World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program 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
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"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.
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.”
“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".
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.
at Minerva, Sydney (curated 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
“...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.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
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
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.
$44.00 - In stock -
Edited by Kunsthalle Bern
Texts by Valérie Knoll, Sam Lewitt
Merlin Carpenter’s 2015 exhibition “MIDCAREER PAINTINGS” filled the Kunsthalle Bern’s seven rooms with twenty-two transit blankets hung on the wall, pulled like canvas around identically scaled stretcher frames. The transit blankets are the kind used to pack fragile goods. Inexpensive and disposable, they are manufactured from recycled materials, compressed into an insulating sheet used to preserve prized surfaces and materials more valuable than themselves. Each work in the show was post-dated to 2016, despite the exhibition’s opening date in September of the previous year. The works were titled after one of the Shepperton-based artist’s seven galleries, and were prominently displayed as “not for sale.”
The transit-blanket works are documented in the second half of this publication, the cover of which is embossed with each location of Carpenter’s seven galleries—New York, London, Los Angeles, Brussels, Berlin, Miami, Lisboa/Porto. The first half is composed of a black-and-white image feed, resembling collaged photocopies, of photos of the show’s installation, related gallery shows, and billboards advertising the show that displayed classic mid-to-late century consumer goods.
In addition, texts by Kunsthalle Bern director Valérie Knoll and artist Sam Lewitt examine the materiality of Carpenter’s works, the particular mix of playfulness and earnestness in his artistic output, and how the “paintings” thematize the limbo of the “midcareer” artist as well as the circulation of the artwork as a commodity that signifies material wealth or value.
Design by Non-Format
Softcover, 228 pages, 19 x 26 cm
Published by Walther König / Köln
$70.00 - In stock -
Texts by Anthony Huberman, Elena Filipovic, Melanie Gilligan, Marc von Schlegell
Sam Lewitt's new work consists of oversized custom flexible heating circuits, used for environmental regulation in the sealed environments of equipment as diverse as medical equipment and food trays, in satalites and chemical vats. The heating circuits in 'More Heat Than Light' are several times their conventional size, scaled-up and designed to draw their power and maximize the energy resources of the electrical circuits allotted for lighting within the sites they are inserted into. Energy allotted for stable artificial light is converted in this work into diffuse uneven warmth.
This book is conceived as a stand-alone object utilizing these images as well as research material relating to the work. On one hand, it picks-up the structure of a log of core temperatures of the sort compiled for analysis by the logistics and distribution industry. On the other hand, its format and layout utilize a two-color gradient printing process that interrupts the logical, spatial organization of the gridded screen-shots.
Sam Lewitt (born 1981) is an American artist living and working in New York City. His work was included in the 2012 edition of the Whitney Biennial. He is represented by the Miguel Abreu gallery in New York City and Galerie Buchholz in Cologne and Berlin.
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
ISSUE NO. 100
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
MORE MANNERISM / Ruth May and Jan Molzberger
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
POST-INTERNET: THE NEW ORDER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
PAMELA M. LEE
TOWARD A CANONIC FREEDOM
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
GREAT & SMALL
CANON OF EXISTENCE, ETHICS OF THE BREAK
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015) by Tim Griffin
PETER FISCHLI/DAVID WEISS
$31.00 - Out of stock
Sam Lewitt investigates the complex systems of linguistics and semiotics. The notion of collection and the parallax of language between production and exchange are guiding ideas for his work. In this title the artist extends his analysis of the physical and linguistic conjoining of materials and signs, which organize everyday life. It includes a thirty-nine page frontispiece dealing with the ossified remnants and a shifting lexicon of the identically titled Fluid Employment - a work that takes the form of a disposable, self-contained and unsustainable evaporation system for a magnetic fluid used in a myriad of manufacturing applications, cheap fans and industrial magnets.
Art historian Alex Kitnick and philosopher Nathan Brown reflect on Lewitt's complication of conventions of informational display, the materiality of literacy and the politics of contradiction in this richly illustrated book.
Designed by Joseph Logan & Sam Lewitt, assisted by Rachel Hudson
Softcover, 146 pages, 13 x 20.5 cm
Published by Halmos / New York
$15.00 - Out of stock
D.A.F. de Sade with contributions by Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
Translation by Robin Mackay
Edited by Erik Wysocan
Weep no more, citizens; they breathe, these celebrated men for whom we cry; our patriotism reanimates them...
Presented in honor of Marat and Le Pelletier, "Citizen Sade" wrote this memorial address at the height of violence during the French Revolution, just after the start of the Reign of Terror. The text, effusive and cloyingly patriotic, brings to question Sade's own political position – a provocative impulse all the more remarkable given the addresses audience: the gathered Section des Piques, amongst the most hardline Jacobin districts of Paris. Though frequently cited and made infamous as the inspiration for Peter Weiss' influential work of avant-garde theater Marat/Sade, the text itself has remained obscure outside of France.
Presented in English for the first time, this new translation by Robin Mackay serves as the historical foundation for a collection of artists' writings. Included are Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
Softcover, periodical, 280 pages (colour/b&w ill.), 230 x 165 mm
Published by Texte Zur Kunst / Berlin
$38.00 - Out of stock
The "Artistic Research" issue.
Table of contents:
Preface; Tom Holert, Artistic Research: Anatomy of an Ascent; Lines of Wandering / Statement by Angela Melitopoulos; Kathrin Busch, Generating Knowledge in the arts - a philosophical daydream; Project for a Masquerade (Hiroshima) - from hard graft to happy accident / Statement by Simon Starling; Seven Questions on Arts as Research / An e-mail interview with James Elkins; The Hard Way to Enlightenment / Statement by Stephan Dillemuth; Elke Bippus An Aestheticization of Artistic Research; An Office Chair down on the street, a female passerby yells at her dog, or: researching the construction between images / Statement by Maya Schweizer; Isabelle Graw, The Knowledge of Painting. / Notes on thinking images, and the person in the product; Artistic Research / Statement by Thomas Locher; O.T., 2011 / Statement by Amelie von Wulffen; Grundlagenforschung: Umfrage zur künstlerischen Forschung/ Basic Research. Survey on artistic research; "Practice-Based PhD in Art and Writing", Goldsmiths University of London; "Troubling Research. Performing Knowledge in the Arts", Akademie der bildenden Künste Wien; "European Artistic Network" (EARN); "Model House - Mapping Transcultural Modernisms", Akademie der bildenden Künste Wien; "PhD Program", Centre for Cultural Studies, Goldsmiths University of London; "PhD in Practice", Akademie der bildenden Künste Wien; "Projektbüro Friedrich von Borries"; "PhD Program", Malmö Art Academy Bildstrecke; Ulrike Müller, Rotation; Martin Conrads Klingelt's? / Über "Welt in der Hand: Zur globalen Alltagskultur des Mobiltelefons" Liebe Arbeit Kino; Sven Lütticken Boxes, Lines, Rhythms / On "The Forgotten Space" by Allan Sekula and Noël Burch KLANG KÖRPER; Holger Schulze Utopie in Klang / Über die Pophörspiele und Audioeditionen "Der Process", „Im erwachten Garten" und "BeatTheater" Short Waves: Daniela Stöppel über Phyllida Barlow im Kunstverein Nürnberg / Marie Murraciole on Guy de Cointet at Le Quartier, Centre d´art contemporain de Quimper / Ilka Becker über "Afropolis. Stadt, Medien, Kunst" im Rautenstrauch-Joest-Museum, Köln / Miriam Kathrein über „Projects and Assignments" bei Saprophyt, Wien / Astrid Mania über „Trembling Bodies/ Körper in Aufruhr" in der daadgalerie, Berlin / Adam Kleinman on Christian Philipp Müller at Murray Guy, New York / Simon Baier über Sam Lewitt in der Galerie Buchholz, Berlin Besprechungen; Gestern wie heute wie morgen Astrid Wege über Ferdinand Kriwet in der Kunsthalle Düsseldorf; The Joke of Painting Alexander Alberro on David Hammons at L&M Arts, New York; Art For Life Rike Frank on Dorit Margreiter at the Museo Nacional Centro de Arte Reina Sofía, Madrid; Where Sensibility trumps sense Lisa Lee on Kai Althoff at Gladstone Gallery, New York; Attentäter und Klassiker Manuela Ammer über Franz Erhard Walther bei KOW Berlin; Wiedererkennung, ungesichert Stefanie Diekmann über Keren Cytter im Kunstverein München; Portrait of the Artist as Superhero Jonathan Griffin on Mike Kelley at Gagosian Gallery, Los Angeles; Mitteilungen an die Presse und für die Öffentlichkeit Manfred Hermes über Merlin Carpenter bei MD72, Berlin.....