World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Paperback, 288 pages, 22 x 21 cm
Published by Roma / Amsterdam
$75.00 - In stock -
This catalogue accompanies a major group show at CCA Wattis in San Francisco, curated by Anthony Huberman. It reflects on ways the “machine” determines how we live and what we believe in. A machine is also a mechanism, not just a physical object but also an abstract ideology. The artworks point to the forms and instruments that make up our technological infrastructure, as well as to the values they are designed to enforce. Contesting a world that rewards efficiency, speed, and productivity, the participating artists test existing systems with inefficient machines, impossible tools, wasted time, and elaborate protocols that misalign outputs and inputs.
Artists: Zarouhie Abdalian, Terry Atkinson, Lutz Bacher, Eva Barto, Neïl Beloufa, Patricia L. Boyd, Jay DeFeo, Trisha Donnelly, Harun Farocki, Richard Hamilton, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Louise Lawler, Park McArthur, Jean-Luc Moulène, Pope.L, Charlotte Posenenske, Cameron Rowland, Danh Vo
Designed by Julie Peeters and Scott Ponik this catalogue accompanies the exhibition and includes an essay by the curator as well as sections created by each artist. It is co-published with Roma Publications (Amsterdam).
Softcover, 128 pages, 12.8 x 19.7 cm
Published by Sternberg Press / Berlin
$32.00 - In stock -
This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York.
Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) and Mark Wallinger (2011).
Design by Fraser Muggeridge studio
$18.00 - In stock -
Catalogue published on the occasion of Trisha Donnelly's 2017 solo exhibition at Cologne's Ludwig Museum (organised by Suzanne Cotter) and her award of the Wolfgang-Hahn-Preis.
Trisha Donnelly was born in 1974 in San Francisco, California. She completed the Bachelor of Fine Arts at the University of California in 1995 and the Master of Fine Arts at the Yale University School of Art in 2000. Since 1999, she has participated in exhibitions, having held several institutional exhibitions at Villa Serralves in Porto (2016), the Serpentine Gallery in London (2014), the San Francisco Museum of Modern Art (2013), Portico, Frankfurt (2010), the Museo d'Arte Moderna di Bologna (2009), the Renaissance Society of the University of Chicago and the Institute of Contemporary Art in Philadelphia (both in 2008), the Modern Art Oxford (2007) 2005). In the last ten years, she has appeared in numerous group exhibitions, including at the 54th and 55th Venice Biennale (2011 and 2013), at dOCUMENTA (13) (2012), in The Quick and the Dead at the Walker Art Center (2009) and Il Tempo del Postino (2007 in Manchester, 2009 in Basel). In Germany, Donnelly had her first institutional solo exhibition in 2005 at the Kölnischer Kunstverein within the framework of the Central Art Prize awarded to her in 2004. In 2015 the Julia Stoschek Collection showed Trisha Donnelly's work as an exhibition number ten. Early exhibitions took place, among others, at her Galerie Air de Paris in Paris, Galerie Eva Presenhuber, Zurich, and Casey Kaplan in New York. There she caught the eye in 2002 with her performance, When she dressed as a messenger of Napoleon on a horse, she rode before Casey Kaplan's gallery and read a mysterious message. An action that was repeated in the Cologne Kunstverein in 2005, in that a black horse was supposed to have been guided through the exhibition hall - an event whose facticity the artist likes to leave open.
This play with the unknown and the production of situations in which the viewer is completely thrown back to his own individual perception without a reference frame may be one of the most important features of Trisha Donnelly's work. An approach to their partly also immaterial work can ultimately only happen if one encounters them. Donnelly's avoidance of the public, explanatory texts, or title-bearing titles points to a strategy that is not oriented towards events and spectacles. It is rather the inexplicable, rumorous experiences or experiences that Donnelly tries to make experience in her works. In an interview with Cathrin Lorch in 2005 (Kunstbulletin, September, 2005), Donnelly once mentioned that they are trying to condense things. Each piece of work was created in an attempt to search for patterns that created a "mental sculpture". In addition to the already mentioned Central Art Prize, Donnelly received the Rob Pruitt's Art Award, the Prix de la Fondation Luma in Arles in 2010, the 10th Prize of the Sharjah Biennial in 2011 and the International Faber-Castell Prize for Drawing in 2012. In 2011 she was among the finalists for the Hugo Boss Prize 2012, awarded by the Solomon R. Guggenheim Foundation. In addition to the already mentioned Central Art Prize, Donnelly received the Rob Pruitt's Art Award, the Prix de la Fondation Luma in Arles in 2010, the 10th Prize of the Sharjah Biennial in 2011 and the International Faber-Castell Prize for Drawing in 2012. In 2011 she was among the finalists for the Hugo Boss Prize 2012, awarded by the Solomon R. Guggenheim Foundation. In addition to the already mentioned Central Art Prize, Donnelly received the Rob Pruitt's Art Award, the Prix de la Fondation Luma in Arles in 2010, the 10th Prize of the Sharjah Biennial in 2011 and the International Faber-Castell Prize for Drawing in 2012. In 2011 she was among the finalists for the Hugo Boss Prize 2012, awarded by the Solomon R. Guggenheim Foundation.
Hardcover, 312 pages, 22 x 29 cm
Published by Center for Curatorial Studies Bard College / New York
$67.00 - In stock -
'Invisible Adversaries' was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.
With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.
This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.
Softcover, 408 pages,17 x 23 cm
Published by Karma / New York
$56.00 - In stock -
This volume is comprised of years of recent writing by the influential New York–based critic and curator Bob Nickas, widely considered one of the few independent voices still at work today. The 50 essays and interviews, written since 2007, are spread across five chapters, touching on encounters with artists from the 1960s to the ’80s to the present – among them, Jack Smith, Andy Warhol, Frank Stella, On Kawara, Isa Genzken, Steven Parrino, Jean-Michel Basquiat, Kara Walker, Wolfgang Tillmans, Kelley Walker and Pierre Huyghe.
Softcover, 113 pages, 140 x 215 mm
Edition of 100, hand-numbered.,
Published by Pep Talk / Los Angeles
$32.00 - In stock -
Bruce Hainley PEP TALK is the first collection of the author's writing, bringing together an amazing selection of republished and unpublished interviews, critical essays, and poems. Every single text in this collection is guaranteed to light your fire, if you have any wick at all. As writer, critic, poet, teacher, mentor and more, Hainley is incomparable and irreplaceable to us in Los Angeles and those engaged with contemporary art anywhe