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 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
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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.
"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.
1993, Japanese
Hardcover (w. dust jacket), 220 pages, 13.6 cm x 19.4 cm
1st Edition, Out of print title / used / fine
Published by
Seikyūsha / Tokyo
$110.00 - Out of stock
New Tribalism In Sexual City, Prick Up, Rubbers, Gay Fetishism, Consensual SM, Modern Primitives, Pre-Tech Tattoo, Fakir Musafar, Ignore the White Culture, Body Manipulation, Hyper Pornography, Harrison Marks, Allen Jones, She-Male, Mannequin, Kinbaku, Seppuku, Kyoko Hamura, Rightbrain, Trevor Brown, Roman Slocombe, Medical Art, Forest Of Guts, Auto Erotic, J. P. Witkin, Anatomic Images, Discipline, Yves Klein, Piero Manzoni, Otto Mühl, Hermann Nitsch, Rudolf Schwarzkoglar, Aktion, Meat Performance, Trans-Gender, Transmutation, John Gacy, Ed Gain, Death ...
First hardcover edition of "Terminal Body Play", written by Merzbow's Masami Akita and published only in Japan in 1993. Covering all the above subjects with b/w illustrations, "Terminal Body Play" explores a plethora of physical utopias, including a revived ancient culture of body decoration and manipulation, the pleasure of the body perverted by BDSM, the dematerialised body of performance art, the aesthetics of murder, medicine and anatomy, and so much more. Merzbow is a noise project created in Tokyo, Japan in 1979 under the direction of noise technician Masami Akita. As well as a legendary underground noise artist, Akita is a prolific writer in Japan and frequently writes on the arts, music, erotica, esoterica, modern architecture, and animal rights, with articles on emerging subcultures and underground extreme cultures appearing in publications like SM Sniper, Studio Voice and Fool's Mate. His development of the Merzbow aesthetic ran parallel with a series of investigative books in which he catalogued and introduced a vast amount of hermetic types of music, sexual practices and autonomous creativity to a fairly conservative (but not close-minded) Japanese audience. "Terminal Body Play" is one of these very books.
First edition, Japanese text, fine copy with fine "textured" and illustrated dust jacket.
2014, English
Hardcover, 208 pages, 20 x 26 cm
Published by
Aspen Art Museum / Aspen
$85.00 - In stock - Add to cart
This volume offers a compelling examination of the surprising conceptual and visual correspondences between the works of these two pivotal artists known for their innovative practices. Klein (1928-1962) was a major figure in postwar art who opened up new possibilities for material, conceptual and performative expression, often touching on the metaphysical. Hammons (born 1943) is a conceptual artist whose works in performance, installation, sculpture, printmaking and other media confront contemporary realities with an often hard-hitting wit. This publication aims not to draw out any notion of influence or direct correlation between these bodies of work, but rather to elucidate a resonance between two artists who both engage transformative processes to invest the humblest of everyday materials with deep aesthetic significance.
2012, English
Hardcover (w. dust jacket), 287 pages, 24 x 31.5 cm
1st Edition, Out of print title / used / very good
Published by
Skira / Milan
Rizzoli / New York
MOCA / Los Angeles
Museum of Contemporary Art / Chicago
$180.00 - In stock - Add to cart
First and only edition of this incredible out-of-print book, Destroy the Picture: Painting the Void, 1949–1962 is the first book (and exhibition) to focus on one of the most significant transnational developments in contemporary abstract painting: the artist’s literal assault on the picture plane. Responding to the physical and psychological destruction wrought by World War II—especially the existential crisis resulting from the atomic bomb—artists ripped, cut, burned, and affixed objects to the canvas in lieu of paint. Destroy the Picture emphasizes this internationally shared artistic sensibility in the context of devastating global change and dynamic artistic dialogues, offering an innovative and expansive view of art making in the postwar period.
As artists from war-torn countries like Italy and Japan—including Lucio Fontana, Alberto Burri, Kazuo Shiraga, and Shozo Shimamoto—channeled their ruined surroundings into artistic form; artists throughout the world—such as Yves Klein and Niki de Saint Phalle in France, John Latham in the United Kingdom, Robert Rauschenberg and Lee Bontecou in the United States, Otto Müehl in Austria, and Manolo Millares in Spain, among others—pursued similar approaches and strategies. Destroy the Picture presents an opportunity to reconsider the profound repercussions of this remarkably coherent approach in painting, from artists’ early experiments with translating gestures into materials to their emphasis on a rupture between two and three dimensions, as well as the expansion of the painting medium to incorporate performance, assemblage, and time-based strategies. In many cases, the exhibition places the work of now-established artists back into the radical context in which it originally emerged.
Organised by Paul Schimmel, former Chief Curator of The Museum of Contemporary Art, Los Angeles, in association with the Museum of Contemporary Art Chicago, the exhibition and this remarkable accompanying hardcover catalogue mark the first time that these strategies have been considered together as a coherent mode of artistic production, expanding the scholarship on this critical moment in history. Alongside major essays by Paul Schimmel, Nicholas Cullinan, Astrid Handa-Gagnard, Shoichi Hirai, Sarah-Neel Smith, and Robert Storr, Destroy the Picture is heavily illustrated throughout with works dating 1949 and 1962 by artists from eight countries, including Lee Bontecou, Alberto Burri, Lucio Fontana, Salvatore Scarpitta, Kazuo Shiraga, Gérard Deschamps, François Dufrêne, Jean Fautrier, Adolf Frohner, Raymond Hains, Yves Klein, John Latham, Gustav Metzger, Otto Müehl, Manolo Millares, Saburo Murakami, Robert Rauschenberg, Niki de Saint Phalle, Shozo Shimamoto, Antoni Tàpies, Chiyu Uemae, Jacques Villeglé, Wolf Vostell, and Michio Yoshihara.
Very Good—Near Fine copy in Very Good—Near Fine dust-jacket.
1974, English
Softcover, 216 pages, 21 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$30.00 - Out of stock
Environments and Happenings by painter and poet Adrian Henri, published by Thames & Hudson in 1974, forms one of the first mainstream book surveys to trace the phenomenon of environmental/performative/total living artworks that became prevalent in the 1960s/70s. This historical study is profusely illustrated in colour and b/w with many international works from Fluxus to Zero to Dolle Mina to Nouveau Réalisme to Provo to Gutai to The Situationists and much more. Includes the works of Joseph Beuys, Clarence Schmidt, Ray Johnson, Öyvind Fahlström, Paul Thek, Yves Klein, Allan Kaprow, Hans Haacke, Kurt Schwitters, Marcel Duchamp, Guerllia Art Action Group, Daniel Spoerri, Wolf Vostell, Gustav Metzger, Peter Kuttner, Jackson Pollock, Alison Knowles, Dick Higgins, Robert Morris, Situationist International, Ferdinand Kriwet, Klaus Rinke, Duane Hanson, A-Yo, Meret Oppenheim, Space Structure Workshop, Ferdinand Cheval, Dolle Mina (Mad Mina), Robert Smithson, Jeff Nuttall, Stefan Wewerka, Christo, Dennis Oppenheim, Vladimir Tatlin, Provo, Barry Flanagan, Andy Warhol, Meredith Monk, Atsuko Tanaka, Kazuo Shiraga, Ed Keinholz, Yayoi Kusama, Piero Gilardi, Niki de Saint-Phalle, Jean Tinguely, Claes Oldenburg, Les Levine, James Rosenquist, Red Grooms, Tom Wesselmann, George Segal, Eduardo Paolozzi, and many many more. Includes reproductions of performance scripts, partial chronology, etc.
Very Good copy, previous owner name to front endpaper.
1969 / 2006, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / fine
Published by
Kunsthalle Bern / Bern
$290.00 - Out of stock
One of the great art documents of the 20th century, "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. This is the impeccably re-produced facsimile edition of the exhibition catalogue published in conjunction with an exhibition honouring the legacy of Szeemann in 2006, published by the Kunsthalle Bern, the producers of the original. Strictly limited edition and immediately out-of-print, this most faithful reprint, with the unique die-cut alphabetically tabbed index bound with hardware-fittings, has become as collectible as the 1969 edition.
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
As New with only light creasing to the overhanging edges of the cover edges, otherwise a Fine copy.
2023, English / French
Hardcover, 224 pages, 20 x 27 cm
Published by
Mousse / Milan
$96.00 - In stock - Add to cart
Yves Klein may be one of the first European artists to have taken an explicit interest in Aboriginal visual art. This catalog offers a poetic and completely new approach to his work, placed in perspective with the works of twelve Aboriginal artists.
Published on the occasion of the homonymous exhibition held at the Opale Foundation (in Lens, Switzerland), the book Rêver dans le rêve des autres (Dreaming in the dream of others) presents the work of Yves Klein alongside with works by twelve Aboriginal artists (Angkaliya Curtis, Bardayal "Lofty" Nadjamerrek, Bill Whiskey Tjapaltjarri, Danie Mellor, Dhambit Munungurr, Emily Kame Kngwarreye, Ignatia Djanghara, Paddy Bedford, Waigan Djanghara, Wattie Karruwara, Judy Watson, and Paji Honeychild Yankarr), showing how the link between the French artist and the world of the Australian Aborigines is anything but arbitrary. Klein was very interested in the non-Western: works from his youth have been discovered in his archives that were later identified as copies of Aboriginal motifs, and his writings confirm that he was familiar with the cave paintings of north-western Australia. In the '50s, Aboriginal art, which was little known, was seen not as the expression of a different spirit, but rather as the survival of a vanished spirit, in short, that of the Neolithic: Yves Klein, like his parents, was fascinated by prehistory.
Yves Klein, born in 1928 in Nice, had as a first vocation to be a judoka. It was only back in Paris, in 1954, that he dedicated himself fully to art, setting out on his "adventure into monochrome".
Animated by a quest to "liberate colour from the prison that is the line", Yves Klein directed his attention to the monochrome which, to him, was the only form of painting that allowed to "make visible the absolute".
By choosing to express feeling rather than figurative form, Yves Klein moved beyond ideas of artistic representation, conceiving the work of art instead as a trace of communication between the artist and the world; invisible truth made visible. His works, he said, were to be "the ashes of his art", traces of that which the eye could not see.
Yves Klein's practice revealed of new way of conceptualising the role of the artist, conceiving his whole life as an artwork. "Art is everywhere that the artist goes", he once declared. According to him, beauty existed everywhere, but in a state of invisibility. His task was to to capture beauty wherever it might be found, in matter as in air.
The artist used blue as the vehicle for his quest to capture immateriality and the infinite. His celebrated bluer-than-blue hue, soon to be named "IKB" (International Klein Blue), radiates colourful waves, engaging not only the eyes of the viewer, but in fact allowing us see with our souls, to read with our imaginations.
From monochromes, to the void, to his "technique of living brushes" or "Anthropometry"; by way of his deployment of nature's elements in order to manifest their creative life-force; and his use of gold as a portal to the absolute; Yves Klein developed a ground-breaking practice that broke down boundaries between conceptual art, sculpture, painting, and performance.
Just before dying, Yves Klein told a friend, "I am going to go into the biggest studio in the world, and I will only do immaterial works."
Between May 1954 and June 6, 1962, the date of his death, Yves Klein burned his life to make a flamboyant work that marked his era and still shines today.
Texts by Georges Petitjean, Wally Caruana, Didier Semin, Kim Akerman.
1979, German
Softcover, 419 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthaus Zürich / Zürich
Bentelli Verlag / Bern
$80.00 - In stock - Add to cart
Wonderful over-sized catalogue published on the occasion of the exhibition Malerei und Photographie im Dialog / Painting and Photography in Dialogue, Kunsthaus Zürich, May 13 to July 24, 1977. Profusely illustrated, this heavy volume documents this historical survey of the relationship between photography and painting from 1840 to the present (late 1970s); with a full catalogue of works, artists' biographies, bibliography. Edited by Erika Billeter with texts throughout by art historian Josef A. Schmoll. Includes the work of Edvard Munch, Urs Lüthi, Wols, Vito Acconci, John Baldessari, Eadweard Muybridge, Hannah Höch, Raoul Hausmann, Hans-Peter Feldmann, Oskar Schlemmer, Francis Bacon, Hilla and Bernd Becher, Les Levine, Constant Puyo, Clarence Hudson White, Jan Groover, Jochen Gerz, Duane Michels, Mario Merz, Giulio Paolini, Ruth Francken, Theo Von Doesburg, Kurt Schwitters, Ferdinand Hodler, Herbert Bayer, Marcel Duchamp, Gertrude Käsebier, Edward Steichen, Alighiero Boetti, Klaus Rinke, Giuseppe Penone, Pierre Bonnard, Paul Klee, Gerhard Richter, Monika Baumgartl, Yves Klein, Wolf Vostell, Heinrich Kühn, Georges Mathieu, Peter Roehr, Sarkis, Jiro Takamatsu, Michael Heizer, Umberto Boccioni, Hans Bellmer, William Wegman, Raoul Ubac, Margrit Jäggli, André Kertész, Jiri Kolar, Kasimir Malevich, Henri de Toulouse-Lautrec, Dennis Oppenheim, Christian Boltanski, Dan Graham, Jan Dibbets, Jürgen Klauke, Bruce Nauman, Jean Tinguely, Vettor Pisani, Max Ernst, Joseph Cornell, Allen Kaprow, Arnulf Rainer, Mieczyslaw Berman, Jim Dine, George Brecht, Man Ray, Paul Wunderlich, Karin Székessy, Tom Wesselmann, Chuck Close, Eugène Delacroix, Duane Hanson, Heinrich Zille, Félix Vallotton, Carl Durheim, Gilbert and George, Joseph Beuys, Thomas Eakins, Robert Rauschenberg, Édouard Vuillard, Carlo Carrà, Alphonse Mucha, Les Krims, Albert Steiner, Giorgio de Chirico, Keiji Uematsu, Ernst Ludwig Kirchner, Heinrich Zille, Franco Fontana, Richard Long, Ben Shahn, Edmund Kesting, László Moholy-Nagy, Anton Stankowski, Paul Nash, Rene Magritte, Paul T. Frankl, John Heartfield, El Lissitzky, Georges Hugnet, Gordon Matta-Clark....
Very Good copy, crease to top cover corner.
1971, English
Softcover (staple-bound), 114 pages, 24 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Kineticism Press / New York
$160.00 - Out of stock
Issue number 2 of the legendary New York quarterly periodical Avalanche, published Winter 1971. Cover features Bruce Nauman. Contents: "Rumbles," featuring Bas jan Ader, John Perreault, Vito Acconci and Paul Kos; "Interview: Bruce Nauman"; "Interview: Terry Fox"; "Klaus Rinke Retrospective"; "Documents: John Van Saun"; "Documents: Dennis Oppenheim"; "Documents: Richard Serra"; "Yves Klein," by Shunk-Kender; "King for a Day," by Bruce McLean; "112 Greene Street," by Alan Saret and Jeffrey Lew; "Mrs. Burke, I Thought You Were Dead," by William Wegman; "Drifts and Conversions," by Vito Acconci; "A Discussion with Acconci, Fox, and Oppenheim," by Vito Acconci, Terry Fox and Dennis Oppenheim. Edited by Liza Bear, published by Willoughby Sharp, designed by Boris Wall Gruphy.
The short-lived New York based art magazine Avalanche, which existed between 1970 and 1976, captured a sense of its time, but also engaged critically with the relationship between printed matter (books, samizdat, etc.) and artwork. Founded by Liza Bear and Willoughby Sharp Avalanche pushed artistic ideas, focusing on new forms of art-making (of it’s day), providing a timely format for art’s movement away from galleries and museums and towards the printed page and emerging discourses surrounding Performance and Land art. The interviews, all conducted by Bear and Sharp, employ a loose but thoughtful approach. Often the articles ran as large as 16 pages. The featured artists were at the time relatively unknown, today they read like a Who’s Who of the avant-garde (in particular as defined by Dia:). The square covers of the early issues feature now iconic portraits of artists; Joseph Beuys, Lawrence Weiner, Yvonne Rainer, Vito Acconci (who had the entire Issue of #6 dedicated to him) and Bruce Nauman.
Featured artists were Vito Acconci, Laurie Anderson, Bill Beckley, Joseph Beuys, Chris Burden, Daniel Buren, Hanne Darboven, Walter De Maria, Jan Dibbets, Barbara Dilley, Simone Forti, Gilbert & George, the Philip Glass Ensemble, Grand Union, Hans Haacke, Jannis Kounellis, Meredith Monk, Barry Le Va, Sol LeWitt, Richard Long, Gordon Matta-Clark, Bruce Nauman, Dennis Oppenheim, Steve Paxton, Yvonne Rainer, Klaus Rinke, Joel Shapiro, Jack Smith, Keith Sonnier, Richard Serra, Robert Smithson, George Trakas, William Wegman, Lawrence Weiner, the Western Front and Jackie Winsor.
Very Good copy with tanning and light wear.
1969, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Bern / Bern
$600.00 - Out of stock
One of the great art documents of the 20th century, the original printing of the legendary catalogue for "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. Very rare original 1969 edition!
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
Light wear and marking to folder covers, internal rubbing from metal plate, previous owners name and "69" to top of inside cover, otherwise very good copy throughout, complete.
1969, English / German
Flexible plastic covers, screw-bound in acrylic spine, multiple stocks throughout, approx 500 pages, 28 x 15 cm
3rd enlarged edition,
Out of print title / used / very good
Published by
Ludwig Museum / Cologne
$300.00 - Out of stock
The extraordinary, definitive 1960s art exhibition catalogue, in it's 3rd expanded and corrected edition, designed by Wolf Vostell for the Ludwig collection in Cologne in 1969. A work of art itself, "Kunst der sechziger Jahre" perfectly embodies the materiality of the pop-era in book form. Housed in thick blind-stamped clear soft plastic covers bound in a hard acrylic plexiglass spine with stainless steel screws, this remarkable book opens with an introductory text and lexicon in German and English, printed on styrofoam pages and graph stock, with contributions by Gert von der Osten, Peter Ludwig, Horst Keller, and Evelyn Weiss. Featuring 92 artists, all part of the private collection of Peter Ludwig, each artist is presented with a portrait on transparent acetate followed by a selection of glossy offset-printed colour artworks tipped-in (often concertina fold-out!) on thick raw kraft paper pages. This enlarged 3rd edition features over 200 objects in total, a vast expansion on the first editions.
Featuring the greats of European-American Pop, Nouveau Réalisme, Fluxus, Art Informel, Abstraction, Minimalism and more, this mighty tome includes the work of Josef Albers, Carl Andre, Horst Antes, Shusaku Arakawa, Allan D'Arcangelo, Arman, Richard Artschwager, Jo Baer, Larry Bell, Miguel Berrocal, Joseph Beuys, Peter Blake, Gernot Bubenik, Anthony Caro, John Chamberlain, Dan Christensen, Alex Colville, Carlos Cruz-Diez, Ronald Davis, Jim Dine, Jean Dubuffet, Richard Estes, Oyvind Fahlstrom, Dan Flavin, Lucio Fontana, Domenico Gnoli, Bruno Goller, Robert Graham, Nancy Stevenson Graves, Gunter Haese, Richard Hamilton, Hans Hartung, Erwin Heerich, Eva Hesse, David Hockney, Robert Indiana, Jasper Johns, Allen Jones, Donald Judd, Howard Kantovitz, Ellsworth Kelly, Edward Kienholz, R. B. Kitaj, Konrad Klapheck, Yves Klein, Yayoi Kusama, Sol Lewitt, Roy Lichtenstein, Richard Linder, Morris Louis, Heinz Mack, Piero Manzoni, Marisol, Malcolm Morley, Robert Morris, Bruce Nauman, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzi, Pablo Picasso, Michelangelo Pistoletto, Robert Rauschenberg, Martial Raysse, Gerhard Richter, Jean-Paul Riopelle, James Rosenquist, Niki de Saint Phalle, Nicolas Schoffer, Bernhard Schultze, George Segal, Richard Serra, Keith Sonnier, Pierre Soulages, Daniel Spoerri, Lawrence Stafford, Lewis Stein, Frank Stella, Antoni Tapies, Paul Thek, Wayne Thiebaud, Jean Tinguely, Richard Tuttle, Cy Twombly, Gunther Uecker, Ursula (Schultze-Bluhm), Victor Vasarely, Wolf Vostell, Franz Erhard Walther, Andy Warhol, Tom Wesselmann, Wols (Wolfgang Schulze).
A Very Good copy of this fragile and collectible catalogue. The usual bowing to pages, some general ageing, with a split to the lower back of plastic spine where the screw hole is, yet all still intact, nothing missing. Complete copy.
1990, English
Softcover, 100 pages, 8 x 22 cm
1st Edition, Out of print title / used / good
Published by
A&D / London
$25.00 - Out of stock
"New Art International" from 1990, a special "Art & Design Profile" edition from London's A.D. magazine. Articles/essays by Thomas Lawson, Victor Burgin, Germano Celant, Robert Rosenblum, Donald Kuspit, Jenny Holzer, Jeff Koons, and many more. Profusely illustrated throughout with the work of Haim Steinbach, Cady Noland, Zoe Leonard, Jenny Holzer, Allan McCollum, Jannis Kounellis, Cindy Sherman, Mario Merz, Barbara Kruger, Susana Solano, Ashley Bickerton, Larry Johnson, David Salle, Peter Halley, Robert Longo, John Baldessari, Barbara Bloom, Laurie Simmons, Luciano Fabro, Christian Boltanski, Thomas Schütte, Günther Förg, Annette Lemieux, Gilbert & George, Victor Burgin, Jeff Koons, Tim Rollins + KOS, Giuseppe Penone, James Lee Byars, Anselm Kiefer, Yves Klein, Thérèse Oulton, Kryzstof Wodiczko, and many more....
Very Good copy, light tanning to cover and some bumping to bottom back cover edge.
1970, Dutch
Hardcover, unpaginated, 27.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Nederlandse Stichting Openbaar Kunstbezit / Netherlands
$45.00 - Out of stock
Published in 1970 by Dutch art historian and critic Carel Blotkamp (b. 1945), Na de beeldenstorm: drie opstellen over recente beeldende kunst (3 essays on recent visual art) surveys developments in art at the height of one of the most innovative periods in art history, the 1960s. Blotkamp traces the influence of historical avant gardes (Mondrian, Kandinsky, Malevich, Duchamp...) into new abstraction, hard-edge, Color Field, Minimalism, Pop, Op Art, Nouveau Réalisme, Fluxus, Art Povera, Land Art, et al. Illustrated throughout in colour and black and white with fine examples of work by Barnett Newman, Josef Albers, Lucio Fontana, Robert Rauschenberg, Daan Van Golden, Richard Serra, Kenneth Nolan, Morris Louis, Jo Baer, Frank Stella, Bruce Nauman, Claes Oldenburg, Jim Dine, Walter de Maria, Yves Klein, Robert Morris, Bridget Riley, Jasper Johns, Lawrence Weiner, Jan Dibbets, Armando, Panamarenko, Joseph Beuys, Sol LeWitt, Ellsworth Kelly, Larry Poons, Barry Flanagan, JCJ Vanderheyden, Robert Indiana, Roy Lichtenstein, Martial Raysse, Richard Long, Wim T. Schippers, Marcel Duchamp, Michael Heizer, Ger van Elk, Mario Merz, Carl Andre, Pieter Engels, Andy Warhol, Edward Rushca, Jesús Rafael Soto, Peter Struycken, and many more...
Very Good copy without dust jacket (as issued), light tanning/wear to glossy, foiled boards.
1986, English
Softcover, 156 pages, 23 x 28 cm
1st Edition, Out of print title / used / average
Published by
Museum of Fine Arts / Boston
$25.00 $5.00 - Out of stock
Exhibition catalogue published by the Museum of Fine Arts, Boston, in 1986, surveying their collection of Contemporary Painting and Sculpture. Illustrated throughout in full colour with works by Pierre Alechinsky, Miquel Barcelo, Alfonse Borysewicz, Terry Allen, Siah Armajani, Arman, Richard Artschwager, Jennifer Bartlett, Georg Baselitz, Gerry Bergstein, Troy Brauntuch, Jack Bush, Pier Paolo Calzolari, Anthony Caro, Joseph Cornell, Enzo Cucchi, Willem De Kooning, Jean Dubuffet, Richard Estes, Roy Deforest, Robert Freeman, Adolph Gottlieb, Al Held, Yves Klein, Michael Lucero, Louise Nevelson, Katherine Porter, Susan Rothenberg, Cy Twombly, Terry Winters, Gilbert & George, Gregory Gillespie, Ralph Goings, Arshile Gorky, Nancy Graves, Philip Guston, Duane Hanson, Jess, Jasper Johns, Ellsworth Kelly, Franz Kline, Joseph Kosuth, Roy Lichtenstein, Morris Louis, Michael Mazur, John Mcnamara, Catherine Murphy, Alice Neel, A.R. Penck, Sigmar Polke, Robert Rauschenberg, Gerhard Richter, Mark Rothko, Lucas Samaras, George Segal, David Smith, Kenneth Snelson, Joan Snyder, Pat Steir, Frank Stella, Gary Stephan, Clyfford Still, Tom Wesselmann, William T. Wiley, Bill Woodrow, Robert Yarber, and many more.
2012, English / Swedish
Softcover, 224 pages, 28 x 21.7cm
Published by
Walther König / Köln
$68.00 - Out of stock
In the years following the Second World War, artists across the world began to attack the most basic premises of painting, in ways that were both aggressive and playful. The creative act itself was deemed as important as the painting that resulted from it, creating an energetic interzone between painting and performance in which chance procedures, the movement of bodies and the participation of spectators were all recruited as tools.
Explosion! Painting as Action explores the connections and cross fertilizations between painting, performance and conceptual art from the late 1940s to the present. Examining painting, photography, video, performance, dance and sound art, this volume includes works by Lynda Benglis, Niki de Saint Phalle, Cai Guo-Qiang, the Gutai Group, Allan Kaprow, Yves Klein, Alison Knowles, Ana Mendieta, Rivane Neuenschwander, Yoko Ono, Jackson Pollock, Robert Rauschenberg, Carolee Schneemann, Shozo Shimamoto, Lawrence Weiner and many others.
2007, English
Softcover (spray-painted), 96 pages, 30 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Peres Projects / Los Angeles
$100.00 $20.00 - Out of stock
First, limited edition first issue of Daddy Magazine, brings together texts by Bruce LaBruce and Richard Lidinsky interviewing AA Bronson, with artwork by Terence Koh, John Kleckner, Dean Sameshima, assume vivid astro focus, Agnes Martin, Sol Lewitt, Nate Lowman, Bruce Nauman, Matt Greene, Dan Colen, Yves Klein, Joe Bradley, Bruce LaBruce, General Idea, Erik Hanson, Rodney Werden, Matthias Herrmann and AA Bronson. This issue is a special edition by American artist Terrence Koh with each cover painted in gold by the artist and (almost) every page methodically crossed out with a large black sharpie marker. Long out of print.
Very Good copy with some cover wear.
2009, English
Softcover, 224 pages, 22.5 x 14 cm
1st Edition, Out of print title / as new
Published by
The Everyday Press / London
$70.00 - In stock - Add to cart
"In 1952 the 24-year-old Yves Klein left Paris for Japan to pursue his first love; not art but judo. After becoming one of very few Europeans to receive a coveted 4th dan black belt fro the Kodokan in Tokyo, Klein returned to France and opened the Judo Académie de Paris. In 1954 the prestigious firm of Grasset published his book Les Fondements du Judo, illustrated with hundreds of photographs of Klein and the leading Japanese teachers demonstrating the six major Kata of judo. Now this extraordinary work has finally been translated into English."
Yves Klein (1928 – 1962) was a French artist and an important figure in post-war European art. He was a leading member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of performance art, and is seen as an inspiration to and as a forerunner of minimal art, as well as pop art.
First and only English edition, published by The Everyday Press, now long out-of-print. Last copies.
1974, English
Softcover, 96 pages, 21 x 21 cm
1st Edition, Out of print title / used / good
Published by
The Tate Gallery / London
$35.00 $15.00 - Out of stock
First 1974 edition of this collection of writings of Yves Klein, published by The Tate Gallery, on the occasion of an exhibition of the artist's work that same year. The catalogue includes an introduction by Michael Compton and writings by Klein (accompanied by photographs throughout), together with a Chronology and a Catalogue of the works in the exhibition.
Yves Klein (1928 – 1962) was a French artist and an important figure in post-war European art. He was a leading member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of performance art, and is seen as an inspiration to and as a forerunner of minimal art, as well as pop art.
Ex-library copy with some internal stamps/marks not affecting content. Otherwise good throughout.
2003, English
Softcover, 632 pages, 17.8 x 22.9 cm
Published by
The MIT Press / Massachusetts
October Books / New York
$130.00 - In stock - Add to cart
Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions.
Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.
2016, English
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by
Prestel / Munich
$120.00 - Out of stock
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, Guyton/Walker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
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.
2018, English
Hardcover, 92 pages, 23 x 27.5 cm
Published by
Sternberg Press / Berlin
Eykyn Maclean / New York-London
$79.00 $35.00 - Out of stock
Contributions by Carl Andre, Meg O’Rourke, Caroline Weber, Lynn Zelevansky, Thea Westreich
The catalogue Ornament and Crime accompanies the group exhibition curated by Meg O’Rourke at Eykyn Maclean in New York (May 2–June 15, 2018). With Adolf Loos’s eponymous 1908 diatribe against excessive ornamentation as its guide, the exhibition draws on the tenets set forth by Loos—simplicity, purity, freedom—with particular attention to their philosophical implications and their persistence into the latter twentieth century. The catalogue traces a genealogy of form from the dogmatism of Loos and Piet Mondrian; to the experimental systems of Yves Klein, the Zero group, and Ad Reinhardt; and finally, to the austere formalism of Minimalism and Arte Povera. When superficial surfaces and superfluous decorations are stripped away, the unknown is opened up—into the void, that is, what lies beyond the surface; down to the elemental, a deeper engagement with material that exceeds mere abstraction; and toward the eternal, where aesthetic asceticism points toward spiritual and psychic transcendance. The texts comprise an introduction by Meg O’Rourke, an historical essay by Lynn Zelevansky, a creative abecedarium by Caroline Weber, and an interview with Carl Andre conducted by O’Rourke and Thea Westreich. They offer historical context and draw out the resonances between the artworks represented, which are included here in full-color standalone and installation views.
Features Agnes Martin, Donald Judd, Ellsworth Kelly, Carl Andre, Piet Mondrian, Yves Klein, Otto Piene, Ad Reinhardt, John McCracken, Lucio Fontana, Frank Stella, and more.
Copublished with Eykyn Maclean, New York / London
Design by A Practice for Everyday Life
2015, English / German / Dutch
Softcover, 560 pages, 25cm x 25cm
Published by
Walther König / Köln
$85.00 - Out of stock
Fire, light, movement, space, demonstrations, and performances: this major publication forms a historic survey of the innovative, international avant-garde artists’ group, ZERO.
In 1957, Heinz Mack and Otto Piene devised the name ZERO for a new art movement and magazine. The brevity of the term ZERO and the fact that it retained its meaning in many languages helped the group to become an international “brand” in the ‘60s. After the Second World War and the grim years of post-war reconstruction, the term ZERO marked the coming of a new, optimistic, experimental, and pioneering kind of art. Piene described it as “a zone of silence and of pure possibilities for a new beginning.” While the ZERO movement was under formation, Dutch artists Armando, Jan Henderikse, Henk Peeters, Jan Schoonhoven, and herman de vries established the Nul group in the Netherlands. Like-minded artists in France, Italy, and Belgium – such as Jean Tinguely, Yves Klein, Daniel Spoerri, Jesús Rafael Soto, Lucio Fontana, Pierre Manzoni, Dadamaino, and Christian Megert – were also formulating similar artistic strategies - many affiliated with other movements such as Nouveau réalisme, Arte Povera, Minimalism, Op Art, Land Art and Kinetic art. They joined up with the trio of artists from Dusseldorf: Mack, Piene, and Günther Uecker. Together, the artists began to organize exhibitions in galleries, museums, and in their own studios. They also co-created artworks, experimenting with the most innovative materials and media, as well as gave performances and happenings, produced multiples, and published magazines and other publications. In 1962, the Stedelijk Museum staged the first museum presentation of ZERO. A few years later, a more comprehensive survey, Nul 1965, followed, a presentation widely considered as one of the movement’s highlights. Precisely fifty years later, in 2015, the Stedelijk presented an historical survey that sheds light on how the network’s artists redefined the meaning and form of art forever.
This extensive, deeply researched and richly illustrated (over 900 plates) publication, edited by curator Margriet Schavemaker, and Dirk Poerschmann, academic staff member of the ZERO Foundation, includes essays by Antoon Melissen, Johan Pas, Francesca Pola & Thekla Zell, and the transcript of a conversation between Mattijs Visser and Daniel Birnbaum. Organized by the ZERO foundation and including some 200 objects, ZERO is one of the most comprehensive resources available on this self-consciously avant-gardist international movement.
Includes the work of Arman, Armando, Bernard Aubertin, Pol Bury, Enrico Castellani, Gianni Colombo, Dadamaino, Lucio Fontana, Hermann Goepfert, Gerhard von Graevenitz, Gotthard Graubner, Hans Haacke, Jan Henderikse, Paul van Hoeydock, Oskar Holweck, Yves Klein, Yayoi Kusama, Walter Leblanc, Adolf Luther, Heinz Mack, Piero Manzoni, Almir Mavignier, Christian Megert, François Morellet, Saboro Murakami, Henk Peeters, Otto Piene, Uli Pohl, George Rickey, Dieter Roth, Hans Salentin, Jan Schoonhoven, Jesús Raphael Soto, Daniel Spoerri, Jean Tinguely, Gunther Uecker, Jef Verheyen, Nanda Vigo, herman de vries.
1970, German
Softcover, 92 pages, 11 x 17 cm
1st edition, Out of print title / used*,
Published by
Galerie Rudolph Zwirner / Köln
$55.00 - Out of stock
"Z" is a great, unsuspecting pocketbook from Galerie Rudolph Zwirner in 1970, collecting together a wonderful group of works by 78 artists (Yves Klein, Richard Tuttle, Donald Judd, Cy Twombly, René Magritte, Laszlo Moholy-Nagy, Kenneth Noland, Daniel Spoerri, Frank Stella, Jean Tinguely, Roy Lichtenstein, Richard Linder, Jasper Johns, Martial Raysse, Dieter Rot, Franz Erhart Walther, Bruno Goller, Morris Louis, Jim Dine, Otto Dix, Jean Dubuffet, Max Ernst, Salvador Dali, Konrad Klapheck, Lucio Fontana, Blinky Palermo, Hundertwasser, Gerhard Richter, Antoni Tapies, Andy Warhol, George Grosz, Robert Graham, Allen Jones, Henri Michaux, Claes Oldenburg, Robert Rauschenberg, Oskar Schlemmer, Yves Tanguy, Louis Soutter, Tom Wesselmann, Toyen, Wols, Larry Bell, Dan Flavin, Panamarenko, Sol Lewitt, etc.) across painting, sculpture, drawings, collage and multiples, all reproduced in black and white across this almost entirely visual volume.
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.