World Food Books is a book shop in Melbourne, Australia.
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
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.
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Wurtz appears courtesy of Metro Pictures, New York.
December 15 - January 20, 2014
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
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
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
During shop open hours videos played every hour, on the hour.
$40.00 - In stock -
Warning: Viewers should be aware that this post may contain the names and images of Aboriginal and Torres Strait Islander people now deceased.
First edition of "Papunya: Aboriginal Paintings from the Central Australian Desert" published in 1983 by The Aboriginal Artists Agency and Papunya Tula Artists' Company.
Texts by Andrew Crocker (editor), Clifton Pugh, and R. Kimber.
The chapters are; "The Recent Anthropology of the Western Desert"; "Central Australian & Western Desert Art"; "Contemporary Art of the Western Desert".
features the works of: Harper Morris Tjungurrayi, Tim Leura Tjapaltjarri, Kaapa Mbitjana Tjampitjinpa, Clifford Possum Tjapaltjarri, Dick Pantimatju Tjupurrula, Paddy Carroll Tjungurrayi, Johnny Warangkula Tjupurrula, George Bush Tjangala, Jack Wayuta Tjupurrula, Tommy Lowry Tjapaltjarri, Pinta Pinta Tjapanangka, Uta Uta Tjangala, Charlie Tjapangati, Charlie Taruru Tjungurrayi, Willie Tjungurrayi, Turkey Tolson Tjupurrula
Illustrated in full-colour throughout with the works of artists from the Northern Territory settlement of Papunya, often heralded as the birthplace of contemporary Aboriginal art. Papunya’s residents were mainly of the Luritja and Pintupi language groups, but its residents also included people from the Anmatyerr, Warlpiri and Kukatja groups. Their traditional country lay hundreds of kilometres west of Papunya in the Gibson Desert, where they had lived as hunter-gatherers until the 1960s. For many Pintupi, Papunya was their first experience of life in a European settlement, established by successive Australian governments under the controversial policy of assimilation, aimed to socialise Aboriginal people into a European way of life. This combination of different language groups, with varying degrees of contact with Western influences and poisons, made Papunya a place often rife with sadness and strife. Yet it also gave rise to a revolution in Australian art in the early 1970s when a group of artists began painting the designs and stories that represent their particular Dreaming places. The land in and around Papunya is Tjala country, and includes many sites associated with the Honey Ant Dreaming stories. Papunya artists assert their rights and obligations as Central and Western Desert landowners, entrusted with the ritual re-enactment of the events that occurred at these sites. The symbols they use are part of a unique visual language which is also used in designs painted on the skin and in elaborate ceremonial ground paintings.
In 1972 the artists successfully established their own cooperative, Papunya Tula Artists. The Aboriginal Arts Board was created in 1973, with members who were all Indigenous Australians. Papunya was represented by artists Tim Leura Tjapaltjarri and Billy Stockman Tjapaltjarri..