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—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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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.
$.00 - Out of stock
The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
Gift vouchers can be purchased in increments of $20 (Australian Dollars) and the total amount can simply be added to by increasing the quantity in your shopping cart. eg. A quantity of 5 gift vouchers will result in an item total of $100 - a $100 gift voucher. Simply click "ADD TO CART" 5 times, or update your quantity in the shopping cart.
If you wish to purchase multiple, separate gift vouchers in one go, please just email us and we can personally prepare and email you a payment request.
Please note: Please select Pick-Up on gift voucher purchse to avoid any postage charges. Accidental postage charges will be refunded right away!
Thank you.
For any questions, please don't hesitate to email: [email protected]
1973, English
Softcover (staple-bound), 24.8 x 19.2 cm
1st Edition, Out of print title / as new
Published by
Herd Publishing / NSW
$70.00 - In stock -
" ... IS CHARIS, SO NAMED BY A FATHER WHO COLLECTED DEAD LANGUAGES. BORN IN STAWELL 1939, SPENT A DREAMY VICTORIAN GIRLHOOD, TRAINED AS NURSE AND MIDWIFE. WAS IN LOVE WITH JESUS TILL THE AGE OF 21 WHEN SHE DISCOVERED MEN. WENT LOOKING ELSEWHERE FOR HER BLUE PRINCE. HE CAME ACROSS HER IN ANDALUSIA. SPENT SOME YEARS THERE BEFORE TRAVELLING THE EAST AND THE AMERICAS. SETTLED IN AUSTRALIA 1969. COLLABORATES WITH HUSBAND SCHWARZ IN PRODUCING FILM, PHOTO, AND PROSE. IS TRUE SCORPIO, HAS ALWAYS DRAWN HERSELF OUT, HAS NO FORMAL ART TRAINING. IN EUROPE HER WORK IS DESCRIBED AS INDICATIVE OF 'PERFECTLY BALANCED SCHIZOPHRENIA'. HER AMBITION IS TO LIVE FROM THE FRUIT OF HER IMAGINATION."
Very rare sealed copies of Australian artist Charis (Schwarz)'s one and only book of erotic drawings, published by Herd Publications in Sydney, run by Gustav Herstik and his wife, who operated the Love Art sex shops. Herd Publishing was a publisher of a variety of pornographic magazines, including some of the earliest Australian-produced homosexual porn magazines, Stallion and Apollo. A rare early example of the decadent and sensuous artistic output of Charis, one of the last survivors of bohemian Kings Cross and a life-long collaborator with her husband, the late George Schwarz. Producers of poetic works of film, photography, print and prose, simultaneously erotic, taboo, progressive, liberated, too provocative/evocative for the Australian art establishment, Charis and George were the creators of the first Australian hardcore sex films to be passed by the censors (and also refused classification).
"We are witness to depictions of female desire not seen before in the history of Australian art. There are hints of mythologies and magic rituals. Everything is in flux, animals and humans merge and decouple. Mirror images double and distort, orifices, chakras and pleasure points are the keys to reading the images. [...] the gamut of human sexual expression. Amongst the bravura flourish of penmanship the images depict fetish, animalia, group, same sex and single sex desire. There are mythic lovers, imperious duenna, self-possessed and knowing schoolgirls. Hair, flowers, fans, mirrors, umbrellas and candles are recurring motifs. Seemingly simple but infinitely complex, these drawings are important because they reveal a hitherto hidden aspect of female experience and imagining. Within the reams of art history the drawings have echoes of the heady syncretism of Jan Toorop (1858-1928) and Alastair (Baron Hans Heming Voight) (1857-1969), but more importantly they reveal the zeitgeist that also informed other more well-known women artists of the period including Carolee Schneemann (1939-2019) and Mary Beth Edelson (1933-2021)."—Craig Judd, from Power Paradise: The Art of George Schwarz & Charis
Highly recommended.
As New dead-stock, still sealed, but with varying degrees of age to stock and plastic bags, occasional small damages from insects or storage.
1974, English
Softcover (staple-bound), 72 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
The Ear in a Wheatfield / North Fitzroy
$160.00 - In stock -
Very rare copy of The Ear in a Wheatfield - Earth Ship, second series No. 5, February 1974, edited by English-Australian poet Kris Hemensley and hand-printed by Retta Hemensley on the Hemensley-Reneo in North Fitzroy, Victoria. An important Australian small-press literary journal published by Hemensley between 1973—1976, The Ear was a vital mouthpiece for experimental poetry, bringing together international contributors (featuring many UK friends associated with Ambit, Grosseteste Review, Bananas, Curtains, and the American L=A=N=G=U=A=G=E poets, etc), with writers in Australia operating outside the mainstream. This issue is packed with contributions by Geoff Bowman, Abigail Mozley, Colin Symes, John Millett, Larry Eigner, Trevor Reeves, Michael Palmer, John Thorpe, Maria Gitin, John Riley, Bill Fell, Franco Beltrametti, Roger McDonald, Jennifer Maiden; correspondence: James Koller, Jas Duke, a report on "New Poetry in New Zealand" by Trevor Reeves, new book and magazine reviews (from Paul Buck's Curtains to Vicki Viidikas' Condition Red), plus special review section of Japanese poetry titles, and much more, all processed typescript by Hemensley and stapled.
Kris Hemensley (b. 1946) is an English-Australian poet who has published around 20 collections of poetry. Through the late 1960s and '70s he was involved in poetry workshops at La Mama, and edited the literary magazines Our Glass, The Ear in a Wheatfield, and others. The Ear played an important role in providing a place where poets writing outside what was then the mainstream could publish their work. In 1969 and 1970 he presented the program Kris Hemensley's Melbourne on ABC Radio. In the 1970s he was poetry editor for Meanjin. He and Retta Hemensley ran the Collected Works Bookshop in the Nicholas Building, Melbourne, until 2018.
Very Good well-preserved copy, light age/tanning, uncreased margin.
1975, English
Softcover (staple-bound), 36 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
The Ear in a Wheatfield / North Fitzroy
$150.00 - In stock -
Very rare copy of The Ear in a Wheatfield No. 16, September 1975 ("In Place of The Place Issue"), edited by English-Australian poet Kris Hemensley and hand-printed by Retta Hemensley on the Hemensley-Reneo in North Fitzroy, Victoria. An important Australian small-press literary journal published by Hemensley (who moved to Kris Hemensley moved to Australia from the UK in the mid-1960s) between 1973—1976, The Ear was a vital mouthpiece for experimental poetry, bringing together international contributors (featuring many UK friends associated with Ambit, Grosseteste Review, Bananas, Curtains, and the American L=A=N=G=U=A=G=E poets, etc), with writers in Australia operating outside the mainstream. This issue is packed with contributions by Tim Burns, Paul Buck, Glenda George, Karl Leuengruber, Bill Beard, Kris Hemensley, Philip Garrison, Ken Taylor, John Scott, Jennifer Maiden, Rosemarie Waldrop, John Trantor, Frank Hogan, Chris Aulich, plus Memos by Hemensley and Walter Billeter, and more, all processed typescript by Hemensley and stapled.
Kris Hemensley (b. 1946) is an English-Australian poet who has published around 20 collections of poetry. Through the late 1960s and '70s he was involved in poetry workshops at La Mama, and edited the literary magazines Our Glass, The Ear in a Wheatfield, and others. The Ear played an important role in providing a place where poets writing outside what was then the mainstream could publish their work. In 1969 and 1970 he presented the program Kris Hemensley's Melbourne on ABC Radio. In the 1970s he was poetry editor for Meanjin. He and Retta Hemensley ran the Collected Works Bookshop in the Nicholas Building, Melbourne, until 2018.
Very Good well-preserved copy, light age/tanning, uncreased margin.
1979, English
Softcover, 155 pages, 31 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Dragon's Dream / Paris
$140.00 - In stock -
First 1979 edition of the wonderful Dragon's Dream collection of artworks from The Studio, a small artists' loft commune formed in 1975 by four comic book artists/commercial illustrators/fantasy painters in Manhattan's Chelsea district — Jeffrey Jones, Michael Kaluta, Barry Windsor Smith, and Berni Wrightson, known colloquially as the "Fab Four". The purpose of The Studio was to provide the group with a space where they could pursue creative products outside the constraints of comic book commercialism. By 1979, the "Fab Four" had produced enough material to issue an art book under the name The Studio, which was published by Dragon's Dream. This is that very book, the only book they published. The commune disbanded the very same year to pursue independent projects.
Lavishly illustrated with a huge amount of fine examples of each artist's output, from preliminary drawings to finished paintings and accomplished graphic/illustration works, broken into chapters with working texts for each artist and a full index. Artworks are accompanied by many photographs of The Studio behind the scenes. A rare insight into the work of some of the leading figures in fantasy art in the 1970s.
Jeffrey Jones (1944 – 2011) is known for their work with Metal Hurlant/Heavy Metal, Creepy, Eerie, King Comics, Gold Key Comics, Vampirella, Wally Wood's Witzend, and much more. Jones created the cover art for more than 150 books through 1976. Barry Windsor-Smith (b. 1949) is known for his work on Marvel Comics' Conan the Barbarian from 1970 to 1973, plus Marvel Comics work on Thing, Wolverine, work for Dark Horse Comics, Valiant, Gold Key Comics, Fantagraphics, and more. Bernard Wrightson (1948– 2017) is known for co-creating the Swamp Thing, his adaptations of works by Edgar Allan Poe, H. P. Lovecraft, Stephen King, and many horror comics for DC comics, amongst others. Michael Kaluta (b. 1947), famed for his elaborate fantasy art that beautifully merges eroticism with the supernatural, and his science fiction comic books of Starstruck and The Shadow, and much more.
Very Good copy, light cover edge wear only.
1977, English
Softcover, 160 pages, 27.5 x 18.5 cm
Out of print title / used / very good
Published by
Penguin Books / London
$90.00 - Out of stock
Cyber-communard and editor of the Whole Earth Catalog, Stewart Brand's 1977 visionary compendium, "Space Colonies". A special book edition of Brand's legendary CoEvolution Quarterly, Space Colonies took up the question of whether space might be colonized by the year 2000, going to where no media on the subject of space travel has gone before. A visionary and controversial assemblage of articles, illustrations, information and opinions on space colonies, inspired by the culture of the Whole Earth Catalog, with contributions from Buckminster Fuller, Richard Brautigan, Ant Farm, Carl Sagan, Lynn Margulis, Wendell Berry, Gary Snyder, David Browner, Paolo Soleri, Eric Drexler, Rusty Schweickart, and many more... interviews with Jacques Cousteau, Gerard O'Neill, Carl Sagan, Lynn Margulis, and many more, all organized into three sections - Vision, Debate and Space.
"This book is about how to take Space personally. Gerard O'Neill's vision of Space Colonies has turned the universe inside out for people. Instead of seeing the space program as a "boondoggle for scientists" (Herman Kahn), suddenly they can see Space as a path, or at least a metaphor, for their own liberation. And those who are critics of high technology — who abound in this book — can leverage their arguments from Space industrialization as the quintessence of what they are fighting. What's new is that people are extrapolating from the future and outside instead of just from the past and inside."
Very Good copy, with some light tanning/wear.
1973 / ?, English
Softcover, 176 pages, 27 x 38 cm
Reprint,
Out of print title / used / good
Published by
Shelter Publishing / California
$60.00 - In stock -
Reprint of 1973 edition from possibly 2000?
From the early days of the environmental movement that began in the 1970s, this book attempted to find "a responsive & sensitive balance between the still-usable skills & wisdom of the past & the sustainable products & inventions of the 20th century. About simple homes, natural materials, & human resourcefulness."
Shelter is many things — a visually dynamic, oversized compendium of organic architecture past and present; a how-to book that includes over 1,250 illustrations; and a Whole Earth Catalog-type sourcebook for living in harmony with the earth by using every conceivable material.
First published in 1973, Shelter remains a source of inspiration and invention. Including the nuts-and-bolts aspects of building, the book covers such topics as dwellings from Iron Age huts to Bedouin tents to Togo's tin-and-thatch houses; nomadic shelters from tipis to "housecars"; and domes, dome cities, sod iglus, and even treehouses.
By the same guys who brought you the earlier "Domebook" 1 and 2, this is a wonderful design resource, illustrated with black-and-white & color photographs, sketches, & plans throughout.
The authors recount personal stories about alternative dwellings that illustrate sensible solutions to problems associated with using materials found in the environment — with fascinating, often surprising results.
"It's an inspiring celebration of indigenous, handmade, personal-statement building. Oughta be the first book a freshman architecture student sees." — J. Baldwin, Whole Earth Review
"It's time to educate the architects. To that extent this book on shakes and wattle and daub is the most revolutionary architecture book around..." — Architecture in Australia
Good copy with knocks, pinches to covers/corners/extremities, otherwise Very Good clean copy throughout.
1978, English
Softcover, 224 pages, 21 x 28 cm
1st Edition, Out of print title / used / good
Published by
Shelter Publishing / California
$40.00 - In stock -
First printing from 1978 of Shelter II, the follow-up book to Shelter, published in 1973.
Shelter II is about people building their own homes in different parts of the world. Heavily illustrated with photographs and plan drawings, the contents span "Indigenous Builders"; "North American Houses and Barns"; "Design"; "Small Buildings"; "Construction"; "Materials"; "Homes"; "Cities" and "Industrialized Housing" encompassing Greenhouses, English Cottages, Nomadic settlements in Rendille, The Urus floating reed islands, Turkish Yurts, Bungalows, Barns, Alternative Energy, Sod Roofs, Foam Domes, Gypsy Vans, Amsterdam Houseboats, Space Colonies, to name but a few!
The principles outlined in Shelter, published almost 40 years ago, seem even more important today: relearning the still-usable skills of the past and doing more hand work in providing life's necessities. Shelter II provides a basic manual of design and construction for the first time house-builder. The book begins with simple shelters still being built and lived in by people with minimal resources. They can be viewed for historical or anthropological interest, or as sensible, instructive examples of efficient construction by those who lack the choices available in industrialized societies. There are also personal accounts and seasoned advice from builders in different climates, with a variety of design approaches, construction techniques, and building materials. A home is still a place for working, resting, sharing, healing, dreaming . . . some things haven't changed that much.
Good copy with some general wear/rubbing to covers, light foxing/tanning.
1973, English
Softcover, 176 pages, 27 x 38 cm
1st Edition, Out of print title / used / very good
Published by
Shelter Publishing / California
$95.00 - Out of stock
First printing from 1973.
From the early days of the environmental movement that began in the 1970s, this book attempted to find "a responsive & sensitive balance between the still-usable skills & wisdom of the past & the sustainable products & inventions of the 20th century. About simple homes, natural materials, & human resourcefulness."
Shelter is many things — a visually dynamic, oversized compendium of organic architecture past and present; a how-to book that includes over 1,250 illustrations; and a Whole Earth Catalog-type sourcebook for living in harmony with the earth by using every conceivable material.
First published in 1973, Shelter remains a source of inspiration and invention. Including the nuts-and-bolts aspects of building, the book covers such topics as dwellings from Iron Age huts to Bedouin tents to Togo's tin-and-thatch houses; nomadic shelters from tipis to "housecars"; and domes, dome cities, sod iglus, and even treehouses.
By the same guys who brought you the earlier "Domebook" 1 and 2, this is a wonderful design resource, illustrated with black-and-white & color photographs, sketches, & plans throughout.
The authors recount personal stories about alternative dwellings that illustrate sensible solutions to problems associated with using materials found in the environment — with fascinating, often surprising results.
"It's an inspiring celebration of indigenous, handmade, personal-statement building. Oughta be the first book a freshman architecture student sees." — J. Baldwin, Whole Earth Review
"It's time to educate the architects. To that extent this book on shakes and wattle and daub is the most revolutionary architecture book around..." — Architecture in Australia
Very Good with light wear. Rarely seen in first edition so well preserved.
1981, English
Hardcover (w. dust jacket), 199 pages, 27 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Timber Press / London
$100.00 - Out of stock
First 1981 hardcover edition of Mediaeval Gardens by John Harvey, published by Timber Press, a collectible book that begins with the legacy of classical gardening left by the Romans in Britain and Western Europe and tracing its development to the early Tudor period. This is one of the finest illustrated accounts of gardening in mediaeval times.
Very Good copy. Some sunning to dust jacket, light wear.
1992, English
Softcover, 160 pages, 42.5 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$150.00 - In stock -
"This three-foot, in-your-face, on-your-lap monster belongs on every five-foot shelf."
Rare first edition copy of the most unruly of the remarkable special book issues of the original Semiotext(e) journal — the Semiotext(e) Architecture Issue, published in 1992, edited and Schizo-designed as an enormous and heavy landscape magazine by Hrazten Zeitlian, featuring the work of Brian Boigon, Atom Egoyan, Felix Guattari, Arthur Kroker, Catherine Ingraham, Hrazten Zeitlian, Erwin Panofsky, Jesse Reiser, Daniel Libeskind, Stan Allen, Daniel Tiffany, Greg Ulmer, and many others packed into an explosion of architectural and typographical DIY desktop delirium. "Complex texts struggling with architectures intended to drag you into a visual and conceptual maelstrom. [...] a volume too big to open in most city apartments."—MIT Press
First edition. Not the 2009 reprint.
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Very Good copy with light general wear. Very well preserved for the format!
1980, Italian
Softcover, 72 pages, 24 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Studio Forma / Turin
Studio Alchymia / Milan
$280.00 - In stock -
Very rare, very early volume published on the occasion of the exhibition "Elogio Del Banale" at the Venice Biennale, 1980, as part of the 1st International Architecture Exhibition. Conceived by Alessandro Mendini, Daniela Puppa, Paola Navone, this collection and book (directed by Andrea Branzi and designed by Michele de Lucchi) is heavily illustrated throughout with the work and studies of radical Italian design group Studio Alchimia, including many rarely seen early exhibition designs, interiors, furniture, objects, even catalogue decor for Fiorucci. Accompanying texts are by founding members Alessandro Mendini and Franco Raggi, and with an introduction by Barbara Radice. Includes patterns by Paola Navone and photographic studies by Ettore Sottsass throughout. An exceptional piece of printed radical design history, featuring many future Memphis members, published by Studio forma in Turin and Studio Alchymia in Milan.
Studio Alchimia was an iconoclastic, radical design group founded in Italy in 1976 by the Italian Architect Alessandro Guerriero. The Studio Alchimia was composed of designers, whose aim was to design and manufacture exhibition pieces, rather than consumer orientated products. Their products were to be regarded as prototypes / one-offs, leading the way from the principles of modernist design to a bold, new, experimental design style. This style would lead to the formation and popularity of Italian design groups in the 1980′s such as the Memphis Group and the new directions taken by the Alessi company.
Very Good copy.
2025, English
Softcover (staple-bound), 32 pages, 27 x 21 cm
Edition of 300,
Published by
Stolon Press / Sydney
$33.00 - In stock -
Intro–4 Bars
Chorus 1–2 Bars
pity the nation… pity the nation
pity the nation… pity the nation
Pause–2 Bars
Verse 1–8 Bars
pity the nation that is full of empty faith
pity the nation that wears cloth it does not weave
eats gluttony breads it does not harvest
drinks wine that flows not from its wine press
pity the nation that acclaims the bully as hero
hails and deems the glittering conquerer bountiful
pity a nation that despises passion
only in its dreams submits to awakening
Images and text by Khaled Sabsabi
Typesetting by Ruud Ruttens
Published by Stolon Press, Sydney
2025, English
Softcover (staple-bound), 32 pages, 27 x 21 cm
Edition of 300,
Published by
Stolon Press / Sydney
$33.00 - In stock -
‘By the fig, by the olive, by Mount Sinai and by this city of refuge’
وَٱلتِّينِ وَٱلزَّيْتُونِ
وَطُورِ سِينِينَ
وَهَٰذَا ٱلْبَلَدِ ٱلْأَمِينِ
Quran: Chapter 95. At-Tin
Continuing with these ideas: Alif, Meem, أم, Arabic letters laid out in this path spell out the mother and or source of origin, leading the way by perspicuous examples that makes the oppressed heart clear.
And if Meem, Alif, ما, order is reversed it spells the name for water and the unexplained parallels of the possibilities of the unseen in which there is no doubt or guide. The wisdom of the living and eternal symbols of whatever makes honest.
Free from Fear and Reward.
Images and text by Khaled Sabsabi
Typesetting by Ruud Ruttens
Published by Stolon Press, Sydney
2021, English
Hardcover, 192 pages, 18.4 x 26 cm
1st Edition, Out of print title / as new
Published by
Atelier EXB / Paris
$100.00 - In stock -
In 1977, Masahisa Fukase turned his lens toward his cat, Sasuke, spending a year "crawling on my stomach to be at eye level with a cat and, in a way, that made me a cat." A year later, he acquired a second cat, Momoe. Featuring tipped-on cover images, this gorgeously made book is arranged in four chapters, organised around the timeline of Fukase’s life with his cats. They become for the Japanese photographer a boundless experimental field leading to an extraordinary body of work in its technical and visual inventiveness. As so often in his work, these tender images also express the photographer’s subjectivity and his connection to his subject. The cat, a faithful companion who never leaves him, takes the place of his wife, eternal heartache, later represented by the iconic fleeing crows of his masterpiece
Ravens series.
2023, Japanese / English
Hardcover, 216 pages, 15 x 22 cm
1st Edition, Out of print title / as new
Published by
Akaaka / Kyoto
$90.00 - In stock -
Photographer Masahisa Fukase (1934–2012) carved out a unique place in the history of Japanese photography in the 1960s by focusing on his personal life. He pointed his camera at those in his immediate surroundings: his wife, Yoko, his extended family, his cat. Yet, while exposing his own life through a loving gaze and carefree sense of humour, he simultaneously set about exploring the madness deep within himself. Fukase’s career was tragically cut short when he suffered a fall in 1992, subsequently suffering severe memory impairment and aphasia. He never took another photograph. This retrospective collection offers an intimate tribute to his entire oeuvre.
As New, now out-of-print.
2019, English / Japanese
Hardcover, 80 pages, 31 x 23 cm
Published by
MACK / London
$115.00 - In stock -
‘My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death’. – Masahisa Fukase
For three generations the Fukase family ran a photography studio in Bifuka, a small provincial town in the northern Japanese province of Hokkaido. In August 1971, at the age of 35, Masahisa Fukase returned home from Tokyo, where he had moved in the 1950s. He realised that the Fukase Photographic Studio, which his younger brother managed, combined with the growing family members, constituted the perfect subject for a series of portraits. Between 1971 and 1989, he returned regularly and used the family studio, the large-format Anthony view camera and the changing family line-up as the basis for the series. True to his style, Fukase often introduced third-party models and humorous elements to juxtapose the ineluctable reality of time passing and the dwindling family group. He continued the series through his father’s death in 1987, up until the closure of the Fukase studio due to bankruptcy in 1989, and the consequential dispersion of the family.
Family (Kazoku) was released in 1991, and was Fukase’s last book. It begins with a photograph of the family studio and the following 31 images are family portraits made in the studio in chronological order. The book includes an extensive text written by Fukase himself and a modern essay by Tomo Kosuga.
2017, English
Hardcover (w. slipcase), 136 pages, 26.3 x 26.3 cm
Published by
MACK / London
$175.00 - In stock -
Consistently proclaimed as one of the most important photobooks in the history of the medium, Ravens by Japanese photographer Masahisa Fukase was first published in 1986 and the two subsequent editions were both short print runs that sold out immediately. This bilingual facsimile of the first edition contains a new text by founder of the Masahisa Fukase Archives, Tomo Kosuga. His essay locates Ravens in Fukase’s wider work and life, and is illustrated with numerous recently discovered photographs and drawings. Fukase’s haunting series of work was made between 1975 and 1986 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows, which are said to serve as an allegory for postwar Japan.
Blind embossed clothbound hardback in a silkscreen printed carton slipcase.
Original afterword by Akira Hasegawa [1986] and a new text by Tomo Kosuga [both bilingual].
1974, English
Softcover, 335 pages, 22.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Random House / New York
$85.00 - In stock -
The first edition of Amos Vogel's seminal book, Film as a Subversive Art, one of the greatest books on cinema, published in 1974. Reprinted in 2005 by D.A.P./C.T. Editions, that edition also quickly went out of print and this landmark book has not been available since. 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 for this classic volume are still relevant today. 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.
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.
VG copy, single crease to front cover edge, not other real damages, well preserved throughout. Image only a sample.
2005, English
Softcover, 304 pages, 15 x 21.1 cm
Published by
Grove Press / New York
$39.00 - In stock -
Set largely on the pages of a website where gay male escorts are reviewed by their clients, and told through the postings, emails, and conversations of several dozen unreliable narrators, The Sluts chronicles the evolution of one young escort's date with a satisfied client into a metafiction of pornography, lies, half-truths, and myth. Explicit, shocking, comical, and displaying the author's signature flair for blending structural complexity with direct, stylish, accessible language, The Sluts is Cooper's most transgressive novel since Frisk, and one of his most innovative works of fiction to date.
Dennis Cooper (born 1953) is an American novelist, poet, critic, editor and performance artist who grew up in the Southern California. In 1976, he founded Little Caesar Magazine and Press, which he ran until 1982. In 1985, he moved to Amsterdam for two and a half years, where he began his ten year long project, The George Miles Cycle, an interconnected sequence of five novels that includes Closer, Frisk, Try, Guide, and Period. His post-George Miles Cycle novels include My Loose Thread, The Sluts and God, Jr. Other works include the short-story collections Wrong and Ugly Man, poetry collections The Dream Police and The Weaklings, as well as the recent Smothered in Hugs: Essays, Interviews, Feedback, and Obituaries.
Dennis Cooper currently spends his time between Los Angeles and Paris.
"Dennis Cooper, God help him, is a born writer"—William Burroughs
"Cooper’s language is at first intense, nearly minimal, then suddenly, it ascends into vision"—Kathy Acker
2023, English / German
Softcover (staple-bound), 56 pages, 21 x 15 cm
Published by
Neue Galerie Gladbeck / Gladbeck
$35.00 $25.00 - In stock -
Catalogue published on the occasion of the exhibition Michaela Eichwald — Free path to happiness, August 25, 2023 – October 29, 2023, Neue Galerie Gladbeck. Bilingual english and German, with a photo series and notes by the artist, illustrations of the works and installations, accompanied by a text by Luisa Schlotterbeck. This publication was created in collaboration with Michaela Eichwald, Luisa Schlotterbeck and Visible. In memory of Kathrin Roussel. Supported by Reena Spaulings Fine Art, New York City, Isabella Bortolozzi, Berlin, Dépendance, Brussels. With kind support from Sparkasse Gladbeck.
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 - In 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.
1999, English
Softcover, 130 pages, 21 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Sub Dee Industries / Melbourne
$50.00 - Out of stock
"This book contains surrogate fiction, gelatinous poetry, art that bites... It is amorphous, androgynous — as butch as a builder's jockstrap and as sour as a lemon. It considers the options, yet puts the foetus at risk, it takes the time for foreplay, yet loves a deep shag.
Amorphik probes the Outer Limits of Sexuality with raw wit and savage intelligence, and is determined to be banned in Queensland.
Just wait and see..."
Australian new erotica anthology edited, designed and published by Simon Sellars. Featuring the work of Samantha Bews.Symon Brandonatasha Cho, Rob Cover. Sasha Cunningham. Kieran Dell, Kristoph Eggleston, Sarah Endacott, Michael Haward. Hilaire. Kim Hunt, Tana Mccarthy, Garth Madsen, Matthew Firth, Scott Flaherty, Diana Harris, Vasilios Billy Mavreas, Erika Niesner, Ben Paradox, Tony Reck, Dee Rimbaud, Sarala, Peter Christmas Savieri, Bronwyn Scanlon, Simon Sellars, Dana Shavit, Dee Teflon, Der Teufel, Nick Umney, Tim Umney, Andres Vaccari.
Very Good copy with light wear/creasing to covers.