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:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
World Food Books
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PO Box 435
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Victoria 8009
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2016, English / Italian
Softcover, 216 pages, 17 x 24 cm
Published by
Danilo Montanari Editore / Ravenna
$59.00 - Out of stock
Luigi Bonotto dedicated himself to keeping the work of the artists of Fluxus and Experimental Poetry alive, and to preserving, cataloguing, and promoting their poetry, music, and work, which was strongly influenced by John Cage and the key concept of his theoretical framework, indeterminacy. Published on the occasion of an exhibition curated by Patrizio Peterlini and Walter Rovere, with the collaboration of Giorgio Maffei, this catalogue delves deeply into this aspect of the Fluxus network. Rife with illustrations, the materials of the collection, as well as the movement and its history, are analysed in scholarly essays by Anna Cestelli Guidi, Alison Knowles, and the curators.
features the work of Henning Christiansen, Wolf Vostell, Eric Andersen, George Brecht, Sylvano Bussotti, John Cage, Giuseppe Chiari, Philip Corner, Esther Ferrer, Juan Hidalgo, Dick Higgins, Robert Filliou, Toshi Ichiyanagi, Joe Jones, Milan Knizak, Takehisa Kosugi, Shigeko Kubota, György Ligeti, George Maciunas, Jackson Mac Low, Walter Marchetti, Charlotte Moorman, Claes Oldenburg, Yoko Ono, Nam June Paik, Ben Patterson, Terry Riley, Mieko Shiomi, Takako Saito, Gianni-Emilio Simonetti, Ben Vautier, Yoshimasa Wada, La Monte Young and others.
Out of Print.
2005, English / German
Softcover, 270 pages, 19 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Neues Museum Weserburg Bremen / Bremen
$150.00 - Out of stock
This large, detailed catalogue forms a unique and important document, which was produced to accompany an exhibition at Neues Museum Weserburg Bremen, Bremen, 21.8. - 27.11.2005 and Museu d'Art Contemporani de Barcelona, Barcelona, 16.5. - 1.10.2006 showcasing a selection of some 800 pieces from the collection of Guy Schraenen. The main of this collection comprises vinyl records and covers by artists, musicians and poets in LP, single and other formats, alongside other sound media (tapes and CDs). Posters and books are also included. The exhibition shows artists (such as Hanne Darboven, Jean Dubuffet, Dieter Roth, Joseph Beuys, Laurie Anderson, John Cage, Yoko Ono, Yves Klein, Roman Opalka, Lawrence Weiner, Mike Kelley, Öyvind Fahlström, Art & Language and Hermann Nitsch) and artistic movements of the second half of the twentieth century through this complex medium of the vinyl cover, with its dual visual and audible components. Here Guy Schraenen has edited together an extensive visual catalogue of these historical objects.
A wonderful book for anyone interested in the history of modern sound art and the artistic medium of the vinyl sleeve, especially in the fields of Avantgarde, Electro-Acoustic, Modern Classical, Musique Concrète, Sound-Poetry, Art Rock, Industrial, Power-Electronics....
Henri Chopin, A.R. Penck, Brion Gysin, George Brecht, Marcel Duchamp, Arman, Karel Appel, Öyvind Fahlström, Pierre Henry, Art & Language, Peter Brötzmann, Red Krayola, Ernst Jandl, Vito Acconci, Hanne Darboven, Jean Dubuffet, Dieter Roth, Joseph Beuys, Laurie Anderson, Yves Klein, Roman Opalka, Hermann Nitsch, Yoko Ono, Tony Conrad, Andy Warhol, John Cage, Pierre Schaeffer, Derek Bailey, Han Bennink, Jean Tinguely, Steve Reich, Meredith Monk, Terry Fox, Terry Riley, Sun Ra, Pandit Pran Nath, Albrecht/d., Robert Ashley, Bob Cobbing, Lawrence Weiner, Philip Glass, La Monte Young, Marian Zazeela, Poly Bury, Charlemagne Palestine, Carl Andre, Brian Eno, Mike Kelley, Sonic Youth, Henry Flynt, Jon Gibson, Michael Snow, Roland Topor, Michael Nyman, Harold Budd, Robert Filliou, Nam June Paik ... just the tip of the iceberg.
Very Good copy of the rare first printing from Bremen.
1970, English / German
Softcover, 300 pages, 23 x 15 cm
1st edition, Out of print title / used*,
Published by
Kölnischer Kunstverein / Köln
$85.00 - Out of stock
The great "Happening & Fluxus" book, published on the occasion of the exhibition of the same name at the Kölnischer Kunstverein in 1970, curated by Harald Szeemann.
This exhaustive Fluxus document is illustrated heavily throughout and broken into two important sections : 1. Chronology 1959-1970 (a detailed cataloguing of this incredible period of happenings, actions, concerts, meals, exhibitions and any related events, illustrated with photography along with dates, locations, those involved, and reproductions of the related ephemera), 2. Bibliography 1959-1970 (again heavily illustrated with detailed cataloguing of printed material about Fluxus and related actions, artists, exhibitions, performances, as well as a detailed listing for each featured artist of their publications, writings, art editions, etc). Book includes works by Wolf Vostell, Daniel Spoerri, Nam June Paik, Tetsumi Kudo, Tadeusz Kantor, Dick Higgins, George Brecht, Allan Kaprow, Yoko Ono, Claes Oldenburg, Alison Knowles, Robert Filliou, Stanley Brouwn, Bazon Brock, Joseph Beuys, Eric Anderson, Viennese Actionists, Charlotte Moorman, Günter Brus, Emmett Williams, Ben Vautier, Carolee Schneemann, Otto Muehl, Robert Watts, Al Hansen, Henry Flynt, Philip Corner, Henning Christiansen, Robert Rauschenberg, John Cage, and many more.
First major compilation of this material compiled by Harald Szeemann to accompany a now legendary exhibition.
"There is neither here nor in the exhibition, a fix-ready answer to the question: What is happening, what is Fluxus."
2018, English
Hardcover, 464 pages, 31.8 x 31.8 cm
Published by
Fraenkel Gallery - Editions Antoine De Beaupré / San Francisco
$135.00 - Out of stock
Art & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual art. This beautifully designed and printed publication is the first book to focus in-depth on works of art created specifically for an album, composer or musician.
With reproductions of more than 200 LPs from the mid-20th century to the present, Art & Vinyl traces the trajectory of how the record album has been considered by artists as material for a work of art. The book begins with Pablo Picasso’s 1949 depiction of the dove of peace, printed directly on an audio disc. Significantly, the recording was Paul Robeson’s Chante Pour La Paix (Singing for Peace). Art & Vinyl also includes works by artists as disparate and wide-ranging as Ed Ruscha, Marlene Dumas, Cy Twombly, Yoko Ono, Jean-Michel Basquiat, Barbara Kruger, Robert Rauschenberg, Sol LeWitt, Sophie Calle and Andy Warhol.
Highlights include Gerhard Richter’s extraordinary oil painting made directly on a recording of Glenn Gould’s Bach: The Goldberg Variations (1984), as well as Allan Kaprow’s LP How to Make a Happening (1966). Also featured are albums of original recordings by Joseph Beuys, Yves Klein, Jean Dubuffet, Christian Marclay and Wolfgang Tillmans, among others. Some of the better-known artists’ covers for rock, pop and jazz albums featured here are Jann Haworth and Peter Blake’s Sgt. Pepper’s Lonely Hearts Club Band; Jim Dine’s cover for The Best of Cream; Lee Friedlander’s portrait of Miles Davis for In a Silent Way; Warhol’s cover for Sticky Fingers and Robert Frank’s Exile on Main Street; Mapplethorpe’s classic Patti Smith portrait for Horses; Robert Longo’s cover for Glenn Branca’s The Ascension; Fischli/Weiss’s Liliput; and Alec Soth’s cover for Dolorean’s The Unfazed.
Art & Vinyl has been assembled over the course of nearly a decade by curator and collector Antoine de Beaupré, author of Total Records and founder of Librarie Galerie 213 in Paris.
2018, English
Softcover, 240 pages, 21 x 23 cm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$49.00 - Out of stock
The first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads.
“Practice” is one of the key words of contemporary art, used in contexts ranging from artists' descriptions of their practice to curatorial practice, from social practice to practice-based research. This is the first anthology to investigate what contemporary notions of practice mean for art, tracing their development and speculating on where this leads.
Reframing the question of practice offers new ways of reading the history of art and of evaluating particular forms of practice-based art. Once used to denote “doing,” as distinct from thinking and making, today the term can convey associations of political action (praxis), professional activity, discipline, or rehearsal, and signal a shift away from the self-enclosed artwork or medium to open-ended actions, series, processes, and projects. Although the turn to practice might promise freedom from finality or eventfulness, it also reflects the neoliberal pressures to train oneself, to perform, and to rehearse a marketable set of skills. This book offers an indispensible guide to the art history and theoretical framework of art-as-practice, clarifying the complex issues at stake in thinking about and enacting practice.
Artists surveyed include Francis Alys, Arakawa, Rebecca Belmore, AA Bronson, Judy Chicago, Lygia Clark, Andrea Fraser, Madeline Gins, Tehching Hsieh, Mary Kelly, Henri Michaux, Linda M. Montano, Pauline Oliveros, Yoko Ono, Adrian Piper, Raivo Puusemp, Rammellzee, Gerhard Richter, Miriam Schapiro, Carolee Schneemann, Gregory Sholette, Aliza Shvarts, Situationist International, Jonas Staal, Stelarc, Fiona Tan, Min Tanaka, Nadezhda Tolokonnikova, Cecilia Vicuña
Writers include Kathy Acker, Giorgio Agamben, Louis Althusser, Hannah Arendt, Alain Badiou, Lauren Berlant, Gregg Bordowitz, Pierre Bourdieu, Julia Bryan-Wilson, Judith Butler, Jennifer Doyle, Okwui Enwezor, Saidiya V. Hartman, Maulana Karenga, Julia Kristeva, Saba Mahmood, Viktor Misiano, Fred Moten, Paul B. Preciado, Lane Relyea, Suely Rolnik, Peter Sloterdijk, Isabelle Stengers, Winnie Won Yin Wong
Part of the Whitechapel Documents of Contemporary Art series
2017, English
Softcover, 240 pages, 21 x 23 cm
Published by
Whitechapel / London
The MIT Press / Massachusetts
$55.00 $30.00 - Out of stock
The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects. The self-destructing artwork extinguishes art’s fixity as arrested form and ushers in the ephemeral and contingent "open work."
This anthology explores artworks that convey the threat of destruction an how they have disrupted the perceived integrity of built structures and institutions. Artistic acts of iconoclasm or risk to the self have raised consciousness of authoritarian oppression. More understated works explore the theme of destruction in armed conflict, media violence, and threats to the environment. These text make up the first collection to be focused systematically on destruction in modern and contemporary art.
Artists surveyed include
Ai Weiwei, John Baldessari, Monica Bonvicini, Alexander Brener, Stuart Brisley, Douglas Gordon, Huang Yong Ping, Enrique Jezik, Milan Knizak, Paul McCarthy, Piero Manzoni, Gordon Matta-Clark, Gustav Metzger, Otto Mühl, Yoko Ono, Raphael Montañez Ortiz, Petr Pavlensky, William Pope.L, Walid Raad, Arnulf Rainer, Robert Rauschenberg, Carolee Schneemann, Song Dong, Jean Tinguely, Wolf Vostell
Writers include
Alain Badiou, Walter Benjamin, Horst Bredekamp, Carolyn Christov-Bakargiev, Medina Cuauthémoc, Dario Gamboni, Richard Galpin, Caleb Kelly, Bruno Latour, Sven Lütticken, Antonio Negri, Sophie O’Brien, Kristine Stiles, Jennifer Walden
About the Editor
Sven Spieker is Professor of Germanic and Slavic Studies at the University of California, Santa Barbara, and editor of ARTmargins. His books include The Big Archive: Art from Bureaucracy (MIT Press).
2010, English
Softcover, 240 pages, 145 x 210 mm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$49.00 - Out of stock
The chance situation or random event—whether as a strategy or as a subject of investigation—has been central to many artists' practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But why—a century after Dada and Surrealism's first systematic enquiries—does chance remain a key strategy in artists' investigations into the contemporary world?The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.Artists surveyed include: Vito Acconci, Bas Jan Ader, Francis Alÿs, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young
Writers include: Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Sarat Maharaj, John Miller, Alexandra Munroe, Gabriel Pérez Barreiro, Jasia Reichardt, Julia Robinson, Sarah Valdez, Katharina VossenkuhlDocuments of Contemporary Art series
Copublished with Whitechapel Gallery, London
2016, English
Softcover, 456 pages, 16 x 21.5 cm
Published by
Spector Books / Leipzig
$59.00 - Out of stock
Scrapbook of the Sixties is a collection of published and unpublished texts by Jonas Mekas, filmmaker, writer, poet, and cofounder of the Anthology Film Archives in New York. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first films there. Mekas developed a form of film diary in which he recorded moments of his daily life. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958, he published his legendary “Movie Journal” column in The Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists like Andy Warhol, Susan Sontag, John Lennon & Yoko Ono, Erick Hawkins, and Nam June Paik. Some of these will now appear for the first time in his Scrapbook of the Sixties. Mekas’s writings reveal him as a thoughtful diarist and an unparalleled chronicler of the times—a practice that he has continued now for over fifty years.
Jonas Mekas (*1922, Semeniškiai / Lithuania), lives and works in New York. Film-maker, writer, poet and co-founder of the Anthology Film Archives one of the world’s largest and most important repositories of avant-garde film. Mekas’s work has been exhibited in museums and festivals worldwide.
1998, German
Hardcover, 366 pages, 22.5 x 31 cm
1st German edition, Out of print title / used / very good,
Published by
Hatje Cantz / Berlin
$70.00 - Out of stock
The long out-of-print heavyweight "Out of Actions" book (First German hardcover edition) that was published to accompany the spectacular 1998 Paul Schimmel-curated travelling exhibition. "Out of Actions" surveyed the broad international history and influence of post-war Performance Art, and the objects that exist today as its documentation. It features significant texts by Schimmel, Kristine Stiles, Guy Brett, Hubert Klocker, Shinichiro Osaki, Leslie King-Hammond and Lowery Stokes Sims, and Keiko Okamura.
This important and heavily researched document is lavishly illustrated throughout in colour and black and white, capturing the work and actions of the artists featured in the exhibition and essays: Marina Abramovic, Marina Abramovic and Ulay, Vito Acconci, Genpei Akasegawa, Laurie Anderson, Eleanor Antin, Rasheed Arseen, Mowry Baden, Artur Barrio, Joseph Beuys, Mark Boyle and Joan Hills, George Brecht, Stuart Brisley, Robert Delford Brown, Gunter Brus, Chris Burden, James Lee Byars, John Cage, Marc Camille Chaimowicz, Lygia Clark, Pinchas Cohen Gan, Collective Action Group, Houston Conwill, Paul Cotton, COUM Transmissions, Guy de Cointet, Jim Dine, John Duncan, Felipe Ehrenberg, Roberto Evangelista, Valie Export, Robert Filliou, Rose Finn-Kelcey, Sherman Fleming, Lucio Fontana, Terry Fox, Howard Fried, Gideon Gechtman, Gilbert & George, Alberto Greco, Ion Grigorescu, Victor Grippo, Red Grooms, Guerrilla Art Action Group, David Hammons, Al Hansen, Maren Hassinger, Lynn Hershman, Dick Higgins, Tatsumi Hijikata, Susan Hiller, Rebecca Horn, Tehching Hsieh, Joan Jonas, Kim Jones, Michel Journiac, Akira Kanayama, Tadeusz Kantor, Allan Kaprow, Mike Kelley, Juergen Klauke, Yves Klein, Milan Knizak, Alison Knowles, Komar & Melamid, Jannis Kounellis, Shigeko Kubota, Tetsumi Kudo, Yayoi Kusama, Leslie Labowitz, Suzanne Lacy, John Latham, Jean-Jacques Lebel, Lea Lublin, George Maciunas, Leopoldo Maier, Piero Manzoni, Tom Marioni, Georges Mathieu, Gordon Matta-Clark, Paul McCarthy, Bruce McLean, David Medalla, Cildo Meireles, Ana Mendieta, Gustav Metzger, Marta Minujin, Jan Micoch, Linda Montano, Robert Morris, Otto Muehl, Saburo Murakami, Natsuyuki Nakanishi, Bruce Nauman, Paul Neagu, Senga Nengudi, Joshua Neustein, Hermann Nitsch, Helio Oiticica, Claes Oldenburg, Yoko Ono, Orlan, Raphael Montanez Ortiz, Lorenzo Pace, Nam June Paik, Gina Pane, Lygia Pape, Giuseppe Pinot Gallizio, Adrian Piper, Michelangelo Pistoletto, Jackson Pollock, William Pope L., Robert Rauschenberg, Carlyle Reedy, Klaus Rinke, Ulrike Rosenbach, Dieter Roth, Zorka Saglova, Niki de Saint Phalle, Alfons Schilling, Tomas Schmit, Carolee Schneemann, Rudolf Schwarzkogler, Bonnie Sherk, Shozo Shimamoto, Ushio Shinohara, Kazuo Shiraga, Barbara T. Smith, Daniel Spoerri, Petr Stembera, Wolfgang Stoerchle, Jiro Takamatsu, Atsuko Tanaka, Mark Thompson, Jean Tinguely, Rasa Todosijevic, Kerry Trengove, Ulay, Ben Vautier, Wolf Vostell, Franz Erhard Walther, Peter Weibel, Franz West, Hannah Wilke, Emmett Williams, and Zaj.
Scarce first German edition, published by Hatje Cantz.
2005, English
Softcover, 335 pages, 22.5 x 16 cm
2005 edition, Out of print title / used*,
Published by
D.A.P. / New York
$95.00 - Out of stock
The now scarce 2005 reprint edition of one of the greatest books on film. A classic returns! The original edition of Amos Vogel's seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. According to Vogel--founder of Cinema 16, North America's legendary film society--the book details the "accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored."
So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.
This 2005 edition, published by D.A.P./C.T. Editions, also quickly went out of print and it has not been available since.
Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert Maysles and David Maysles, to name only a few of the hundreds of film-makers whose works are featured in this essential film book.
2016, English / German
Softcover, 540 pages, 22 x 30 cm
Published by
Walther König / Köln
$70.00 - Out of stock
Having represented Beuys, Richter and Polke, German gallery owner , art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde. This publication collects writings by and interviews with Block, scanned from their original publications and organized chronologically, as well as an illustrated published history, artist portraits (taken by Block), performance ephemera, bibliography, and more. An enormous book that, via Block, encompasses the work of so many important movements and figures of 1960s - 1990s art.
Although primarily a German language publication, many of the original articles are in English. Regardless of language, the valuable historical listings translate.
2015, English / Spanish
Softcover w. dustjacket, 144 pages (colour & b/w ill.), 16 x 23 cm
Published by
Mousse Publishing / Milan
$23.00 - Out of stock
Fabiola Iza, Chris Sharp, eds.
Economy, “in the sense of doing a lot with a little or sometimes nothing at all,” is one of the founding principles of the Lulennial, a biennial organized by Fabiola Iza and Chris Sharp at Lulu, a 9-square meter independent space in Mexico City. The diminutive space is not necessarily a constraint if the works exhibited (and featured in this accompanying publication) are the startling outcome of slight gestures, like those created by Jirí Kovanda, Roman Ondák, Kirsten Pieroth, Wilfredo Prieto, and Martín Soto Climent, just to name some of the more than 25 participants in the exhibition. Other instigators of this peculiar attitude, the purpose of which is to achieve the maximum effect through the smallest of means, range from Billy Apple to Graciela Carnevale to Mierle Laderman Ukeles and La Monte Young, among others.
2014, English
Softcover, 240 pages, 145 x 210 mm
Published by
The MIT Press / Massachusetts
Whitechapel / London
$52.00 - Out of stock
It has been argued, most notably in psychoanalytic and modernist art discourse, that the production of works of art is fundamentally driven by sexual desire. It has been further argued, particularly since the early 1970s, that sexual drives and desires also condition the distribution, display and reception of art.
This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates, from the era of the rights movements to the present. Among the subjects it discusses are abjection and the “informe,” or formless; pornography and the obscene; the performativity of gender and sexuality; and the role of sexuality in forging radical art or curatorial practices in response to such issues as state-sponsored repression and anti-feminism in the broader social realm.
Artists surveyed include:
Vito Acconci, Assume Vivid Astro Focus, Lynda Benglis, Louise Bourgeois, Gerard Byrne, George Chakravarthi, Judy Chicago, Vaginal Davis, Wim Delvoye, Elmgreen & Dragset, Valie Export, Félix González-Torres, Guillermo Gómez-Peña, Harmony Hammond, Claudette Johnson, Mary Kelly, Yayoi Kusama, Robert Legorreta, Paul McCarthy, Sarah Maple, Shirin Neshat, Lorraine O’Grady, Yoko Ono, Catherine Opie, Orlan, William Pope.L, Miriam Schapiro, Carolee Schneemann, Joan Semmel, Barbara Smith, Annie Sprinkle, Alina Szapocznikow, Del LaGrace Volcano, Hannah Wilke, David Wojnarowicz
Writers include:
Malek Alloula, Norman O. Brown, Judith Butler, Douglas Crimp, Angela Dimitrakaki, Michel Foucault, Daniel Guérin, Eleanor Heartney, Jonathan D. Katz, Rosalind Krauss, Julia Kristeva, Paweł Leszkowicz, Herbert Marcuse, Kobena Mercer, Laura Mulvey, Lawrence Rinder, Jacqueline Rose, Eve Kosofsky Sedgwick, Susan Sontag, Trinh T. Minh-ha, Stephen Whittle
About the Editor
Amelia Jones is Grierson Chair in Art History and Communication Studies at McGill University. Her books include Irrational Modernism: A Neurasthenic History of New York Dada (MIT Press), Self/Image: Technology, Representation and the Contemporary Subject, and Seeing Differently: A History and Theory of Identification and the Visual Arts.
2007, English
Hardcover, 400 pages, 235 x 263 mm
Published by
The MIT Press / Massachusetts
The Museum of Contemporary Art / Los Angeles
$88.00 - Out of stock
There had never been art like the art produced by women artists in the 1970s ;and there has never been a book with the ambition and scope of this one about that groundbreaking era. WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period ;Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovič, Ana Mendieta, Annette Messager, and others ;as well as important works made in those years by artists whose whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media ;from painting and sculpture to photography, film, installation, and video ;arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz. Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics ;including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism ;provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.
Essays by: Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni Sorkin.
Artists include: Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O'Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, and Hannah Wilke.
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