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
SAT 12—4 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
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.
1995, English / Japanese
Softcover (w. Frenchfolds), 156 pages, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Sezon Museum of Art / Tokyo
$160.00 - Out of stock
First edition of this fantastic, and very scarce Richard Tuttle catalogue. Published on the occasion of the solo exhibition of Richard Tuttle, September 7—October 10, 1995 at Sezon Museum of Art, Tokyo, this densely-packed and profusely illustrated book, surveys Tuttles career to date, reproducing many great sculptural works with fabric, on paper, reliefs and paintings, made by Tuttle between 1964 and 1994. Features an essay by Richard Tuttle alongside texts by Gerhard Mack and Shigemi Oka, the exhibition curator. All texts in both Japanese and English.
A great and rare Japanese book on the work of American artist, Richard Tuttle.
Good copy. Foxing/age spots to cover, otherwise a Very Good copy in all other aspects.
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.
2011, English
Hardcover, 228 pages, 23.3 x 27 cm
1st Edition, Out of print title / used / very good
Published by
MoMA / New York
$100.00 - In stock -
First edition of long out-of-print important catalogue published to accompany the exhibition On Line: Drawing Through the Twentieth Century, The Museum of Modern Art, New York, 21 Nov. 2010—7 Feb. 2011. On Line: Drawing through the Twentieth Century explores a radical transformation of drawing that began over a century ago and continues as a vital impulse in art today. In a revolutionary departure from traditional ideas of drawing, and from the reliance on paper as the medium's fundamental support, artists have pushed the line of drawing into real space, expanding its relationship to gesture and form and invigorating its links with painting and sculpture, photography and film, and, particularly notably, dance and performance. Through works by over 100 artists, and through essays by Cornelia Butler and Catherine de Zegher that illuminate both broad themes and individual practices, On Line presents a groundbreaking history of an art form. The great, recognized art movements, from Cubism and Futurism at the beginning of the twentieth century through Abstract Expressionism, Neo-Concretism, arte povera, Conceptualism, and many other approaches up to the diverse present, are shown from a new perspective, and are joined by a host of less familiar artworks that properly claim a place in this differently defined field. The exhibition and catalogue includes works by a wide range of artists, both familiar and relatively unknown, from different eras of the past century and from many nations, including Aleksandr Rodchenko, Alexander Calder, Karel Malich, Eva Hesse, Anna Maria Maiolino, Richard Tuttle, Mona Hatoum, and Monika Grzymala.
Very Good / As New copy.
1999, English
Softcover (w. dust jacket), 152 pages, 30.5 x 24.4 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
MOCA / Los Angeles
$100.00 - Out of stock
First edition of long out-of-print important catalogue published to accompany Afterimage : Draw Through Process, a major survey of conceptual / post-minimalist drawing at The Museum of Contemporary Art, Los Angeles, before travelling to Texas and Washington. Co-published by the MIT Press and MOCA.
The term "process art" describes a moment of radical, a formal experimentation in postwar American sculpture. Through the medium of drawing, Afterimage revisits process art in terms of the artists who defined the movement and suggests a transitional moment when many of its practitioners anticipated the feminist and post minimalist art of the 1970s.
The term "process art" describes a moment of radical, a formal experimentation in postwar American sculpture. Through the medium of drawing, Afterimage revisits process art in terms of the artists who defined the movement and suggests a transitional moment when many of its practitioners anticipated the feminist and postminimalist art of the 1970s. Nancy Grossman's use of language, for example, suggests a kind of material abstraction, and Nancy Holt's earth works and related drawings introduced content into a minimalist vocabulary. The book also explores the drawing as a residual object in works in which the process of making dictates the form of the drawing. Examples include Gordon Matta-Clark's stacked cuttings, Robert Morris' "blind time" drawings, and Sol Lewitt's folded construction drawings. Other works, such as those by Bruce Nauman and Robert Smithson, record a particular approach to body-based and process-oriented sculpture. The book, which accompanies an exhibition, contains an essay by Cornelia H. Butler on the historical ambiguity surrounding process art and one by Pamela M. Lee on temporality in work of the late 1960s.
The artists included in the book are William Anastasi, Richard Artschwager, Mel Bochner, Agnes Denes, Nancy Grossman, Robert Grosvenor, Marcia Hafif, Eva Hesse, Nancy Holt, Barry LeVa, Sol Lewitt, Lee Lozano, Sylvia Plimack Mangold, Gordon Matta-Clark, Robert Morris, Bruce Nauman, Yvonne Rainer, Dorothea Rockburne, Alan Saret, Joel Shapiro, Robert Smithson, Michelle Stuart, Richard Tuttle, and Jack Whitten.
Very Good copy. Only very light wear to soft dust jacket, light tanning to edges.
1969, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Bern / Bern
$600.00 - Out of stock
One of the great art documents of the 20th century, the original printing of the legendary catalogue for "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. Very rare original 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.
Light wear and marking to folder covers, internal rubbing from metal plate, previous owners name and "69" to top of inside cover, otherwise very good copy throughout, complete.
1969, English
Softcover (textured wraps, staple-bound), 40 pages, 22 x 22 cm
1st Edition, Out of print title / used / very good
Published by
New Jersey State Museum Cultural Center / New Jersey
$290.00 - In stock -
Rare, collectable catalogue published on the occasion of the exhibition "Soft Art", organized by Ralph Pomeroy at New Jersey State Museum Cultural Center, March - April 1969.
With an introductory essay by Pomeroy and works throughout by the artists featured in the exhibition : Richard Artschwager, Thomas Bang, Sue Bitney, John Chamberlain, Bruce Conner, Paul Harris, Eva Hesse, Susan Lewis, Jean Lindner, Robert Morris, Harold Paris, Robert Rohm, Richard Serra, Keith Sonnier, Richard Tuttle, William Wegman. Includes a list of the works exhibited, artist biographies and a list of lenders. A historic, very rarely seen catalogue.
Very Good copy.
1969, English / German
Flexible plastic covers, screw-bound in acrylic spine, multiple stocks throughout, approx 500 pages, 28 x 15 cm
3rd enlarged edition,
Out of print title / used / very good
Published by
Ludwig Museum / Cologne
$300.00 - Out of stock
The extraordinary, definitive 1960s art exhibition catalogue, in it's 3rd expanded and corrected edition, designed by Wolf Vostell for the Ludwig collection in Cologne in 1969. A work of art itself, "Kunst der sechziger Jahre" perfectly embodies the materiality of the pop-era in book form. Housed in thick blind-stamped clear soft plastic covers bound in a hard acrylic plexiglass spine with stainless steel screws, this remarkable book opens with an introductory text and lexicon in German and English, printed on styrofoam pages and graph stock, with contributions by Gert von der Osten, Peter Ludwig, Horst Keller, and Evelyn Weiss. Featuring 92 artists, all part of the private collection of Peter Ludwig, each artist is presented with a portrait on transparent acetate followed by a selection of glossy offset-printed colour artworks tipped-in (often concertina fold-out!) on thick raw kraft paper pages. This enlarged 3rd edition features over 200 objects in total, a vast expansion on the first editions.
Featuring the greats of European-American Pop, Nouveau Réalisme, Fluxus, Art Informel, Abstraction, Minimalism and more, this mighty tome includes the work of Josef Albers, Carl Andre, Horst Antes, Shusaku Arakawa, Allan D'Arcangelo, Arman, Richard Artschwager, Jo Baer, Larry Bell, Miguel Berrocal, Joseph Beuys, Peter Blake, Gernot Bubenik, Anthony Caro, John Chamberlain, Dan Christensen, Alex Colville, Carlos Cruz-Diez, Ronald Davis, Jim Dine, Jean Dubuffet, Richard Estes, Oyvind Fahlstrom, Dan Flavin, Lucio Fontana, Domenico Gnoli, Bruno Goller, Robert Graham, Nancy Stevenson Graves, Gunter Haese, Richard Hamilton, Hans Hartung, Erwin Heerich, Eva Hesse, David Hockney, Robert Indiana, Jasper Johns, Allen Jones, Donald Judd, Howard Kantovitz, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Konrad Klapheck, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Linder, Morris Louis, Heinz Mack, Piero Manzoni, Marisol, Malcolm Morley, Robert Morris, Bruce Nauman, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzi, Pablo Picasso, Michelangelo Pistoletto, Robert Rauschenberg, Martial Raysse, Gerhard Richter, Jean-Paul Riopelle, James Rosenquist, Niki de Saint Phalle, Nicolas Schoffer, Bernhard Schultze, George Segal, Richard Serra, Keith Sonnier, Pierre Soulages, Daniel Spoerri, Lawrence Stafford, Lewis Stein, Frank Stella, Antoni Tapies, Paul Thek, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Cy Twombly, Gunther Uecker, Ursula (Schultze-Bluhm), Victor Vasarely, Wolf Vostell, Franz Erhard Walther, Andy Warhol, Tom Wesselmann, Wols (Wolfgang Schulze).
A Very Good copy of this fragile and collectible catalogue. The usual bowing to pages, some general ageing, with a split to the lower back of plastic spine where the screw hole is, yet all still intact, nothing missing. Complete copy.
2021, English
Hardcover, 128 pages, 29 x 33 cm
Published by
Borgerhoff & Lamberigts / Belgium
$135.00 - In stock -
Discover Richard Tuttle as story teller and writer: first publication of 44 short stories by the artist paired with 22 sculptural works from the "Stories" Series.
In his new body of work Stories, I–XX Richard Tuttle elaborates on the displacement of painting into other realms to engage us in a rhythmical and phenomenological reflection on color. Using various aspects of painting in a freehanded way his work exceeds rational determinations and occupies a liminal space in-between mediums. As we move from one Story to the next, the idiosyncratic nature of these cutout plywood pieces comes to confront their seriality—form and logic sporadically emerge and disappear.
In this volume each work is paired with 2 short stories from his writings during the Covid confinement, in the spirit of the Decamerone, that inspired the titling of his new body of art works. The book ends with color images of Tuttle's solo exhibition Stories I-XX at Galerie Greta Meert, Brussels.
Born 1941 in Rahway, New Jersey, Richard Dean Tuttle lives and works in New Mexico and New York. His work spans a range of media, from sculpture, painting, drawing, printmaking and artist's books to installation and furniture. During the 1980s, Richard Tuttle began experimenting with materials and framing devices to probe art's relationship to scale, form and systems of display. Diverting from the cold precision of Minimalist his approach to art making embraces a playful and handmade quality that promotes the idea that things are always "just beginning". Often made out of humble materials such as plywood, cardboard, Styrofoam and paper, his work pushes the viewer to find forms of appreciation that aren't related to craftsmanship. In his own words, Tuttle proclaims that he loves materials, and at the same time is not really interested in them. The subtlety of this paradigm exemplifies his attitude towards art as a tool for life and an activity of sublimation engrossed in language and story telling.
Text by Richard Tuttle.
2019, English
Softcover, 678 pages, 21.5 x 27.5 cm
Ed. of 2000,
Published by
Primary Information / New York
$89.00 - Out of stock
Out of print.
Edited by Walter Robinson, Edit DeAk, and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were—or would soon become—the defining voices of the era. Through hundreds of interviews, reviews, statements, and projects for the page—as well as artist-focused and thematic issues on video, painting, performance, and artists’ books—Art-Rite’s sharp editorial vision and commitment to spotlighting the work of artists stands as a meaningful and lasting contribution to the art history of New York City and beyond.
All issues of Art-Rite are collected and published here.
Featured artists include Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Judy Rifka, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri, and Irene von Zahn.
1990, English
Softcover, 389 pages, 29 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Whitney Museum of American Art / New York
$100.00 - Out of stock
The bountiful exhibition catalogue published to accompany the first large-scale assessment of the work of ten American sculptors working during a critical period in postwar American art; held at the Whitney Museum of American Art, New York, 20 February to 3 June, 1990. Organised by Richard Armstrong and Richard Marshall, this extraordinary exhibition brought together the work of Lynda Benglis, Eva Hesse, Barry Le Va, Bruce Nauman, Alan Saret, Richard Serra, Joel Shapiro, Robert Smithson, Keith Sonnier, and Richard Tuttle, to survey a radical and widely misunderstood chapter in the history of American art. Twenty-five years after its heyday, Process Art or antiform or Post-Minimalism, as this work is generally called, still exuded a sense of fierce radicality, as it does to this day. This incredible, over-sized, profusely illustrated book presents countless examples of work by each participating artist (in colour and b/w), an illustrated chronology of their exhibitions, bibliography, alongside texts by Richard Armstrong, John G. Hanhardt, Robert Pincus-Witten, Lucy R. Lippard, Jane Livingstone, Rosalind E. Krauss, Cindy Nemser, Emily Wasserman, Philip Leider, Klaus Kertess, Max Kozloff, Gregoire Müller, Fidel A. Danieli, Richard Marshall, Jeremy Gilbert-Rolfe, James Collins, Thomass Hess, Lizzie Borden, Ellen Lubell, Lawrence Alloway, Barbara Rose, Willoughby Sharp, Marcia Tucker, and texts by/interviews with the artists themselves, making it an extraordinary resource.
Very Good copy with some edge and reading wear/marking.
1973, German
Softcover, 138 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Wallraf-Richartz-Museum / Cologne
$40.00 - Out of stock
Lovely catalogue published by Wallraf-Richartz-Museum, Köln, in 1973 to document the museums extensive collection of international contemporary sculpture. Profusely illustrated in black and white with the works of Jean Arp, Paul Thek, Nancy Graves, John Chamberlain, Larry Bell, Carl Andre, Christo, Eva Hesse, Joachim Bandau, Jacques Lipchitz, Louise Nevelson, Joseph Cornell, Jean Dubuffet, Germaine Richier, Schöffer, Bernard Schultze, Carlos Cruz-Diez, Ursula (Schultze-Bluhm), John Tweed, Franz Erhard Walther, Hanns Gasser, Merdardo Rosso, Joseph Beuys, Günter Haese, Roy Lichtenstein, Richard Serra, Keith Sonnier, Jesús Rafael Soto, Richard Tuttle, Helmut Moos, Bruce Nauman, Ansgar Nierhoff, Jim Dine, Gary Indiana, Karl Zeno Rudolf Schadow, Julio Le Parc, Robert Rauschenberg, Man Ray, G. F. Ris, George Segal, Nicolas Schöffer, Anthony Caro, Eduardo Paolozzi, Jean Tinguely, Arnaldo Pomodoro, Arman, Claes Oldenburg, Marisol Escobar, Niki Saint-Phalle, Daniel Spoerri, Günther Uecker, Heinz Mack, Wolf Vostell, Miguel Ortiz Berrocal, Pol Bury, Erwin Heerich, Horst-Egon Kalinowski, Brigitte Meier-Denninghoff, Johann Gottfried Schadow, Honoré Daumier, Gasser, Adolf von Hildebrand, Max Klinger, Rosso, Aristide Maillol, Tweed, Julio González, Pablo Picasso, Henri Laurens, and many more... Texts in German.
Very Good 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).
2014, English
Hardcover, 144 pages (colour & b/w ill.), 27.5 x 26.5 cm
Published by
JRP Ringier / Zürich
$90.00 $60.00 - Out of stock
Since the 1970s, in collaboration with renowned printers and publishers, Richard Tuttle has created a diverse printed oeuvre. In sensitively exploiting the unique possibilities of printmaking to make process, materials and actions visible, Tuttle explores the complexity of printmaking processes. "Prints" is the first monograph on Tuttle's printmaking. Edited by Christina von Rotenhan this publication introduces not only the artist's unique approach to printmaking with profound scholarly essays and catalogue entries for selected prints between 1973 and 2013, but also reveals Tuttle's deep interest in the collaborative nature of printmaking.
The timing of the publication is important as Richard Tuttle has also been invited to realize an installation in the Tate’s Turbine Hall. The large-scale installation will provide a powerful counterpoint to the more intimate works from his printed oeuvre.
Published with Bowdoin College Museum of Art, Brunswick.
2020, English
Paperback, 504 pages, 17.8cm x 17.8cm
Published by
Walther König / Köln
$88.00 - Out of stock
From poems to statements and lectures, the writings of post-minimalist virtuoso Richard Tuttle possess the same instinct for materiality and delicacy as his art.
Over the course of more than 50 years, American artist Richard Tuttle (born 1941) has invented new possibilities of scale and humour, sometimes adding almost nothing to an object, at other times recklessly heaping up his materials or pressing them to the brink of compositional incoherence. With just the same sensitivity, humour and nuance, Tuttle has also composed numerous texts, mostly in response to specific commissions and publications. Tuttle does not approach writing as a transparent communicative medium, but rather as simply another material.
Beautifully designed, as Tuttle books always are, A Fair Sampling brings together a selection of the artist's writings published in exhibition catalogs, books and newspapers, as well as hitherto unpublished texts. These include not only reflections and commentaries on art and drawing, but also tributes to artist friends, including various texts on Agnes Martin, travel notes, poems and lectures that Tuttle delivered in various institutions.
1980, German / English
Softcover, 74 pages, 24 x 17 cm
Ed. of 500 hand-numbered,
1st Edition, Out of print title / used / very good
Published by
Jörg Johnen / Köln
$45.00 - Out of stock
Hand-numbered, self-published edition of 500 copies of Poetische Punkte : Der Zufall als Erkenntnisprinzip im Werk von Richard Tuttle (Poetic points. Chance as a cognitive principle in the work of Richard Tuttle), self-published by Jörg Johnen in 1980. An in-depth German-language study on the work of American artist Richard Tuttle, including correspondence from Tuttle (in English and German), plus a bibliography and wonderful illustrated section of references, works, exhibits.
Jörg Johnen opened his first gallery in Cologne in 1984, with an exhibition of works by Thomas Schütte and Aldo Rossi. In the 30 years of its existence, the gallery organized nearly 250 exhibitions, first as Johnen+Schöttle in Cologne, and since 2004 as Johnen Galerie in Berlin.
Richard Tuttle is an American postminimalist artist known for his small, subtle, intimate works. His art makes use of scale and line. His works span a range of media, from sculpture, painting, drawing, printmaking, and artist’s books to installation and furniture.
Very Good copy.
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.
1989, German
Softcover, 289 pages, 32 x 24 cm
1st Edition, Out of print title / used / good
Published by
Christians / Hamburg
$48.00 - Out of stock
Large catalogue published on the occasion of the exhibition "Einleuchten: Will, Vorstel und Simul in HH." curated by Harald Szeemann, 11 November 1989 to 18 February 1990, Hamburg.
Profusely illustrated in full-colour and b&w with biographies on all exhibiting artists, alongside texts by Harald Szeemann, Heinz Liesbrock, Christoph Schenker, and Stephan Schmidt-Wulffen
Artists include : Carl Andre, Giovanni Anselme, Donald Baechler, Georg Baselitz, Joseph Beuys, Christian Botanski, Daniel Buren, Lawrence Carroll, Hanne Darboven, Thierry De Gordier, David Deutsch, Martin Disler, Jiri Georg Dokoupil, Etienne-Martin, Dan Flavin, Günther Förg, Isa Genzken, Robert Gober, Thomas Grünleid, Tishan Hsu, Donald Judd, On Kawara, Ellsworth Kelly, Harald Klingelhöller, Wollgang Laib, Cary S. Leibowitz, Sol LeWitt, Richard Long, Ingeborg Lüscher, Gerhard Merz, Mario Merz, Marisa Merz, Reinhard Mucha, Bruce Nauman, Max Neuhaus, Cady Noland, Holt Quentel, David Rabinowitch, Royden Rabinowitch, Ulrich Rückriem, Robert Ryman, Richard Serra, Keith Sonnier, Serge Spitzer, Niele Toroni, Rosemarie Trockel, Richard Tuttle, Cy Twombly, Jan Vercruysse, Michel Verjux, Didier Vermeiren, Bill Viola, Mark Wallinger, Lawrence Weiner, Franz West, Rachel Whiteread, Jerry Zeniuk, Otto Zitko
Very good copy with some bumping to top right corner.
1968, English
Softcover, 448 pages, 20 x 13.5 cm
1st Edition, Out of print title / used / average
$30.00 - Out of stock
Battock's definitive 1968 collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance, published by E. P. Dutton & Co. Inc., New York.
A collection of twenty-eight seminal essays by both critics and artists across over 400 pages, analyzing all aspects of Minimal Art at it's height in the late 1960s. Includes Lawrence Alloway (Systemic Painting), Mel Bochner (Serial Art, Systems, Solipsism), David Bourdon (The Razed Sites of Carl Andre), Nicolas Calas (Subject Matter in the Work of Barnett Newman), Bruce Glaser (Questions to Frank Stella and Donald Judd), Lucy R. Lippard (Eros Presumptive), John Perreault (Minimal Abstracts), Irving Sandler (Gesture and Non-Gesture in Recent Sculpture), Peter Hutchinson (Mannerism in the Abstract0, Willoughby Sharp (Luminism and Kineticism), Elayne Varian (Schemata 7), Richard Wollheim (Minimal Art), and texts by Martial Raysse, Michael Fried, Clement Greenberg, Dan Flavin, Robert Smithson, and more.
Heavily illustrated throughout with 170 photographs featuring the work of Sol LeWitt, Lee Bontecou, Donald Judd, Hanne Darboven, Carl Andre, Claes Oldenburg, Yves Klein, Jasper Johns, Robert Rauschenberg, John Chamberlain, Agnes Martin, Christo, Barnett Newman, Ellsworth Kelly, Edward Kienholz, Anne Truitt, Joseph Kosuth, Piet Mondrian, Richard Anuszkiewicz, Marcel Duchamp, Chryssa, Anthony Caro, Dan Flavin, Robert Smithson, Frank Stella, Robert Barry, Larry Bell, Carlo Belloli, William Anastasi, Richard Artschwager, Ronald Balden, John Cage, Walter De Maria, Stephen Antonakos, Walter Darby Bannard, Allan D'Arcangelo, Stuart Davis, Mark di Suvero, Helen Frankenthaler, Jim Dine, Al Held, Dan Graham, Robert Grosvenor, Hans Haacke, Ralph Humphrey, Eva Hesse, Douglas Huebler, Will Insley, Patricia Johanson, Allan Kaprow, Roy Lichtenstein, Morris Louis, Robert Mangold, Brice Marden, Yvonne Rainer, Julio Le Parc, David Smith, Richard Tuttle, Tony Smith, Keith Sonnier, James Raphael Soto, Clyfford Still, Les Levine, Victor Vasarely, Ad Reinhardt, John McCracken, Robert Morris, Kenneth Noland, Robert Whitman, Jules Olitski, Milton Resnick, Michelangelo Pistoletto, Jackson Pollock, Larry Poons, Jack Youngerman, George Rickey, Dorothea Rockburne, James Rosenquist, Edward Ruscha, Jan van Eyck, Andy Warhol, Tom Wesselmann, and many others.
Good with general wear and previous owner underlining / notation. Ex-library.
2015, English
Hardcover w slipcase, 36 pages (1 colour & 14 b/w ill.), 24 x 21.6 cm
Published by
Walther König / Köln
$75.00 - Out of stock
'Because Religion of Love (written in 1990s) is so late in coming out, we hope it worth the wait. As representative of one of the most important artist's late thinking; on the one hand, it reconfirms her most classical thought (Beauty is the mystery of life.), and, on the other, adds new thought with an urgency only found in a mature artist of her age and persuasion. One of the most rigorous of sensibilities, we do not know what she meant by uncharacteristically asking another artist, Richard Tuttle, to illustrate her text, for she, unlike he, had a clear understanding of the meaning of illustration. Knowing that, he took it up as much to fathom a friend's genius after their passing, as well as the chance to say goodbye, life did not include, yet made available in publication. Hopefully, the reader can enjoy these various levels of interaction as art.' Richard Tuttle, London, September, 2014 -
1998, English
Hardcover (cloth-bound), 28 pages (6 circular pages folded in fourths and sewn into binding), 205 x 205 mm
Edition of 800, hand-numbered.,
Published by
Walther König / Köln
$90.00 - Out of stock
This rare artist book by Richard Tuttle features a unique design of die-cut circular pages that are sewn into the the binding and fold-out to allow the reader to turn the book in circles on order to read the words of poet Charles Bernstein amongst reproductions of Richard Tuttle's artworks. Parallel English and German texts including an essay by Wolfgang Becker.
This book was published by Walther König in Köln in 1998, and issued in a hand-numbered edition of 800 copies only.
As new, but small spots of wear and tear from glue to cover image only (not pictured), otherwise fine. Photographs upon request.
1967, English
Softcover, 80 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by
James Fitzsimmons / Lugano
$55.00 - In stock -
Art International, Vol. XI/4 April 20, 1967
Published and Edited by James Fitzsimmons
Advisory Editors: Umbro Apollonio, Jorge Romero Brest, Lucy R. Lippard, James Mellow.
Features: Jacques Kaplan, Clement Greenberg, Anne Truitt, Anthony Caro, Carl Andre, Ronald Bladen, Robert Smithson, Lucy R. Lippard, Larry Poons, Colin Self, Eli Bornstein, Bridget Riley, Maurice de Sansmarez, Nanda Vigo, Victor Vasarely, Marcel Broodthaers, Arman, Roberto Crippa, Richard Smith, Howard Hodgkin, Avinash Chandra, Mary Preminger, Dan Flavin, Steve Kaltenbach, DeWain Valentine, Leonard Esbensen, Craig Kauffman, Kenneth Snelson, Morris Louis, Franz Kline, Aubrey Beardsley, Sam Francis, Richard Tuttle, Paul Klee, Gary Kuehn, Tony Smith, John Wesley, Jack Beal, Antonin Artuad, Nicholas Krushenick, Colin Self, Lucio del Pezzo, Peter Voulkos, Leonard da Vinci, Kenneth Noland, Jules Olitski, Ludwig Sander, Yves Klein, Edward Kienholz, Adolph Gottlieb, 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.
1986, English / French
Softcover, 74 pages, 15 x 17 cm
1st Edition, Out of print title / Used*,
Published by
ARC / Paris
$85.00 - Out of stock
Rare catalogue on the work of American artist Richard Tuttle, published by ARC, Musée d'art moderne de la ville de Paris in 1986. Features his drawing, painting and sculptural work, with texts in French and English.
2015, English
Softcover (w. insert booklet and fold-out cover), 88 pages, 19.3 x 26.3 cm
Published by
Bergen Kunsthall / Norway
Walther König / Köln
$50.00 - Out of stock
Making Silver is a beautiful new book conceived by Richard Tuttle and published by Bergen Kunsthall, published in 2015.
Featuring new texts and comprehensive installation photos from his exhibition Slide (2012), it documents the sculptural works Richard Tuttle made on site in Bergen, as well as including full colour reproductions of 121 drawings.
These 'notebook drawings' cover the artist's entire artistic output of a single year (2010).
The unique concept for the book includes an inserted 'book within a book' pop-out details, and an extensive fold out cover.
Published retrospectively after the exhibition Richard Tuttle: Slides at Bergen Kunsthall, 3 November – 16 December 2012.