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.
Softcover (newspaper), 37 x 26 cm
Published by Mousse Publishing / Milan
$18.00 - Out of stock
In this issue:
On Art and Film, Art and Moving Images, Ross Birrell and David Harding, Yve Laris Cohen, Con Jobs, Douglas Coupland, Heinrich Dunst, Jimmie Durham, Ed Fornieles, Brennan Gerard and Ryan Kelly, Patrick Jackson, Wyatt Kahn, Amar Kanwar, Isabel Lewis, Liberation through Laziness, Heather Phillipson, Organic Photography, Torbjørn Rødland, Surrealism and Tags, Philippe Thomas, Brad Troemel, The Artist as Curator.
THE ARTIST AS CURATOR is a serial publication* examining the fundamental role artists have played as curators, from the postwar period to the present. The series is edited by Elena Filipovic and made possible by an engaged group of art institutions and foundations, each of which is supporting the research and publication of one installment of the project. Issue #1 is devoted to an Exhibit by Richard Hamilton and Victor Pasmore, with an essay by Isabelle Moffat, and to John Cage’s Rolywholyover A Circus for Museum by John Cage, discussed by Sandra Skurvida. This issue is supported by Bergen Kunsthall.
Contemporary capitalism prods us to stick with the program and do our best. Sven Lütticken offers fascinating insights into the concepts of sleep and boredom and the potential of refusal as a counter-politics of the times.
Martin Herbert investigates Ed Fornieles‘s role play-driven social events, repurposed social media projects, and sculptural installations which explore the formatting—and, potentially, freeing—of subjectivity.
Performer, dancer and curator Isabel Lewis calls her works “occasions.” They blend physical and intellectual aspects, engaging the audience while defying theatrical conventions. Lewis talks with Hans Ulrich Obrist, looking forward to a work in the making: the creation of architectures of odors.
Douglas Coupland has suddenly discovered that he was the prophet behind the video game Minecraft. In his text, he follows a trail of miniature Lego bricks leading from the National Building Museum of Washington DC to the extraordinarily nimble little fingers of a five-year-old digital native.
Apsara DiQuinzio asks Ed Atkins, Eric Baudelaire, Nathaniel Dorsky, Mark Lewis,Lucy Raven, Ben Rivers, Anri Sala, and Hito Steyerl to probe the current dynamics between contemporary art and moving images.
Amar Kanwar has blazed a unique trail between cinema and visual art. A conversation with Andrea Lissoni attempts to investigate the artist’s approach, method, vision and stance.
Flickr, Instagram, Google Image Search, the iPhone: how to understand the extraordinary expansion and transformation of photographic practice in digital networks? With this question in mind, Jacob King looks back to the photographic activities of Surrealism.
The strange and ugly, yet also familiar and ordinary, photographs of Torbjørn Rødland catch us in a mixture of reactions, triggering shivers and comfort at the same time.Jens Hoffmann introduces some works of the artist, while photographer Lucas Blalock asks Rødland about his meditations on the medium.
Photography has become the intrinsic and organic container of our lives and identity, but artist Christoph Westermeier never had his picture taken as a child. Jennifer Allenanalyzes his (photographic) work.
Following Chris Dercon‘s proposal of a conversation on the theme of art and film and the relationship between the two, George Clark poses some questions to the director of Tate Modern, Tine Fisher (director of CPH:DOX) and Jean-Pierre Rehm (director of FIDMarseille).