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.
$.00 - Out of stock
The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
Gift vouchers can be purchased in increments of $20 (Australian Dollars) and the total amount can simply be added to by increasing the quantity in your shopping cart. eg. A quantity of 5 gift vouchers will result in an item total of $100 - a $100 gift voucher. Simply click "ADD TO CART" 5 times, or update your quantity in the shopping cart.
If you wish to purchase multiple, separate gift vouchers in one go, please just email us and we can personally prepare and email you a payment request.
Please note: Please select Pick-Up on gift voucher purchse to avoid any postage charges. Accidental postage charges will be refunded right away!
Thank you.
For any questions, please don't hesitate to email: [email protected]
1982, Japanese
Softcover (staple-bound), 60 pages, 39.1 x 30 cm
1st Edition, Out of print title / used / good
Published by
JICC Publishing Bureau / Japan
$180.00 - In stock -
First 1982 edition of this wonderful, very early collection of artworks by Japanese artist Katsu Yoshida (1938—2002). Bold, expressionist and homo-erotically charged, Yoshida's illustration work defined the new wave of 1980's Tokyo. "Portfolio" is packed cover to cover with full-bleed, over-sized reproductions of his sensational, sensual colour brushwork that was to become iconic through the pages of Japanese underground magazines such as SM Sniper and through his collaborations in the world of fashion with Issey Miyake.
Good copy with some chipping to the spine edge of covers, tanning to extremities of newsprint stock.
1983, English / Japanese
Softcover (staple-bound), 62 pages, 39 x 30 cm
1st Edition, Out of print title / used / good
Published by
Daimaru / Tokyo
$180.00 - In stock -
Very rare newspaper-format catalogue from 1983 published to accompany Puerto Rican fashion illustrator Antonio Lopez's (1943—1987) exhibition at Daimaru, New York/Tokyo, 1983. Profusely illustrated with "Antonio's Girls" (and Boys), his iconic fashion illustration made famous through publications such as Vogue, Harper's Bazaar, Elle, Interview and The New York Times. Published exclusively for the Tokyo exhibition around the same time as his cult classic book "Antonio's Girls", this catalogue features a lot of work not published in the book, plus chapters documenting his studio, his boys and girls, a day in the life of Antonio, Antonio's glamorous friends and New York light life (Grace, Debbie, Andy, et al.), plus testimonials from Andy Warhol and Tadanori Yokoo, biographical rise to fame, further interviews, all packed with rare "scene" and behind-the-scenes fashion photographs. But primarily this is a newspaper of Antonio's full-colour and b/w illustrations in abundance.
Comes with bonus Daimaru full-colour catalogue "OPEN", with cover illustration and advertisement for the exhibition.
Good—VG copy w. some chipping to the edge of covers, tanning to extremities of newsprint stock. Cover leaving staples.
1973, English
Softcover (staple-bound), 24.8 x 19.2 cm
1st Edition, Out of print title / as new
Published by
Herd Publishing / NSW
$70.00 - In stock -
" ... IS CHARIS, SO NAMED BY A FATHER WHO COLLECTED DEAD LANGUAGES. BORN IN STAWELL 1939, SPENT A DREAMY VICTORIAN GIRLHOOD, TRAINED AS NURSE AND MIDWIFE. WAS IN LOVE WITH JESUS TILL THE AGE OF 21 WHEN SHE DISCOVERED MEN. WENT LOOKING ELSEWHERE FOR HER BLUE PRINCE. HE CAME ACROSS HER IN ANDALUSIA. SPENT SOME YEARS THERE BEFORE TRAVELLING THE EAST AND THE AMERICAS. SETTLED IN AUSTRALIA 1969. COLLABORATES WITH HUSBAND SCHWARZ IN PRODUCING FILM, PHOTO, AND PROSE. IS TRUE SCORPIO, HAS ALWAYS DRAWN HERSELF OUT, HAS NO FORMAL ART TRAINING. IN EUROPE HER WORK IS DESCRIBED AS INDICATIVE OF 'PERFECTLY BALANCED SCHIZOPHRENIA'. HER AMBITION IS TO LIVE FROM THE FRUIT OF HER IMAGINATION."
Very rare sealed copies of Australian artist Charis (Schwarz)'s one and only book of erotic drawings, published by Herd Publications in Sydney, run by Gustav Herstik and his wife, who operated the Love Art sex shops. Herd Publishing was a publisher of a variety of pornographic magazines, including some of the earliest Australian-produced homosexual porn magazines, Stallion and Apollo. A rare early example of the decadent and sensuous artistic output of Charis, one of the last survivors of bohemian Kings Cross and a life-long collaborator with her husband, the late George Schwarz. Producers of poetic works of film, photography, print and prose, simultaneously erotic, taboo, progressive, liberated, too provocative/evocative for the Australian art establishment, Charis and George were the creators of the first Australian hardcore sex films to be passed by the censors (and also refused classification).
"We are witness to depictions of female desire not seen before in the history of Australian art. There are hints of mythologies and magic rituals. Everything is in flux, animals and humans merge and decouple. Mirror images double and distort, orifices, chakras and pleasure points are the keys to reading the images. [...] the gamut of human sexual expression. Amongst the bravura flourish of penmanship the images depict fetish, animalia, group, same sex and single sex desire. There are mythic lovers, imperious duenna, self-possessed and knowing schoolgirls. Hair, flowers, fans, mirrors, umbrellas and candles are recurring motifs. Seemingly simple but infinitely complex, these drawings are important because they reveal a hitherto hidden aspect of female experience and imagining. Within the reams of art history the drawings have echoes of the heady syncretism of Jan Toorop (1858-1928) and Alastair (Baron Hans Heming Voight) (1857-1969), but more importantly they reveal the zeitgeist that also informed other more well-known women artists of the period including Carolee Schneemann (1939-2019) and Mary Beth Edelson (1933-2021)."—Craig Judd, from Power Paradise: The Art of George Schwarz & Charis
Highly recommended.
As New dead-stock, still sealed, but with varying degrees of age to stock and plastic bags, occasional small damages from insects or storage.
1980, English
Softcover (staple + tape bound), 76 pages, 29 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Experimental Art Foundation / Adelaide
$380.00 - In stock -
Exceptionally rare private-issue publication documenting the Experimental Art Foundation (EAF) Performance Week, March 1980. The festival, directed by Noel Sheridan, centred around Carclew House, Adelaide, and featured the work of Brian Abraham, Arch-y Brothers (Pram Factory), Art Circus, Chris Barnett, Richard Boulez, Ross Boyd, Peter Callas, Domenico de Clario, → ↑ → (Tsk Tsk Tsk), Graeme Davis, Ross Digby, Lionel Doolan, EG (Chris Mann, Paul Pendergast, Peter Munnie, Hugh McSpedden), F.A.C.K (F Martins, A. White, C. Brooks, K Turner, K. Flugelman), Dale Franks, Ann Fogarty, Sandra Greentree, Adrian Hall, Elizabeth Honeybun, Jan Hubrechsen, Kathy Marmour, Robert McDonald, Kevin Mortensen, Bruce Lamrock, Steve Turpie, Peter Hopcraft, Jill Orr, Mike Parr, Jackie Redgate, SALT workers (C. Brooks, P. Cheslyn, A. Davy, K Flugelman, F. Martins, B. Sachs, D. Watt, A. White, S. Wigg, D. Kreckler), SIDE F/X (G. Aldridge, J. Lawes, W. Hutchins, M. Shirley, R. Maude, M. Kolodrovic, T. Reid, K. Stanton, L. Lee), Strachan and Pearce, David Tolley and Bruce Tolley, Karen Tyler, Peter Tyndall, Donald Walters, Dave Watt, Arthur Wicks, Dave Young... no less!
Profusely illustrated with artist pages packed with photographic documentation, texts, drawings, and more. Two page introduction text by Noel Sheridan. Printed and published by EAF for the participants, this is an incredibly rare and important document of the history of radical performance art in Australia in the 1980's.
The EAF was founded in Adelaide in 1974 by a small group of artists, curators and theorists, with a mission to promote art that interrogated the status quo, was only incidentally aesthetic, and, by definition, was radical. This important national and international organisation promoted experimental art practices and became renowned for supporting early performance art in Australia.
Very Good copy with a small scuff/knick to the bottom of the front cover, light cover marking.
From the collection of Australian artist (and performer during the event) Bernhard Sachs (1954—2022), whose name is penned to the top of the first blank page, date "'80".
1978, English
Softcover (staple-bound), 64 pages, 29.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
ANU Arts Centre / Canberra
$250.00 - In stock -
Rare catalogue published on the occasion of Act 1: an exhibition of performance and participatory art, 4—12 November 1978, spanning the ANU Arts Centre, Commonwealth Gardens and Civic Centre, Canberra. Organised by the ANU Arts Centre, Act I drew Australian artists to Canberra for the "first of a series of exhibitions directed towards specific aspects of recent and experimental art". Profusely illustrated artist pages throughout with photo documentation, collage, drawings, and artist's texts. Artists include Mike Parr, Ian Hamilton, Terry Smith and Media Action Group (Ian Burn, Nigel Lendon, Terry Smith, Michael Dolk, Kieren Finnane, Mary Kinney, Ian Milliss, Anne Sutherland...), Leigh Hobba, Kevin Mortensen, John Nixon, John Davis, Marr Grounds, Ken Unsworth, John Fisher, Liz Honybun, David Kerr, Richard and Pat Larter, Tony Twigg, Lesley Savage, Terry Smith, Tony Twigg, Bob Ramsay, Noel Sheridan, Arthur Wicks, Jillian Orr, Richard Tipping, Jim Cowley, Donald Walters... Includes critical essays by Paul McGillick and Terry Smith on performance art and private and public work, plus further texts by organisers Ingo Kleinert, Diana Ashcroft Johnson, Mildred Kirk. The catalogue also operates in as a document of the exchanges between the organisers and the artists, laying bare the operations and budget, reproducing the open letter to the invited artists along with a selection of the signed responses outlining the artistic concepts, all reproduced in full facsimile. Signatures and transcribed concept responses of contributing artists also make up the wrap-around cover design. Also of particular interest for the contribution by Terry Smith and Media Action Group, who formed in 1977 at Sydney University around the Australian members of the Art & Language group, who had recently returned to Australia. The group produced slide shows on the ideological bias in media treatment of advertising, uranium mining, new technology and the history of May Day. This work is stamped "withdrawn because titled 'performance'" in the contents.
Very Good copy with light wear to cover extremities/light spine pinching. Toned pages from age.
2016, English
Hardcover, 56 pages (leporello), 17.8 x 12.7 cm
Ed. of 400,
1st Edition, Out of print title / as new
Published by
Secession / Vienna
$100.00 - In stock -
Published in an edition of only 400 and quickly out-of-print, this artist's book by American artist Vincent Fecteau, an elaborate double-sided leporello fold of collage artworks by the artist, hardbound and published on the occasion of Vincent Fecteau’s 2016 exhibition at Secession, Vienna.
Fecteau’s abstract sculptures defy summary description. Out of everyday staples like papier-mâché, cardboard, pictures from magazines, and paint, he fashions complex objects in which spaces simultaneously collapse and explode. Reminiscent, in many instances, of the elemental forms of early twentieth-century art, his works evoke associations ranging from utopian architecture and avant-garde stage design to masks and industrially manufactured components, yet they do not spell out their references. They keep their secret in a deliberate and insistent refusal to communicate definite meaning, indicating the artist’s emphasis on sculpture as sculpture and the agency it possesses as a real thing in the world.
As New.
2021, English
Softcover (Swiss brochure-bound), 128 pages (two 64 page sections), 17.5 x 24.5 cm
Edition of 400,
Published by
Sequence Press / New York
Secession / Vienna
Revolver Verlag / Berlin
$75.00 - In stock -
Published in an edition of 400 copies and now out-of-print, Yuji Agematsu's Four Seasons is a unique artist book presenting the artist’s renowned zips, miniature sculptures comprised of reanimated urban detritus collected by Agematsu on daily walks in New York City and encased within the cellophane wrappers of cigarette packs.
The publication accompanies an exhibition at the Secession, Vienna of 366—one per day—of these arrangements from 2020, that infamous calendar year. The book features images of a selected month from each of the four seasons.
Designed by Claus Due, this Swiss brochure-bound edition ingeniously contains two books in one, organizing the lusciously reproduced, enlarged views of individual selected days from the zip works on the left, and the corresponding pages of the artist’s meticulous, diary-like notebooks in which he records each day’s trove on the right.
The essay written by philosopher and Urbanomic publisher Robin Mackay incisively captures and theorizes the spirit of the artist’s daily assemblages, likening them to video game creator Keita Takahashi’s “clump spirit [katamari damashii, 塊魂]—a cosmic disposition which places great hope in the obsessional collecting of heterogeneous stuff.” With references to Plato, Philip K. Dick, Zoolander and Dante’s Paradiso, Mackay gathers inspiration from a wide swath of sources to pay homage to Agematsu’s work.
As New.
1980, French
Softcover, 72 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Contrejour / Paris
$120.00 - In stock -
Beautiful first French edition of Édouard Boubat's "Préférées" photo-book, published by Contrejour Paris in 1980. Entirely comprised of black and white photography of women from all over the world, taken by Boubat in his travels as a photojournalist through France, Mexico, Africa, Portugal, the USA, India, and more. A gorgeous collection, with introductory texts by photographer/publisher Claude Nori and Boubat himself.
Édouard Boubat (b. Paris, 1923–1999) was a French photojournalist and art photographer. Born in Montmartre, Paris, Boubat studied typography and graphic arts at the École Estienne and worked for a printing company before becoming a photographer. In 1943 he was subjected to service du travail obligatoire, forced labour of French people in Nazi Germany, and witnessed the horrors of World War II. He took his first photograph after the war in 1946 and was awarded the Kodak Prize the following year. He travelled the world for the French magazine Réalités, where his colleague was Jean-Philippe Charbonnier, and later worked as a freelance photographer. French poet Jacques Prévert called him a "peace correspondent" as he was humanist, apolitical and photographed uplifting subjects.
Very Good copy.
2022, English
Softcover, 47 pages, 21 x 15 cm
Published by
Magic Hour Press / New York
$37.00 - In stock -
On December 18, 1974, Linda Rosenkrantz asked her friend Peter Hujar to write down everything he did one day. Hujar met Rosenkrantz at her apartment on 94th street the following day where she asked him about it in detail. She tape-recorded their conversation and this book is a full transcript of that exchange, published here for the first time since it was recorded 47 years ago.
“Peter Hujar’s monologue, prompted by Linda Rosenkranz, is a Warholian gem, and a prize discovery for Magic Hour Press.”—Moyra Davey
2024, English
Hardcover (w. dust jacket), 100 pages, 26.42 x 28.96 cm
Published by
Liveright / US
$120.00 - In stock -
Foreword by Benjamin Moser, With an Introduction by Susan Sontag
A new edition of the cult classic photography book by the legendary Peter Hujar, featuring a foreword by Pulitzer Prize winner Benjamin Moser
The 1976 publication of Peter Hujar’s Portraits in Life and Death, with an introduction by Susan Sontag, “was and remains one of the most somberly beautiful and influential photography collections of its era” (Holland Cotter, senior art critic of The New York Times). When Hujar passed away in 1987, his work was relatively unknown except for a small following. The importance and artistic mastery of Hujar’s photography, its tender gravity and intimacy, became recognised and canonical only after his death. The republication of this collection is composed of the original introduction by Susan Sontag and preceded by a new foreword by Benjamin Moser, with photographs presented in two sequences. A stirring ode to the flourishing downtown scene of the 1970s, this collection remains a deeply moving artefact of post-Stonewall New York City.
"As his posthumous fame only increases, this tightly curated collection of photographs of Hujar’s friends and peers (Paul Thek, Anne Waldman, John Waters and Robert Wilson among them), paired with a haunting series of 1963 photographs of the dead in the Capuchin Catacombs of Palermo, will remind fans of what makes him such a singular and original American artist."—Andrew Durbin, Frieze
"[A] stunning new edition… Sensuous and sensitive, this is a real masterwork."—Olivia Laing, The Observer
2021, English
Hardcover, 128 pages, 17 x 24 cm
Published by
MACK / London
$89.00 - Out of stock
The Shabbiness of Beauty is a visual dialogue that crosses generational divides with the easy intimacy of a late-night phone call. Multidisciplinary artist Moyra Davey delved into Peter Hujar’s archives and emerged mainly with little-known, scarcely seen images. In response to these, Davey created her own images that draw out an idiosyncratic selection of shared subjects. Side by side, the powerfully composed images admire, tease, and enhance one another in the manner of fierce friends, forming a visual exploration of physicality and sexuality that crackles with wit, tenderness, and perspicacity. Spiritually anchored in New York City – even as they range out to rural corners of Quebec and Pennsylvania – these images crystallise tensions between city and country, human and animal. Nudes pose with unruly chickens; human bodies are abstracted toward topography; seascapes and urban landscapes share the same tremulous plasticity. These continuities are punctuated by stark differences of approach: Davey’s self-aware postmodernism against Hujar’s humanism and embrace of darkroom manipulation. The rich dialogue between these photographs is personal and angular, ultimately offering an illuminating reintroduction to each celebrated artist through communion with the other’s work.
"Davey shows us how we all build a sense of who we are through adulation and imitation (through feeling in step with our heroes), and that our past selves can be found as much in the worlds of others (their pictures, writings, notes, songs) as among the memorabilia of our own acts of creation.” – Lou Stoppard, Aperture
”These photographs place the past in the present tense. By mingling her own work with Hujar’s, Davey creates a sense of time that is richer than could be offered by a single artist’s archive, unearthing a capacious continuum of resonance and resemblance.” – Frieze
“Their spheres do not so much collide as coalesce, giving rise to a constellation of shared subjects ... enigmatic yet easy harmonies ... are offset by tensions which run deeper than the tonal schisms between Hujar’s sumptuous blacks and Davey’s simmering greys.” – British Journal of Photography
2017, English
Paperback, 128 pages, 17 x 25 cm
Published by
Bergen Kunsthall / Norway
Dancing Fox Press
$60.00 - In stock -
This latest book by New York–based artist Moyra Davey is based on two related projects, Les Goddesses (2011) and Hemlock Forest (2016), which each take form through text, photography, and film. Layering introspection and personal narratives with meditations on the lives and works of other writers, filmmakers, and artists—ranging from 18th-century feminist writer and activist Mary Wollstonecraft to Chantal Akerman, Karl Ove Knausgård, and Davey’s own five sisters—the artist explores such themes as compulsion, artistic production, family, and life and its passing.
Edited by Karen Kelly and Barbara Schroeder.
Texts by Moyra Davey and an introduction by Aveek Sen.
Design by Filiep Tacq.
2025, English
Hardcover, 92 pages, 23.5 x 25.4 cm
Published by
D.A.P. / New York
$105.00 - In stock -
Following a revised edition of the book in 2003 and a 2017 reprint – both of which sold out quickly and have become highly collectible – 'Evidence' is back in print nearly 50 years after its initial publication. This new, definitive edition features revelatory new scans – many made from the original negatives – which greatly enhance the eerie objectivity conveyed by the book’s title. The jacketless, library-style binding of the original 1977 edition is also restored.In 1977, American photographers Larry Sultan and Mike Mandel published a book of photographs titled 'Evidence'. The book was the culmination of a two-year search through the archives of 77 government agencies, educational institutions and corporations, including General Atomic Company, Jet Propulsion Laboratories, the San Jose Police Department and the United States Department of the Interior. The original pictures were made as objective records of activities unfamiliar to the lay public: the scenes of crimes, aeronautical engineering tests, industrial experiments and other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of 59 pictures. The book was thoughtfully designed to depict the photographs in terms of their “documentary” origins, unaccompanied by identifying captions. Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and thus must actively participate in creating its meaning.
2006, German / English
Softcover, 72 pages, 30 x 24 cm
Out of print title / used / good
Published by
Secession / Vienna
Walther König / Köln
Galerie im Taxispalais / Innsbruck
$200.00 - Out of stock
Rare 2006 catalogue published on the occasion of the exhibition Isa Genzken at Galerie im Taxispalais, Innsbruck and Secession, Wien, by Walther Koenig. Profusely illustrated throughout with Genzken's works and installation views, accompanied by texts by Benjamin H.D. Buchloh, Manfred Hermes, Anette Freudenberger, Silvia Eiblmayr, and Barbara Holub in both English and German.
"For more than thirty years, Isa Genzken has been developing a versatile oeuvre, continually extending it by adding new aspects. Her settings, her unusual combinations of materials, and the fragile but monumental character of her constructions reflect the surrounding world and the fragility of human existence. Her work—which includes sculptures and installations as well as photography, collage, and film—explores the space between public claims and private artistic autonomy, thus defining an interface where the personal and the universal meet. The formal and conceptual rigor at the root of Isa Genzken’s approach is tempered by unrestricted freedom, producing works that can be interpreted and experienced on very different levels. A central role is played by the choice and combination of materials with different connotations which the artist finds at home depots, builders’ suppliers, and department stores: whereas in the past Genzken used wood, plaster, epoxy resins, and above all concrete, the material of Modernism, her main materials today are plastic, synthetics, and a wide range of mirrors, as well as everyday items and consumer goods such as chairs—design classics alongside cheap camping chairs—garments, and plastic dolls and animals.
For her exhibition in the Hauptraum at the Secession, Isa Genzken has devised an installation with new sculptures and pieces on the wall: wheelchairs and seats draped in various textiles, ribbons, and sheets, walking frames, anthropomorphic figures, and wall-filling collages made from mirrors, photos, and adhesive tape create a carefully arranged image. Warholesque baby dolls with their outsize glasses look like prematurely aged children or, conversely, like infantilized adults, waiting under tattered parasols on a Hollywood set for shooting to recommence. But less than this bizarre scene, what is disconcerting here is the cool precision with which, for all the piece’s figurativeness, no story is told. Dolls and animals form heterogeneous abstract surfaces, but they are not deployed to narrative ends, and neither are other materials such as the mirrors, plastic sheeting, or the paint dripped or sprayed over many of the sculptures.
The new works relate to Genzken’s recent Empire/Vampire series. But while these works were presented on plinths at eye level, at the Secession, the entire space turns into a kind of plinth and the visitors become part of this scenario that is both beguilingly beautiful and disturbing at the same time. The works turn an imaginary inner space outwards, but rather than being something merely invented, the space always refers to the real—a comparative moment against which all the pieces can be measured. In an interview with Wolfgang Tillmans, Isa Genzken describes the way she thinks a sculpture should look: “It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite. [...] Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”
Good copy, due to bumps/creases to corners and previous owners inscription to title page, otherwise a Very Good copy throughout.
1993, German
Softcover, 68 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Bremen / Bremen
$200.00 - Out of stock
Very rare, collectable artist's book / catalogue published on the occasion of a major solo exhibition of Isa Genzken, "Skizzen für einen Spielfilm", held at Kunsthalle Bremen, July - August 1993. Wonderful design with extensive text section in (mostly) German/(some) English, comprising of scenes/script excerpts/discussions between Genzken and Gerhard Richter, Dan Graham, Michael Hengsberg (gallerist Daniel Buchholz's then assistant), amongst others, followed by an image section of Genzken's previous exhibition installations, and closing with a text by art historian and exhibition curator Katerina Vatsella. Highly recommended.
Very Good copy with light wear.
2009, English
Hardcover (w. dust jacket), 360 pages, 21 x 26 cm
1st Edition, Out of print title / as new
Published by
Ediciones Polígrafa / Barcelona
$140.00 - In stock -
Since the mind-1960s, Dan Graham (Urbana, Illinois 1942) has produced an important body of art and theory that engages in a highly analytical discourse on the historial, social and ideological functions of contemporary cultural systems. He is a highly influential figure in the field of contemporary art, both as a practitioner of conceptual art and a well-versed art critic and theorist. Graham s work questions the relationship between people and architecture and the psychological effects it has on us. His work highlights the awkwardness that occurs when intimate moments or details are rudimentarily broadcast in an impersonal manner, as he continues to investigate the voyeuristic act of seening onself reflected, whilst at the same time watching others. This monograph analyzes his main works and collects some of seminal writings by the artist.
With a text by Alexander Alberro.
First English hardcover edition, now out-of-print.
2017, English / German
Hardcover, 144 pages, 24 x 30 cm
$70.00 - In stock -
Richard Serra is one of the most important contemporary sculptors and occupies a firm place in the art of the past 50 years, where he is already counted among the classics. This lavishly produced volume concentrates on Serra’s early works, the so-called “Props” or “Prop Pieces”, as well as works on film from the late 1960s and early 1970s.
Richard Serra (*1939) experimented at an early stage with industrial materials like rubber, neon and lead, and also with steel a little later. His treatment of them demonstrates power and sensitivity at the same time. He creates powerful sculptures, canvases and works on paper whose execution demonstrates a fine sense of spatial situations. The volume contrasts works including a selection of twelve “Prop Pieces” with the artist’s early films. In both work groups the main focus lies on the artistic action: the positioning, leaning and adjustment of the lead sheets Serra uses corresponds with the simple actions of his works on film.
Edited by Jörg Daur, Alexander Klar
Contributions by J. Daur, P. Forster, M. Nieslony, S. von Berswordt-Wallrabe
1983, English / Japanese
Softcover, 36 pages, 27 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Akira Ikeda Gallery / Tokyo
$120.00 - In stock -
Very rare Richard Serra catalogue published on the occasion of his Japanese solo exhibition 'New Sculpture' at Akira Ikeda Gallery, Tokyo, June 6-July 30, 1983. This handsome publication, rather than illustrating the exhibited works, surveys many of Serra's works spanning 1969-1983, illustrated in full-page monochrome throughout, and accompanied by introduction by author, architect, and Master of Architecture Yale University, Maki Kuwayama, portrait of the artist, list of works, biography, bibliography, exhibition list. All texts in English and Japanese.
Richard Serra (b. 1938) is an American artist commonly associated with Minimalism and the Process Art movement. Though perhaps best known for his monumental works made from industrial steel, Serra has also worked extensively in painting and printmaking. After attending the University of California, Berkeley, he earned his MFA from Yale, where he became friends and collaborators with classmates such as Frank Stella, Chuck Close and Nancy Graves, to whom Serra was married for five years. Later working in New York, Serra was inspired by Minimalist contemporaries such as Carl Andre and Sol LeWitt, who valued the work of creation more than the finished artwork itself.
Serra’s work is installed permanently at the Guggenheim Bilbao, and can also be found in the collections of Dia:Beacon, the San Francisco Museum of Modern Art and the Tate, London.
Very Good copy, only light tanning to spine, otherwise fine throughout.
2018, English
Hardcover, 160 pages, 23 x 27.1 cm
Published by
The Renaissance Society / Chicago
$120.00 - In stock -
Over a fifty-year career, Robert Grosvenor has produced a body of work that is at once solidly physical and conceptual, muscular and fluid. Grosvenor frequently uses industrial materials and found objects as he experiments with texture and scale, resulting in sculptures that reveal a handmade quality and subtle vein of humor.
In 2017, the Renaissance Society presented an exhibition of the sculptor's untitled work from 1989 to 1990. Re-contextualized within a spare architectural installation, this assemblage of materials and found objects eludes interpretation at the same time as it asserts its form and construction. Such nuances, combined with its ambiguous scale, evoke what critic John Yau has suggested is the labor of an "anonymous worker." Grosvenor has made significant contributions as a sculptor over the past fifty years, but relatively few books have been published about his work. This monograph documents the Renaissance Society show and also features new scholarship considering Grosvenor's work with a broad scope. The text includes contributions by Yves-Alain Bois, Bruce Hainley, Susan Howe, John Yau, and Renaissance Society executive director and chief curator Solveig Ovstebo.
2020, English
Hardcover, 120 pages, 19.3 x 23.6 cm
Published by
Karma / New York
Galerie Max Hetzler / Berlin
$110.00 - In stock -
Between art, engineering and architecture: recent works by Robert Grosvenor
This new hardcover monograph on Robert Grosvenor (born 1937)—known for his large-scale architectural sculptures—accompanied his third solo exhibition at Karma, New York, and concurrent exhibition at Galerie Max Hetzler, Berlin, presenting recent works of sculpture alongside an essay by renowned curator and critic Bob Nickas.
Texts by Bob Nickas, Suzan Frecon, Rachel Kushner.
Robert Grosvenor (b. 1937, New York, NY) is an American sculptor and photographer known for his surreal captures of vernacular architecture and modernist retrofuturisms. Grosvenor’s monumental sculptures transform a bevy of mid-century technologies, structures, and cultural lores into simple, streamlined forms. These idiosyncratic forms challenge the sculptural conventions of weight, line, movement, and inertia. Grosvenor was included in the historic 1966 Primary Structures survey exhibition at the Jewish Museum, which famously introduced Minimalist art to a broader public. Although his work builds on the aesthetic program of Minimalism, Grosvenor playfully resists the cool austerity emblematic of the genre. Rather he explores the sensuousness of his materials and the nostalgic qualities of their color and design. Recent and forthcoming solo exhibitions include Karma, New York (2020); Galerie Max Hetzler, Paris (2020); Consortium Museum, Dijon (2020); Institute of Contemporary Art, Miami (2019); Paula Cooper Gallery, New York (2018); and the Renaissance Society, Chicago (2017), among others. Grosvenor’s work is represented in various public collections including the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Museum Boijmans-van Beuningen, Rotterdam; and the Direction Régionale des Affaires Rennes.
As the 2020 recipient of the Ezratti Family Prize for Sculpture, Grosvenor’s work will be featured at the Institute of Contemporary Art, Miami in the spring of 2021.
1969, Japanese
Softcover, 108 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Mainichi Newspapers / Tokyo
$65.00 - In stock -
First edition of this 1969 collection of female nude photography from three of Japan's leading photographers — Tetsuya Ichimura, Eikoh Hosoe, and Shunji Okura. Lavishly printed in gloss and photo-gravure, in stark b/w contrasts and rich colour kodachrome, across different paper stocks, featuring many of the most iconic erotic images from Tokyo 1969! Lovely examples from all photographers, including some of Eikoh’s most famous work. Published by The Mainichi Newspapers.
Average—Good copy with foxing to covers and some page edges, some pinches to spine, general light wear as is common to old magazine-format books.
1998, English
Softcover, 334 pages, 24.5 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Creation Books / London
$80.00 - In stock -
First 1998 edition of Jack Hunter's essential "pink" film reference book and the first of its kind in English.
SEX: The history of "pink" movies, from Daydream to Ai No Corrida and beyond, including the pop avant-garde violence of Koji Wakamatsu: Violated Angels, The Embryo Hunts In Secret, Violent Virgin and others. Bondage and S/M from Moju and Captured For Sex to Kinbiken rope torture. The New Wave pink films of Hisayasu Sato: The Bedroom, Naked Blood, Private Torture Of Uniforms: Thrust It In!, and much more.
BLOOD: From Shogun Assassin and Psycho Junkie to the killing orgies of Guinea Pig and Atrocity; from the "pink horror" nightmare Entrails Of A Virgin to the post-punk yakuza bloodbaths of Kei Fujiwara's Organ and Takashi Miike's Fudoh.
MADNESS: Homicidal psychosis, hallucination, mutation: Tetsuo, Death Powder, the films of Shozin Fukui: Pinocchio 964, Rubber's Lover. Post-punk excess, nihilism, violence, suicide: Burst City, Labyrinth Of Dreams, Squareworld, Tokyo Crash.
Eros In Hell examines all these movies and many more besides, is profusely illustrated with rare and unusual photographs, and contains illuminating interviews with Japanese film-makers Koji Wakamatsu and Takao Nakano; comprising a unique guide to the most prolific, fascinating and controversial underground/alternative cinema in the world.
VG copy with bump to top corner, some light edge wear.