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
Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Fiction
Australian Science Fiction / Speculative Fiction
Australian Poetry
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Philosophy
Psychoanalysis
Anthropology
Anarchism
Socialism / Anarchism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism / Women's Studies
Gender Studies / Sexuality
Anthropology
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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.
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]
2018, English
Hardcover, 192 pages, 24 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Spector Books / Leipzig
$50.00 - In stock -
The retrospective Terry Fox: Elemental Gestures, which opened at the Berlin Academy of the Arts in 2015 before being shown in Mons, Wuppertal, and the Kunstmuseum Bern in 2017, clearly demonstrated Fox’s key role in the development of art since the 1970s. It not only revealed him as a pioneer of performance, video art, and sound installation but also presented his experimental exploration of language and space. A symposium held in conjunction with the Bern exhibition adopted a variety of approaches to reflect on the performances and installations of this European American based in Switzerland. This is the starting point for the publication in which scholars, artists, and close associates seek to define more precisely the often silent “situations” at work between object and word, sound and sculpture, labyrinth and experience, body and action. Thanks to Spector Books (Leipzig).
Out–of–print, NF copy.
2003, English / German
Hardcover (w. CD), 120 pages, 24.5 x 21 cm
1st Edition, Out of print title / used / fine
Published by
Kehrer Verlag / Heidelberg
$60.00 - In stock -
"Works with Sound" presents a complex body of work, comprising thirty years of sculptures, drawings, environments, and performances. Fox, who since the 1960s radically rejected traditional art forms and sought new ways of artistic expression, has been increasingly concerned with investigating the seldom-observed energetic aspects of materials. Hence, sound gained a central significance in his works. The artist is dedicated to finding sounds that make energies palpable and connect the listener and his physical surroundings. Profusely illustrated rich chronology of all works with sound, including extensive biography and accompanying texts by Terry Fox and contributions by Matthias Osterwold and Eva Schmidt. Edited by Bernd Schulz. Bi-lingual English and German texts.
Accompanied by an audio CD with excerpts from six sound performances since 1975.
NF copy with unplayed CD.
Signed dedication to historian and sound theorist Douglas Kahn, from the book's author Matthias Osterwold, a prominent German curator and artistic director who shared a long-standing creative relationship with Terry Fox (1943–2008).
2025, English
Softcover (staple bound), unpaginated, 19.5 x 14.2 cm
Ed. of 40, signed,
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$14.00 - In stock -
Multiples is a zine collection of collages produced for limited run lathe cuts by New Zealand artist P Wits. Published in an edition of 40 signed and numbered copies, 2 colour Riso cover, full colour interiors, by No Label/Witchhammer Press, New Zealand.
2021, English
Softcover (staple–bound), unpaginated, 20.5 x 14.5 cm
Ed. of 53 hand numbered copies.,
Published by
No Label / Aotearoa New Zealand
Witchhammer Press / Aotearoa New Zealand
$28.00 - In stock -
Goat’s Foot Lever is a tract on the craft of witching by Sean Campbell published by No Label/Witchhammer Press, New Zealand.
The grimoire displays systemic explanation into the teachings and practices of Internal Masonry, along with psycho-poetical-libidinal observations of fetishistic occurrences within the bible and other similar cultural esoterica.
In 2010 Sean Campbell completed a master’s degree in Religious Studies/Philosophy at the University of Regina in Canada. His MA thesis was included in a publication titled, Tubal Cain, put out in limited edition by The Matthew Barney Studio. He then penned, “Myrrh’s Clarion Call”, a poetical essay contributed to the playbill for the production of “BA”, a filmed performance by Matthew Barney and Jonathan Bepler; published 2014 by Skira Rizzoli Publications, Inc., New York, as an insert in the monograph for River of Fundament. Campbell is also the creator of acclaimed musical projects Wold and Black Mecha. He resides in Providence, Rhode Island.
Edition of 53 numbered copies with foil embossed card covers.
2024, English
Hardcover (w. dust jacket), 316 pages, 21 x 15 cm
Published by
Infinity Land Press / London
$80.00 - In stock -
Necrophilia has shadowed humanity throughout its existence, from ancient Egypt, to the Moche culture of Peru, the exploits of the renowned Vampire of Montparnasse, the sexual murders of the Weimar Republic, through to serial killers such as Ted Bundy and Jeffrey Dahmer. This new edition of Grave Desire – with artworks by Karolina Urbaniak – delves unflinchingly into the myths, art and practices surrounding this taboo subject. Finding Juliet’s catatonic body and believing she had poisoned herself, it could have crossed Romeo’s mind to act out the unthinkable. Maybe Juliet, seeing Romeo’s corpse, considered a little sexual frottage before she stabbed herself with the phallic dagger. Repulsive yet real, disgusting and disturbing, this is an erotic book of the dead.
“If sex and death are two pivotal obsessions of the human species, Steve Finbow nails both of them simultaneously in his brilliantly incisive cultural and corporeal history of necrophilia. Pathologically and outlandishly good.”—Stephen Barber
“If you only read one book before you die make sure it’s Grave Desire.”—Stewart Home
Illustrated by Karolina Urbaniak
Interview conducted by Martin Bladh
Afterword by Richard Marshall
2009, English
Softcover, 320 pages, 24.2 x 20.3 cm
1st Edition, Out of print title / used / very good
Published by
Penn State University / Pennsylvania
$100.00 - In stock -
“In the Space Age,” wrote Italian artist Lucio Fontana, “spatial art.” Fontana’s desire to create art in space came in response to unprecedented technological advances and contemporary fantasies of space travel. Fifteen years before Andy Warhol said he wanted to be as much a part of his times as rockets and television, Fontana’s large-scale light-and-space installations became a short-lived but ultimately influential art-world phenomenon. The artists discussed in Space-Age Aesthetics looked beyond the limits of the picture, exploring space, mass media, pop culture, nuclear power, and science fiction to connect new art to the dramatic changes taking place through the encroaching Space Age.
Space-Age Aesthetics begins by addressing the imagery of space exploration as a field of mythical representation informed by Cold War politics and acted out in an expansive variety of media, from the picture press to comic books. Through persuasive arguments that reveal the many-layered interconnections between the artists’ aesthetics and theoretical responses to the dawn of an age of revolutionary technologies, this book offers new ways to think about the historical emergence of pop, conceptual, postmodern, and installation art and serves to fill the long-neglected gap in material on the post–World War II European avant-garde.
VG copy with some wear to flexi-boards covers.
2004, English
Softcover, 144 pages, 23.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Guggenheim Museum / New York
$25.00 - In stock -
In 1974, WNET-Channel 13 in New York City broadcast Nam June Paik's Global Groove, a whirlwind, multi-media piece and one of the most influential works of video art. The program took a wide look at culture and transformed the WNET broadcast studio into an experimental venue for dancers, musicians, and performance artists. Weaved into Global Groove were films and videotapes by other artists, interviews and voiceovers, pop music, appropriated commercials, and broadcast breaks.
In celebration of the 30th anniversary of the broadcast, Global Groove 2004 celebrates Paik's work on and for television, documenting and interpreting his key television projects. The included essays survey and interpret the distinctive contribution Paik made to remaking video and television into an artist's medium, and examine Paik's historical importance and relevance to new developments in internet art. In-depth analysis and photo essays reveal the range of Paik's transformation of video, including his experiments in the 1960s with the Paik-Abe video synthesizer; his seminal videotapes for broadcast: Global Groove, Suite 212, Guadalcanal Requiem, Lake Placid 80, Living with the Living Theater; and his global television productions: Good Morning, Mr. Orwell, Bye Bye Kipling, Wrap Around the World. Additionally, a selection of the artist's seminal writings on the future of television is featured.
VG with light wear to extremities.
1985, Dutch
Softcover (fold–out), 27 x 17.5 cm (folded); 27 x 87.5 (unfolded)
1st Edition, Out of print title / used / good
Published by
Het Apollohuis / Eindhoven
$25.00 - In stock -
Very rare 1985 fold–out exhibition guide/programme published in conjunction with Echo : The Images of Sound 1, held November 22—January 6, 1985. A complete guide to all of the concerts and installations, illustrated throughout with profiles of all the artists, and accompanying text by Paul Panhuysen. Artists featured: Julius, Ellen Fullman, HUM, Max Eastley, Takehisa Kosugi, Hugh Davies, Godfried-Willem Reas, STEIM, The Simulated Wood, VANDALIA, Arnold Dreyblatt, Richard Lerman, Leon van Noorden, Paul Panhuysen, Johan Goedhart, Hans-Karsten Raecke, Jon Rose and George Smits.
"From November 1984 until January 1985 a group was held in Het Apollohuis, Eindhoven of works that combined image and sound. Installations, concerts and a symposium were organised around the exhibition, featuring artists who use sound in their work and composers who use visual aspects."
Good copy, light general wear, some creasing. Folded as issued.
27 x 17.5 cm (folded); 27 x 87.5 (unfolded)
1987, English
Softcover, 144 pages, 21 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Het Apollohuis / Eindhoven
$80.00 - Out of stock
Rare 1987 exhibition catalogue published in conjunction with show held November 22—January 6, 1985. Illustrated throughout with texts by Paul Panhuysen, Ellen Fullman, Godfried-Willem Raes, Anton van Gemert, Bart Lootsma, Arnold Dreyblatt, Leon van Noorden, George Smits, and Hugh Davies. Artists include Max Eastly, Takeisha Kosugi, Walter Marchetti, Ellen Fullman, Godfried-Willem Raes, Horst Rickels, Rik van Lersel, Giancarlo Cardini, Juan Hidalgo, Jon Rose, and others. Includes selected bibliography, discography, and index.
blurb: "From November 1984 until January 1985 a group was held in Het Apollohuis, Eindhoven of works that combined image and sound. Installations, concerts and a symposium were organised around the exhibition, featuring artists who use sound in their work and composers who use visual aspects. In addition to a photographic report of this festival 'ECHO. The images of Sound I', this book contains a general survey of the development of sound arts and cassettes that have been published in the field of sound art. This section is written by Hugh Davies. Photographs, scores, drawings of articles describing the development of their own work are supplied by Julius, Ellen Fullman, HUM, Max Eastley, Takehisa Kosugi, Hugh Davies, Godfried-Willem Reas, STEIM, The Simulated Wood, VANDALIA, Arnold Dreyblatt, Richard Lerman, Leon van Noorden, Paul Panhuysen, Johan Goedhart, Hans-Karsten Raecke, Jon Rose and George Smits.[...]"
Very Good—Near Fine copy
1996, English
Softcover, 280 pages, 17.7 x 11.2 cm
1st Edition, Out of print title / used / fine
Published by
Semiotext(e) / Los Angeles
$45.00 - In stock -
Scarce first 1996 edition, first printing of Soft Subversions by Félix Guattari, published by Semiotext(e) in their Native Agents book series. Edited by Sylvère Lotringer, this collection of Felix Guattari's essays, lectures, and interviews traces the militant anti-psychiatrist and theorist's thought and activity throughout the 1980s ("the winter years"). Concepts such as "micropolitics," "schizoanalysis," and "becoming-woman" open up new horizons for political and creative resistance in the "postmedia era." Guattari's energetic analyses of art, cinema, youth culture, economics, and power formations introduce a radically inventive thought process engaged in liberating subjectivity from the standardizing and homogenizing processes of global capitalism.
Near Fine copy.
1983, English
Softcover, 116 pages, 18 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$80.00 - In stock -
Rare first 1983 edition, edited by Sylvere Lotringer, On the Line was the first book published in the Semiotext(e) "Foreign Agents" series in 1983. It gathers together two seminal texts that Deleuze and Guattari would later elaborate on in A Thousand Plateaus.
A rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines. You can never get rid of ants because they form an animal rhizome that can rebound time and again after most of it has been destroyed... There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome. That is why one can never posit a dualism or a dichotomy, even in the rudimentary form of the good and the bad. You may make a rupture, draw a line of flight, yet there still is a danger that you will stratify again everything, from Oedipal resurgences to fascist concretions. Groups and individuals contain microfascisms just waiting to crystallize. Yes, couch grass is also a rhizome.
First delivered in French by Deleuze (drawing graphs on the blackboard) at the "Schizo-Culture" conference organized by Semiotext(e) at Columbia University in 1975, "Rhizome" introduced a new kind of thinking in philosophy, both non-dialectical and non-hierarchical. The two didn't expect this neo-anarchical blue-print would eventually offer an early template for the understanding of the internet. "Rhizome" substitutes pragmatic, "couch grass," free-floating logic to the binary, oppositional, and exclusive model of the tree.
In "Politics," superceding the Marxist concept of class, Deleuze envisages the social macrocosm as a series of lines, and reinvent politics as a process of flux whose outcome will always be unpredictable. It is, he emphasizes, the end of the idea of revolution, but not of the "becoming revolutionary." Throughout, he keeps dispelling the notion of capitalism as a repressive machine only meant to extract surplus value from exploited workers and suggest that it could be opposed from within by redirecting the creativity and multiplicity of its flows.
The multiple must be made, not always by adding another dimension, rather in the simplest way, by dint of sobriety... A rhizome as subterranean stem is absolutely different from roots and radices. Bulbs and tubers are rhizomes... Even some animals are, in their pack forms. Rats are rhizomes. Burrows are too, in all their function of shelter, supply, movement, evasion and breakout... The rhizome includes the best and the worst: potato and couch grass.
VG copy, light wear. First edition, second print.
1984, English
Softcover, 332 pages, 17.5 x 11.5 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$55.00 - In stock -
First 1984 Semiotext(e) Foreign Agents edition, first printing. Edited by Sylvère Lotringer Translated by John Johnston.
The most accessible and exhaustive introduction to Foucault's thought to date. Composed of every extant interview made by Foucault from the mid-60s until his death in 1984, Foucault Live sheds new light on the philosopher's ideas about friendship, the intent behind his classical studies, while clarifying many of the professional and popular misinterpretations of his ideas over the course of his career. As Gilles Deleuze noted, "the interviews in this book go much further than anything Foucault ever wrote, and they are indispensable in understanding his life work." Most notably, Foucault Live includes interviews he made with the gay underground press during his stays in America during the 1970s. In them, Foucault suggests that homosexuality presents a new paradigm for ways of living beyond the predictable, binary couple. All of the philosopher's interests, from madness and delinquency to film and sexuality, and their resultant writings, are probed by knowledgeable critics and journalists. After reading this book, the reader can explore key notions such as episteme, savoir and connaissance, archeology, and archive, without the knitted brow that plagued Foucault's public when he was alive. This is the guide to Foucault's life as an agent provocateur in the world of philosophy and scholarship.
Very Good copy with only light wear and light foxing to block edges.
1997, English
Softcover, 240 pages, 17.8 x 11.2 cm
1st Edition, Out of print title / used / good
Published by
Semiotext(e) / Los Angeles
$35.00 - In stock -
First 1997 edition of The Politics of Truth, edited by Sylvere Lotringer and issued under the Semiotext(e) Native Agents series.
Ranging from reflections on the Enlightenment and revolution to a consideration of the Frankfurt School, this collection offers insight into the topics preoccupying Foucault as he worked on what would be his last body of published work, the three-volume History of Sexuality.
In 1784, the German newspaper Berlinische Monatsschrift asked its audience to reply to the question "What is Enlightenment?" Immanuel Kant took the opportunity to investigate the purported truths and assumptions of his age. Two hundred years later, Michel Foucault wrote a response to Kant's initial essay, positioning Kant as the initiator of the discourse and critique of modernity. The Politics of Truth takes this initial encounter between Foucault and Kant, as a framework for its selection of unpublished essays and transcripts of lectures Foucault gave in America and France between 1978 and 1984, the year of his death. Ranging from reflections on the Enlightenment and revolution to a consideration of the Frankfurt School, this collection offers insight into the topics preoccupying Foucault as he worked on what would be his last body of published work, the three-volume History of Sexuality. It also offers what is in a sense the most "American" moment of Foucault's thinking, for it was in America that he realized the necessity of tying his own thought to that of the Frankfurt School.
Michel Foucault (1926–84) is widely considered to be one of the most influential academic voices of the twentieth century and has proven influential across disciplines.
Sylvère Lotringer is Jean Baudrillard Chair at the European Graduate School, Switzerland, and Professor Emeritus of French literature and philosophy at Columbia University.
G–VG copy with a knock to the bottom corner of the first 32 pages, the rest crisp.
1950, English
Hardcover (w. dust jacket), 221 pages, 20.2 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Dennis Dobson Ltd / London
$80.00 - In stock -
First 1950 English language hardcover edition of Pleasures and Regrets, scarce true first printing ("200/R" run) with red cloth and illustrated spine. Translated by Louise Varese with a preface by Anatole France.
This was Prousts first published work, appearing when he was only 25, and it consists of stories, sketches, and thematic writings on a variety of subjects. The attitudes reflect many of the characteristics of the fin de siècle, yet Proust illumined them with the unique shafts of observation and gift of analysis that he was later to perfect in The Remembrance of Things Past. This book is a period piece of intricate delights and subtle flavors that will be relished by the authors many admirers.
G–VG copy in G–VG dust jacket (tape reinforcements to spine ends, light wear to extremities. Preserved under archival mylar wrap.
1961, English
Softcover, 110 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
W W Norton & Co / New York
$25.00 - In stock -
The Standard Edition, translated by James Strachey.
Civilization and Its Discontents is one of the last of Freud's books, written in the decade before his death. In it he makes known his views on the broad question of man's place in the world, which he sees in terms of the never-ending conflict between the individual's claim to freedom and the demands of society. The theme, often foreshadowed in Freud's earlier work, is that civilization is only made possible by individual renounce-ment. Man's instinctive life is aggressive and egoistic, seeking self-satisfaction; the structure of culture is designed to curb and prohibit his instinctual drives; the sense of guilt has become the maker of civilized humanity.
"The theme is developed with the greatest richness of content and one might use many columns without exhausting the invaluable dicta of men and their institutions which strew the book,"–The Spectator
The Standard Edition
Throughout the period when Freud wrote his major works, various translations and editions, differing widely in the accuracy of their texts and the quality of their content, made their appearance.
Increasingly, as the body of Freud's work achieved commanding stature, the need arose for a definitive and uniformly authentic English language edition of all his writings. The Standard Edition of the Complete Psychological Works of Sigmund Freud was undertaken to achieve this goal. The work is under the general editorship of James Strachey and he himself has made new translations of many of the writings, supervising the emendation of others and contributing valuable notes, both bibliographical and explanatory. The result is to place this edition in a position of unquestioned supremacy over all other existing versions— which are in fact rendered obsolete.
G–VG copy with some tanning/wear to extremities/spine. Some light pencil underlining (erasable)
2003, English
Softcover, 176 pages, 19.6 x 12.7 cm
Published by
Penguin Books / London
$28.00 - In stock -
Freud was fascinated by the mysteries of creativity and the imagination. The groundbreaking works that comprise The Uncanny present some of his most influential explorations of the mind. In these pieces Freud investigates the vivid but seemingly trivial childhood memories that often "screen" deeply uncomfortable desires; the links between literature and daydreaming; and our intensely mixed feelings about things we experience as "uncanny." Also included is Freud's celebrated study of Leonardo Da Vinci-his first exercise in psychobiography.
"[Freud] ultimately did more for our understanding of art than any other writer since Aristotle."–Lionel Trilling
Sigmund Freud (1856-1939) was born in Moravia and lived in Vienna between the ages of four and eighty-two. In 1938 Hitler's invasion of Austria forced him to seek asylum in London, where he died the following year. Freud's career began with several years of brilliant work on the anatomy and physiology of the nervous system. He was almost thirty when, after a period of study under Charcot in Paris, his interests first turned to psychology, and another ten years of clinical work in Vienna (at first in collaboration with Breuer, an older colleague) saw the birth of his creation: psychoanalysis. This began simply as a method of treating neurotic patients by investigating their minds, but it quickly grew into an accumulation of knowledge about the workings of the mind in general, whether sick or healthy. Freud was thus able to demonstrate the normal development of the sexual instinct in childhood and, largely on the basis of an examination of dreams, arrived at his fundamental discovery of the unconscious forces that influence our everyday thoughts and actions. Freud's life was uneventful, but his ideas have shaped not only many specialist disciplines, but the whole intellectual climate of the last half-century.
1995, Japanese
Softcover (w. dust jacket), 29.8 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Outo Shobo / Tokyo
$200.00 - In stock -
Very rare provocative photo book by Japanese photographer Ikko Kagari, published in 1995 in Tokyo. Kagari made a number of these extraordinary, extremely questionable, surreptitious infrared photography collections in the 1980's—1990's, featuring secret "close-up photography" documenting clandestine sexual activities in public places — groping and upskirt photographs taken on packed Tokyo Metro commuter trains, in nightclubs, on escalators, couples making it in public toilets, parked cars and in parks with infrared strobe techniques reminiscent of Kohei Yoshiyuki's incredible Document Park. Cover-to-cover b/w reproductions of Kagari's grainy, blown-out infrared images that blur all lines between voyeur/participant and simulated/real, make for disorientating, sometimes claustrophobic, uneasy viewing. But they are also absolutely stunning, effective photo books that feel as conceptual as they do devious. Including selections from Kagari's "Document Commuter Train" (1982), as featured in The Photobook: Vol. III, by Parr & Badger, Kagari's fleeting in flagrante scenes capture erotic desire and criminal impulse engulfed by the soft folds of entangled garment fabrics, through foliage and grass, and across the cold darkness of the metropolis, with stunning technique. He went so far as to publish a how-to book for amateurs! Like many of Kagari's other published works, Peeping Special Shot has sparked discussions about consent, privacy, and the ethics of voyeuristic art. As a result, copies of these photo books are now very scarce and highly sought after for those interested in the world of marginal art publishing. The 2000s saw the introduction of women-only carriages on the Tokyo Metro, relegating such shadowy expertise to history.
Mature audiences only.
Very Good copy with VG dust jacket.
1980, Japanese
Softcover (w. dust jacket), 114 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Seven Sha / Tokyo
$550.00 - In stock -
Rare first edition of Kohei Yoshiyuki's cult classic photo book, Document: The Park (Document Park), published in 1980 by Seven Sha, Tokyo. Yoshiyuki's voyeuristic masterpiece, The Park is like no other photo book. A controversial volume of 74 photographs taken by the photographer using a 35mm camera, infrared film, and flash, Yoshiyuki documented a secret community of lovers and voyeurs who gathered in Shinjuku Park and Yoyogi Park between 1971 and 1973. His pictures document the people who gathered in these parks for clandestine trysts under the cloak of darkness, as well as the many spectators lurking in the bushes who watched—and sometimes participated in—these couplings. With their raw, snapshot-like quality, these images not only uncover the hidden illicit sexual encounters of their subjects, both homosexual and heterosexual, but they also serve as a chronicle of a Japan we rarely see. As Martin Parr writes in The Photobook: A History, Volume II, The Park is "a brilliant piece of social documentation, capturing perfectly the loneliness, sadness and desperation that so often accompany sexual or human relationships in a big, hard metropolis like Tokyo."
A beautifully printed book, with original dust-jacket. Includes two conversations with Kohei Yoshiyuki with Kenichi Matsumoto and Nobuyoshi Araki.
Kohei Yoshiyuki (b. 1946—2022) came to recognition in 1972 when material from his photo project “The Park” was featured in magazine Shukan Shincho, and a year later, in respected photo journal Camera Mainichi. However, it was the 1979 photo exhibition “The Park” at Komai Gallery and 1980 photo book “Document: The Park” that established him within the contemporary photographic landscape. Since then, Yoshiyuki was a recurrent fixture in Japan debauchery journal Super Photo Magazine along photographers: Nobuyoshi Araki, Daido Moriyama, Keizo Kitajima and Seiji Kurata.
Very Good copy in Good dust jacket with usual tanning to spine edge, wear to extremities, and dj corner tear hidden inside jacket fold (blank black area, not affecting any content). Otherwise a well preserved copy.
1981, Japanese
Softcover (w. dust jacket), 240 pages, 17.5 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Sunday Inc. / Tokyo
$110.00 - In stock -
Rare first 1981 edition of Yoshiyuki's heavily illustrated instructional photobook, published the year following his voyeuristic masterpiece, Document Park (1980), a controversial volume of 74 photographs taken by the Japanese photographer using a 35mm camera, infrared film, and flash to document a secret community of lovers and voyeurs who gathered in Shinjuku Park and Yoyogi Park between 1971 and 1973. "This Is Infrared!" is Kohei's essential accompanying handbook for all those curious about his clandestine techniques that still amaze to this day, for many various reasons. Profusely illustrated with many of the infamous photographs from his Document Park book and many photograph collections that have not been published elsewhere, Kohei's D.I.Y. manual is a thorough analysis of his honed peeping techniques, camera equipment, various strategies (in the field and in the darkroom), technical specifications and aesthetic concerns, complete with manga illustrations, set-by-step guides and a sense of humour.
"My curiosity and lewdness were the starting point for peeping photos in the park. I used infrared film. Last May I published a photo book called "Park" (Documentary). It documents couples in parks, the peeping toms who flock to them, and the world of gays who gather in parks. Since I published this photo book, I've been asked a lot of questions like "What kind of camera is an infrared camera?" It's a bit tiring, as some of the people asking are quite knowledgeable about photography, and some are even professional photographers."—excerpt from Kohei Yoshiyuki's introduction
From "The Monroe-effect" (action photography on windy days...) to pigeon-cameras, "This Is Infrared!" goes beyond the night works to explore the many convictions of the determined peeping-tom. Nothing like it. Apart from those of Ikko Kagari... Fits right in the pocket.
Kohei Yoshiyuki (b. 1946—2022) came to recognition in 1972 when material from his photo project “The Park” was featured in magazine Shukan Shincho, and a year later, in respected photo journal Camera Mainichi. However, it was the 1979 photo exhibition “The Park” at Komai Gallery and 1980 photo book “Document: The Park” that established him within the contemporary photographic landscape. As Martin Parr writes in The Photobook: A History, Volume II, The Park is "a brilliant piece of social documentation, capturing perfectly the loneliness, sadness and desperation that so often accompany sexual or human relationships in a big, hard metropolis like Tokyo." Since then, Yoshiyuki was a recurrent fixture in Japan debauchery journal Super Photo Magazine along photographers: Nobuyoshi Araki, Daido Moriyama, Keizo Kitajima and Seiji Kurata.
Very Good copy in VG dust jacket.
1983, Japanese
Softcover (w. dust jacket), 240 pages, 17.5 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Hama Shobo / Tokyo
$140.00 - In stock -
Rare 1983 photo/text book published the year following Ikko Kagari's infamous "Document Commuter Train" (1982). After the acclaim of his masterpiece photobook, Kagari stepped further into the darkness with this collection of his close-up candid infrared photography. Kagari takes to the streets, the parks, the gay beats, the girl's toilets, the alley-ways, the bars, the back-rooms, and back onto the trains with his "modern eroticism of the voyeur in the cold metropolis". "Full of secrets and charm", Kagari here accompanies his photography with texts on his experiences, insights, technical clandestine methods, along with amazing and humorous instructional manga. Kagari made a number of these extraordinary, extremely questionable, surreptitious infrared photography collections in the 1980's, featuring secret "close-up photography" documenting sexual activities in public places — groping and upskirt photographs taken on packed Tokyo Metro commuter trains, in nightclubs, on escalators, couples making it in public toilets, parked cars and in parks with infrared strobe techniques reminiscent of Kohei Yoshiyuki's incredible Document Park (the two often featured side-by-side in books and journals, both their masterpiece photobooks cited in Parr & Badger's The Photobook series). Kagari's grainy, blown-out infrared images that blur all lines between voyeur/participant and simulated/real, make for disorientating, sometimes claustrophobic, uneasy viewing. But they are also absolutely stunning, effective photo books that feel as conceptual as they do devious. Kagari's fleeting in flagrante scenes capture erotic desire and criminal impulse engulfed by the soft folds of entangled garment fabrics with stunning technique.
Good—VG copy in G—VG dust jacket. One binding split beginning on one spread only, some foxing to block edges.
1946 / 1968, English
Hardcover, 272 pages, 26 x 19 cm
Out of print title / used / very good
Published by
Arno Press / New York
MoMA / New York
$90.00 - Out of stock
1968 re-print of the 1947 third edition of this monumental exhibition catalogue from the seminal Museum of Modern Art exhibition that ran from December 1936 to January 1937, New York, an amazing exhibition that no–one could agree on. Edited by museum director Alfred H. Barr, Jr., this edition includes his essay, plus essays by the French poet and critic Georges Hugnet that had arrived too late for inclusion in the first edition. Lavishly illustrated throughout, the exhibition included "more than 700 objects. The earliest date of any object shown will be about 1450; the latest, 1936. More than 157 American and European artists will be represented, ranging from such extremes as Giovanni di Paolo and Leonardo da Vinci of the fifteenth century to Walt Disney, Rube Goldberg and Thurber of the twentieth century, and including such famous names both old and modern as Hieronymus Bosch, Dürer, Arcimboldo, Hogarth, William Blake, Cruickshank, Lewis Carrol, Daumier, Delacroix, Edward Lear, Redon, Chagall, de Chirico, Duchamp, Picasso, Arp, Dali, Ernst, Grosz, Magritte, Miro, Klee, Man Ray, Tanguy, Peter Blume, Georgia O'Keeffe, and Alexander Calder."
The exhibition encompasses the history of the fantastic in art, "the main body of the exhibition is devoted to the Dada and Surrealist movements of the past twenty years together with certain pioneers. [...] There are also special sections on fantastic architecture and on comparative material, including the art of children, and the insane." It includes the work of Arcimboldo, Hieronymous Bosch, Albrecht Dürer, Peter Huys, Leonardo Da Vinci, Giovanni Battista Bracelli, William Hogarth, Giovanni Battista Piranesi, William Blake, Lewis Carroll, Thomas Cole, Eugène Delacroix, James Ensor, Henry Fuseli, Francisco Goya, Victor Marie Hugo, Edward Lear, Odilon Redon, Henri Rousseau, Marc Chagall, Giorgio de Chirico, Marcel Duchamp, Vasily Kandinsky, Paul Klee, Pablo Picasso, Hans Arp, Johannes Baader, J. T. Baargeld, Max Ernst, Hans Bellmer, Edward Burra, Joseph Cornell, Salvador Dali, Oscar Dominguez, Leonor Fini, Alberto Giacometti, George Grosz, Raoul Haussmann, Hannah Höch, Valentine Hugo, Marcel Jean, René Magritte, André Masson, Edouard Mesens, Joan Miro, Henry Moore, Richard Oelze, Meret Oppenheim, Wolfgang Paalen, Dr. Grace Pailthorpe, Francis Picabia, Man Ray, Christian Schad, Kurt Schwitters, Yves Tanguy, Sophie Henriette Täuber-Arp, Peter Blume, Alexander Calder, Federico Castellón, Arthur Dove, Walker Evans, Wyndham Lewis, Georgia O’Keefe, Wallace Putnam, David Alfaro Siqueiros, James Thurber, Antonio Gaudi, Kurt Schwitters, and many more.
"Fantastic Art, Dada, Surrealism, The Museum of Modern Art’s first exhibition to focus on Dada, was organized by founding director Alfred H. Barr, Jr., in 1936. It was the most comprehensive presentation of Dada works since the Dadaists’ own exhibitions. It was also the first to be organized by a nonparticipant and the first to present Dada as a historical movement. The exhibition was rife with controversy and provoked fierce reactions from battling factions among the Dadaists and the Surrealists. For example, Tristan Tzara, a leader of the Dada movement and one of the exhibition’s most important lenders, threatened to forbid Barr from exhibiting his loans when he learned that the exhibition’s title had been changed from The Fantastic in Art to include Surrealism and that the French Surrealist André Breton was to write the catalogue preface. For their part, Breton and French Surrealist poet Paul Éluard disapproved of the final format of the exhibition; they wanted it to be an official Surrealist “manifestation.” Critical response to the exhibition was mixed. In 1937, when the show circulated around the country, lender Katherine Dreier withdrew her artworks and feuded with Barr over his inclusion of works by children and “the insane,” and A. Conger Goodyear, President of the Museum’s board of trustees, requested that other items be removed." [MoMA]
Very Good copy w/o dust jacket. Light age/dustiness.
2001, English
Hardcover (w. dust jacket), 530 pages, 23.5 x 19 cm
1st Edition, Out of print title / used / fine
Published by
The MIT Press / Massachusetts
$80.00 - Out of stock
Scarce first 2001 HC edition. Long out–of–print incredible anthology of art and writings by Surrealist painters and poets from a wide range of countries, edited by American author, translator, art historian and literary critic, Mary Ann Caws.
In 1951 Robert Motherwell published a collection of writings called The Dada Painters and Poets: An Anthology. Conceived as a sequel to that volume, Surrealist Painters and Poets: An Anthology does for Surrealism what Motherwell's book did for Dadaism. The concept and contents were discussed with Robert Motherwell and met with his enthusiastic approval.
The essays, manifestos, poems, and texts in this anthology offer a composite picture of the Surrealists—their convictions, styles, and spirit—from the movement's beginnings in France just after World War I to its second flowering in America after World War II. The book includes writers and artists from Belgium, Chile, Czechoslovakia, Cuba, Egypt, England, France, Germany, Guyana, Italy, Martinique, Mauritius, Mexico, Spain, Switzerland, Senegal, Uruguay, and the United States. Caws's main criterion for inclusion was that the works be the best and most representative of the different forms of Surrealism. Among others, the artists and writers include Andre Breton, Marcel Duchamp and Rrose Selavy, Leonora Carrington, Max Ernst, Mina Loy, Francis Picabia, Raymond Queneau, Joyce Mansour, Eileen Agar, René Char, Giorgio de Chirico, René Magritte, Man Ray, André Masson, Philippe Soupault, Robert Desnos, Dorothea Tanning, Guillaume Apollinaire, Louis Aragon, Hans Arp, Fernando Arrabal, Antonin Artaud, Georges Bataille, Hans Bellmer, Yves Bonnefoy, Kay Boyle, Victor Brauner, André Breton, Claude Cahun, Aimé Césaire, Suzanne Césaire, Malcolm de Chazal, Arthur Cravan, René Crevel, Joseph Cornell, Salvador Dalí, Paul Éluard, Alberto Giacometti, David Hare, Maurice Henry, Frida Kahlo, Michel Leiris, Joan Miró, Paul Nougé, Benjamin Péret, Pablo Picasso, Raymond Roussel, Kurt Schwitters, Marcel Schwob, Louis Scutenaire, Jean-Pierre Duprey, Georges Bataille, Kurt Seligmann, Léopold Sédar Senghor, Jacques Vaché, Wolfgang Paalen, Marianne Van Hirtum, Gisèle Prassinos, and Tristan Tzara.
Fine–NF copy in Fine–NF dust jacket. Preserved under mylar wrap.
2026, English
Softcover, 118 pages, 24.1 x 29.8 cm
Published by
Gagosian / New York
$130.00 - In stock -
Conceived, designed, and edited by the artist, Cady Noland: Polaroids 1986–2024 is devoted to Polaroid photographs taken by Noland in the process of developing her sculptures and exhibitions. Published to coincide with a solo show of Noland’s new work at Gagosian, 555 West 24th Street, New York, this artist’s book reproduces nearly one hundred previously unpublished Polaroids from the course of her career, providing unique insight into her sculptural practice.