspirational figures identified by André Breton in his Surrealist Manifestos. De Sade’s importance to the Surrealists and their close affiliates is reflected in the sheer volume of art and writing dedicated to, or inspired by, his life, philosophy, and writings. Sade: Sex and Death documents this body of Surrealist work, including many key texts and bizarre and erotic images never before assembled in one volume.
Included in Sade are more than fifty rarely seen transgressive illustrations by some of the most famous names associated with Surrealism, including Dalí, Hans Bellmer, Magritte, André Masson, and Man Ray. The book also features analytical texts by writers of the period such as Bataille, Breton, Bunuel, Eluard, and Klossowski. Also included is the first-ever English translation of “The Divine Marquis” by Guillaume Apollinaire, which was the first modernist appraisal of Sade and remains one of the best concise biographies of its subject, and “Sade and the Roman Noir” by scholar Maurice Heine, in which Heine posits Sade as inventor of the gothic novel. Putting the works in context is an extensive history by editor Candice Black that details the relationship between the Surrealists and Sade.
1974, Italian
Softcover, 24 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Galleria D'Arte / Turin
$30.00 - Out of stock
Surrealism catalogue published on the occasion of "Omaggio al Surrealismo", a group exhibition at Galleria D'Arte "La Bussola", Turin, 1974. Illustrated in colour and b/w throughout with works by Gianni Dova, Victor Brauner, Giorgio De Chirico, René Magritte, Joan Miró, Wilfredo Lam, Graham Sutherland, Salvador Dalí, Roberto Matta, Max Ernst, Paul Wunderlich, André Masson, and Hans Bellmer.
Very Good, light cover wear.
1973, English / German / French
Hardcover (w. dust jacket), 232 pages, 24 x 30.5 cm
1st Edition, Out of print title / used / good
Published by
The Graphis Press / Zürich
$60.00 - Out of stock
1972/1973 edition (with Massimo Vignelli cover design) of the mighty hardcover Graphis Annuals collection, published by The Graphis Press in Zürich. Designed and edited by Swiss graphic designer Walter Herdeg, this profusely illustrated volume continues one of the world's leading design showcases. Each "International Annual of Advertising Graphics" profiles in colour and black and white the best design of everything from book jackets to record covers to television commercials to trade marks and letterheads. All texts are in English, German and French. This edition features the works of Herb Lubalin, Tomi Ungerer, Domenico Gnoli, Les Mason, Ettore Sottsass, Massimo Vignelli, Edward Gorey, Jean-Michel Folon, Max Ernst, Willy Fleckhaus, Seymour Chwast, Saul Steinberg, Roman Cieslewicz, Milton Glaser, Tadashi Ohashi, Paul Davis, Mort Drucker, Paul Rand, Ernest Trova, Roland Topor, Etienne Delessert, Enzo Mari, Ronald Searle, René Magritte, Tetsuo Iwashima, Olaf Leu, Edward C. Kozlowski, Push Pin Studio, and hundreds more.
Good copy in good dust jacket (tanning and ageing). Preserved under mylar wrap.
1974, English
Softcover, 152 pages, 30.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Studio International /
Studio International / London
$100.00 - Out of stock
The special "Belgian Issue" of Studio International, with famous front and back covers designed by Marcel Broodthaers, with text by Broodthaers on page 114 ("Wiertz Museum"). Also includes a long and rich essay entitled "'Incredible' Belgium : Impressions" by Barbara Reise, focussing on the years 1973-1974 and reviews the important events that marked the contemporary art scene in galleries or private collections, plus articles on Pol Bury and André Balthazar's "The Daily Bul" by André Balthazar, "Museums, Collectors, Policies" by Karl Geirlandt, "Some Notes on Hyper-realists" by Karl Geirlandt and Jean-Pierre van Tieghem, Panamarenko by Irmaline Lebeer, "Construction and Structure in Form and Colour" by Phil Mertens, "Aspects of the Avant-Garde in Belgium" by Michael Baudson and Yves Gevaert, and much more. Artist pages by Younger Belgian Artists: Paul De Gobert, Guy Mees, Maurice Roquet, Malcolm Lauder, Krokus, Jan Dries, Group Cap. Belgian comics. Reviews section.
A now very collectable issue from the great Peter Townsend as editor years.
As editor of Studio International magazine from the mid-1960s to the mid-1970s, Peter Townsend oversaw its transformation from a mainstream Britain-centric publication into a vanguard journal chronicling some of the most radical artistic endeavours in the UK and internationally.
Marcel Broodthaers (28 January 1924 – 28 January 1976) was a Belgian a polymorphic artist, poet, visual artist, filmmaker, photographer, who anticipated the reflection on the relationship between the artwork, the museum and the public.
Good copy, but with previous owner inscription on cover and decent age/rubbing to covers.
1970, German
Softcover, 92 pages, 11 x 17 cm
1st edition, Out of print title / used*,
Published by
Galerie Rudolph Zwirner / Köln
$55.00 - Out of stock
"Z" is a great, unsuspecting pocketbook from Galerie Rudolph Zwirner in 1970, collecting together a wonderful group of works by 78 artists (Yves Klein, Richard Tuttle, Donald Judd, Cy Twombly, René Magritte, Laszlo Moholy-Nagy, Kenneth Noland, Daniel Spoerri, Frank Stella, Jean Tinguely, Roy Lichtenstein, Richard Linder, Jasper Johns, Martial Raysse, Dieter Rot, Franz Erhart Walther, Bruno Goller, Morris Louis, Jim Dine, Otto Dix, Jean Dubuffet, Max Ernst, Salvador Dali, Konrad Klapheck, Lucio Fontana, Blinky Palermo, Hundertwasser, Gerhard Richter, Antoni Tapies, Andy Warhol, George Grosz, Robert Graham, Allen Jones, Henri Michaux, Claes Oldenburg, Robert Rauschenberg, Oskar Schlemmer, Yves Tanguy, Louis Soutter, Tom Wesselmann, Toyen, Wols, Larry Bell, Dan Flavin, Panamarenko, Sol Lewitt, etc.) across painting, sculpture, drawings, collage and multiples, all reproduced in black and white across this almost entirely visual volume.
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / used / average
Published by
U.M.I. Research Press / Michigan
$50.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
A Good copy throughout, with cover rubbing and corner bumping. Tightly bound and clean copy internally.
1970, English
Softcover, 80 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$45.00 - Out of stock
Art International, Vol. XIV/9 November 1970
Published and Edited by James Fitzsimmons
cover: Eugenio Carmi
Features: Henry Moore, Anthony Caro, Aristide Maillol, Clement Meadmore, Lee Bontecou, George Grosz, Hannah Höch, R. B. Kitaj, Kurt Schwitters, Ross Woodman, Harry Soviak, The Israel Museum, James Rosati, Frances Picabia, Raffael Ferrer, Alexander Archipenko, Paolo Soleri, Ralph Goings, Alex Katz, René Magritte, Roberto Matta, Hans Bellmer, Frank Stella, David Aspden, John Armstrong, Gunter Christmann, Ken Reinhard, Jorge Camacho, Tetsumi Kudo, Michael Heizer, Jean-Pierre Raynaud, Pol Bury, Raoul Ubac, Antoni Tàpies, Llyn Foulkes, and many more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
1968, English / French
Softcover, 64 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$55.00 - Out of stock
Art International, Vol. VII/8 October 20, 1968
Published and Edited by James Fitzsimmons
Advisory Editors: Umbro Apollonio, R. C. Kenedy, Lucy R. Lippard, James Mellow.
Features:
Phillip King, Paul Frazier, "Science-Fiction" (Robert Smithson, Donald Judd, Larry Bell, Lila Batzen, etc.), "Sculpture as Visual Instrument" (Charles Ross, Michael Kirby), "The Vancouver Explosion" (Iain Baxter, Roy Kiyooka, Jim Willer, Reg Holmes, Audrey Chapel Dorey, Michael Morris, etc.), Paul Wunderlich, Milton Avery, Ludwig Sander, John Barryman, Claude Villiat, Lucio Fontana, Matta, Henri Matisse, Saul Steinberg, Rene Magritte, Isamu Noguchi, Les Levine, Martial Raysse, Andy Warhol, Christo, James Dine, Carl Andre, an much more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.