World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Softcover, 220 pages, 14 x 21 cm
Published by Sternberg Press / Berlin
$33.00 - In stock -
Beatrice von Bismarck, Benjamin Meyer-Krahmer (Eds.)Cultures of the Curatorial 3
Hospitality: Hosting Relations in Exhibitions
Texts by Beatrice von Bismarck, Nanne Buurman, Maja Ćirić, Alice Creischer, Andrea Fraser, Lorenzo Fusi, Wiebke Gronemeyer, Erik Hagoort, Anthony Huberman, Thomas Locher, Benjamin Meyer-Krahmer, Dieter Roelstraete, Stefan Römer, Jörn Schafaff, Andreas Siekmann, Ruth Sonderegger
A curatorial situation is always one of hospitality. It implies invitations to artists, artworks, curators, audiences, and institutions; people and objects are received, welcomed, and temporarily brought together. It offers resources for material and physical support while also responding to a need for recognition, respect, or attention. Finally, and very importantly, a curatorial situation operates in the space between an unconditional acceptance of the other and exclusions legitimized through various rules and regulations.
This publication analyzes, from the perspective of hospitality, the curatorial within the current sociopolitical context through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs. Hospitality: Hosting Relations in Exhibitions is the third volume in the Cultures of the Curatorial book series.
Copublished with Kulturen des Kuratorischen, Hochschule für Grafik und Buchkunst Leipzig
Design by Surface
Softcover, 228 pages, 19 x 26 cm
Published by Walther König / Köln
$70.00 - In stock -
Texts by Anthony Huberman, Elena Filipovic, Melanie Gilligan, Marc von Schlegell
Sam Lewitt's new work consists of oversized custom flexible heating circuits, used for environmental regulation in the sealed environments of equipment as diverse as medical equipment and food trays, in satalites and chemical vats. The heating circuits in 'More Heat Than Light' are several times their conventional size, scaled-up and designed to draw their power and maximize the energy resources of the electrical circuits allotted for lighting within the sites they are inserted into. Energy allotted for stable artificial light is converted in this work into diffuse uneven warmth.
This book is conceived as a stand-alone object utilizing these images as well as research material relating to the work. On one hand, it picks-up the structure of a log of core temperatures of the sort compiled for analysis by the logistics and distribution industry. On the other hand, its format and layout utilize a two-color gradient printing process that interrupts the logical, spatial organization of the gridded screen-shots.
Sam Lewitt (born 1981) is an American artist living and working in New York City. His work was included in the 2012 edition of the Whitney Biennial. He is represented by the Miguel Abreu gallery in New York City and Galerie Buchholz in Cologne and Berlin.
$32.00 - In stock -
How do we educate curators? Great Expectations: Prospects for the Future of Curatorial Education explores this question, focusing in particular on the challenges, opportunities, and subjects that motivate educators and students.
Great Expectations grew out of the symposium The Next 25 Years: Propositions for the Future of Curatorial Education, organized by the Graduate Program in Curatorial Practice, California College of the Arts, and held in San Francisco on March 14–15, 2015.
With contributions by: Mark Beasley, María del Carmen Carrión, Rebecca Coates, Maeve Connolly, Barbara Fischer, Reesa Greenberg, Kit Hammonds, Matthew Higgs, Sinéad Hogan, Anthony Huberman, Mami Kataoka, Salwa Mikdadi, Julian Myers-Szupinska, Estelle Nabeyrat, Nontobeko Ntombela, Kris Paulsen, Kristina Lee Podesva, Peta Rake, Grace Samboh, Kitty Scott, Ulay
Softcover, 64 pages, 18.7 X 26 cm
Published by Archive Books / Berlin
$20.00 - Out of stock
The Exhibitionist #12
Journal on Exhibition Making
Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
Exhibitions are a social and collective form. Whether the products of a single artist or of a group, they gather together artworks (or objects, projects, residues) and construct from them an image of a social field. Just as understanding an exhibition involves thinking about the relations that exist among, and engender the possibility of imagining, that field, no less are exhibitions produced by a group. Beyond the artists and the exhibition maker(s) involved, an exhibition radiates from an expansive network: conservators, shippers, installers, writers, editors, designers, administrative types of all sorts, interns, guards, funders, promoters, and so on. Exhibitions are, furthermore, perceived by an audience or a public—another group—who are themselves internally divided and classed, cohesive or cacophonous....
Response I: Artists and curators
Fia Backström and Anthony Huberman
Re: family dynamics
Anne Ellegood and Kerry Tribe
Long Term Relationship
Claire Fontaine and Jens Hoffmann
Artistic Bitches and Curatorial Bastards
Inés Katzenstein and Juan José Cambre
Response II: Archival
Introduced by Liz Glass
Dear King Harry
James Lee Byars: Correspondence with Harald Szeemann (1988)
Triple Candie: Let the Artists Die
Emiliano Valdés: Who Has the Power?
Nontobeko Ntombela: Remastered
Daniel Birnbaum: Hijacking the Situationists
Slavs and Tatars: The Splits of the Mind, If Not the Legs
Rachel Rose: Artist, Curator, Meaning
An Illustrated Bibliography of the exhibitionist, Issues IX–XII
$50.00 - Out of stock
The Artist´s Institute dedicates each six-month season to a single artist, whose work becomes the occasion for a series of exhibitions, public programs, and graduate seminars with leading contemporary thinkers in the fields of art, music, film, literature, science, art history, philosophy, and other creative pursuits. The first six seasons, taking place between 2010 and 2013, were dedicated to Robert Filliou, Jo Baer, Jimmie Durham, Rosemarie Trockel, Haim Steinbach, and Thomas Bayrle. In each context, the Institute convened private and public forums to reflect on each artist by reading relevant texts, displaying artworks, and programming related events, all of which are narrated in this book.
Typeset by Scott Ponik.
Due to the weight of this volume, your order will likely incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
Softcover, 104 pages, offset/newsprint, 165 x 235 mm
Published by Dexter Sinister / New York
$27.5.00 - Out of stock
is assembled from PDFs of THE FIRST/LAST NEWSPAPER (TF/LN)
which was issued from Port Authority in New York CIty
every Wednesday & Saturday during the first 3 weeks
of November 2009
Softcover, 96 pages, 15.2 x 26.5 cm
Published by Sternberg Press / Berlin
$23.00 - Out of stock
With contributions by Mai Abu ElDahab, Binna Choi, Emily Pethick, Heejin Kim, Anthony Huberman, Will Bradley, Miren Jaio and Leire Veraga, Anna Colin and Melanie Boutaloup, and Gabi Ngcobo; and an interview with Kim Einarsson.
Circular Facts is a collaborative endeavor between three European contemporary art organizations: Casco – Office for Art, Design and Theory, Utrecht; Objectif Exhibitions, Antwerp; and The Showroom, London, in partnership with Kunst Halle Sankt Gallen and Electric Palm Tree. The project acted as an informal think tank and a mutual support structure for the production and dissemination of artistic projects, and has culminated in an eponymous publication. The publication aims to gather a spectrum of perspectives to explore the roles of specific initiatives within their particular localities. The contributors have produced works that speak to their experiences within arts institutions, collaborative curatorial initiatives, and research networks, expanding on the relationship between institutions and artists, markets, local and international audiences, and current political climates.
Softcover, 160 pages (8 color and 69 b/w ill.), 165 x 235 mm
Published by Sternberg Press / Berlin
$16.00 - In stock -
Edited by Stuart Bailey, Angie Keefer, David Reinfurt
Contributions by Dimmi Davidoff, Július Koller, Peter Fischli and David Weiss, Rob Giampietro, Anthony Huberman, Junior Aspirin Records, Perri MacKenzie, David Senior, Jan Verwoert
Bulletins of The Serving Library #2 continues the trajectory begun by DOT DOT DOT, Dexter Sinister’s previous house journal which ran for ten years and twenty issues. This issue grew out of two physical incarnations of The Serving Library in 2011. The first took place from July 4–August 10 in the Walter Phillips Gallery of the Visual Arts department at The Banff Centre, Alberta, Canada. Here they set up a model of the library’s projected interior to house a six-week summer school titled From the Toolbox of a Serving Library. The school comprised daily morning seminars, supplemented by a few evening events. Each week was based on a specific component from a (Photoshop-proxy) digital software toolbox, in order to reconsider what a contemporary (Bauhaus-proxy) Foundation Course might most usefully comprise. The second opened on October 29 and at the time of writing remains installed at Artists Space, New York. Here the same model serves more as a mini-expo in view of an eventual fixed home, alongside a parallel three-screen projection concerned with “Identity.”
2011, English / Italian
Softcover, 273 pages, 265 x 375 mm
Published by Mousse / Milan
$15.00 - Out of stock
by Antonio Scoccimarro
LUCY MCKENZIE AND MARC CAMILLE CHAIMOWICZ
Adventures Close To Home
by Michael Bracewell
Reality Production Part II
by Hans Ulrich Obrist
Etica Da Ginga A Letter from Rio De Janeiro
by Dieter Roelstraete
PART OF THE PROCESS – ALLORA & CALZADILLA
by Sofía Hernández Chong Cuy
CAREY YOUNG AND JILL MAGID
The Color of Law
by Introduction by Alessandro Rabottini
A Stitch in Time
by Adam Nankervis
by Carolyn Christov-Bakargiev with Barbara Casavecchia, Daniel Baumann, Anthony Huberman, Raimundas Malašauskas, João Ribas
TEN FUNDAMENTAL QUESTIONS OF CURATING
"Chapter 5: What Is the Public?" Juan A. Gaitán Images selected by Christodoulos Panayiotou
by edited by Jens Hoffmann
by David Joselit
Starting From The End
by Elena Volpato
A Readymade Mystery in Three Parts
by Adam Kleinman
KERSTIN BRÄTSCH AND AMY SILMAN
The Art and Ephemera of Allen Ruppersberg
by Andrew Berardini
After Marcel Broodthaers, on Relationism & Lost Articles
by Guillaume Désanges and Hélène Meisel
LOST AND FOUND
All That Jess
by Jens Hoffmann
Now or Never
by Jennifer Allen
On “Poesivski”, Oblivion and Cinema
by Vincent Honoré
SKELETONS IN THE CLOSET
by Rachel Rosenfield Lafo
by Will Holder
by Stefano Cernuschi
by Antonio Scoccimarro
Who Is Darius Mikšys
by Jennifer Teets
NICE TO MEET YOU – ADRIÁN VILAR ROJAS
The Aching Whale
by Cecilia Alemani
PORTFOLIO – ELIAS HANSEN
Glass Magnifies Things
by Sarah Lehrer-Graiwer
WHAT’S ALTERNATIVE? ALTERNATIVE TO WHAT?
Stefan Kalmár and Tirdad Zolghadr
by Curated by Vincenzo de Bellis
$20.00 - Out of stock
Contributions by Kathryn Elkin, Anthony Huberman, Raimundas Malašauskas, Nathaniel Mellors, Marco Pasi, Lili Reynaud-Dewar, Dieter Roelstraete, Aaron Schuster, Alexis Vaillant, and Giles Bailey, Martijn in’t Veld, Serena Lee, Arvo Leo, Susana Pedrosa, Linda Quinlan, Lee Welch, Camilla Wills, Timmy van Zoelen
Options with Nostrils brings together a collection of previously unpublished essays, both theoretical and visual, by artists, curators, a writer, a scholar, and a group of postgraduates from the Piet Zwart Institute’s Fine Art programme in Rotterdam, who together founded the “Office for the Unknown.”
Published as the outcome of a one-year-long project which curator Alexis Vaillant developed upon the invitation of Vanessa Ohlraun at Piet Zwart Institute in 2010, it investigates notions of the unknown and the unpredictable and looks at ways in which these notions enable a critical view on the conditions of art making within what one may call the “contemporanism” we live in. Revealing this process, the publication presents a series of proposals, ideas, shifts, and continuities. Labyrinthine in structure and outlook, Options with Nostrils aims to destabilize the belief that there is an order of things in response to which the artist holds a decisive position, maybe because, as Sarat Maharaj has said, “the artist has an unknowability, the ability to unknow.”
Co-published with Piet Zwart Institute, Willem de Kooning Academy, Rotterdam
Design by Sanghon Kim
Paperback (w. plastic wrap cover and full-colour artist card set), 176 pages, 21.6 x 34.5 cm
Published by CAM / St. Louis
$55.00 - Out of stock
This title is now out of print.
Curated by Anthony Huberman at the Contemporary Art Museum St. Louis, the group exhibition and catalogue For the Blind Man in the Dark Room Looking for the Black Cat That Isn't There explores the speculative nature of knowledge and insists on the importance of curiosity and the things we don't understand. Arranged around the premise that the world--and art--is not a code that needs cracking, the works in the exhibition center on the fruitfulness of not-knowing, un-learning, and productive confusion. David Hullfish Bailey, Marcel Broodthaers, Hans-Peter Feldmann, Fischli & Weiss, Rachel Harrison, Giorgio Morandi, Matt Mullican, Rosalind Nashashibi & Lucy Skaer, Frances Stark, Rosemarie Trockel and others present explanations that playfully don't explain. Dedicated to the inquisitive mind, For The Blind Man celebrates our ability to get lost and the stories we use to find our way in the dark. The book is edited, arranged and designed by London-based writer Will Holder and includes a new essay by curator Anthony Huberman.