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, 43 pages, 21.5 x 28 cm
Edition of 500,
Published by 2nd Cannons / Los Angeles
$30.00 - In stock -
The third release in a series of books by William E. Jones, Heliogabalus pays tribute to the most decadent Roman Emperor. Who was this creature who called himself Elagabalus, after El Gabal, god of the sun? What to make of his addiction to luxury, his overbearing mother, his controversial genitals? Enlightening texts can be found in the latest 2nd Cannons publication. The book features accounts of Heliogabalus by Edward Gibbon, Herodian, Cassius Dio, and the spurious Aelius Lampridius. It also contains a contemporary text, “This Necrophilic Strategy Entails Some Risk,” a collaboration by Bruce Hainley and William E. Jones, previously published only in expurgated form, and now presented with all lurid details intact.
Varius Avitus Bassanius, later known in his infamy as Heliogabalus, ruled Rome from 218 to 222 of the Common Era. After he was murdered by the soldiers who had formerly supported him, his successor, Alexander Severus, ordered that all sculptures of Heliogabalus be desecrated. The iconoclasm directed against Heliogabalus was so nearly complete that very few portraits of him still exist. William E. Jones has somewhat opportunistically dealt with the paucity of images of this imperial person by inserting advertisements from a bygone era at intervals in Heliogabalus. These advertisements, and the book’s design in general, derive from the pages of that avatar of 1970s urban culture, After Dark.
$75.00 - In stock -
Beautiful hardcover cloth-bound catalogue published on the occasion of Vincent Fecteau's large survey solo exhibition at Kunsthalle Basel in 2015 (curated by Elena Filipovic). In addition to numerous full-colour reproductions of the exhibited works the book (including installation views and numerous photographs of individual works from different angles, including details) contains a new essay by Bruce Hainley. Also includes an exhibition work list, biography and bibliography.
Co-published byKunsthalle Basel, Matthew Marks (New York), Galerie Daniel Buchholz (Cologne) and greengrassi (London).
Edition of 1000.
Vincent Fecteau (b. 1969) has, over the last two decades, forged a singular aesthetic that mixes homespun materials (popsicle sticks, champagne corks, string, and the like), meticulous craft work, and a curious formal grammar. By turns wonky, erotic, extraterrestrial, or baroque—and sometimes all of these at once—his sculptures are built from small, slow accumulations in which layering, texture, and the work of the hand are all visible. You Have Did the Right Thing When You Put That Skylight In, the San Francisco–based artist’s largest exhibition to date and his first solo show in Switzerland, is a selection of sculptures spanning from 2000 to the present plus the premiere of a large new body of work. Comprised of images culled from magazines and other ready-made elements (shoeboxes, jewelry boxes, wicker baskets, and other lo-fi containers, all painted the matte-est of blacks), these wall sculptures manifest both a return to his origins (collage) and a significant new direction.
Softcover, 113 pages, 140 x 215 mm
Edition of 100, hand-numbered.,
Published by Pep Talk / Los Angeles
$32.00 - In stock -
Bruce Hainley PEP TALK is the first collection of the author's writing, bringing together an amazing selection of republished and unpublished interviews, critical essays, and poems. Every single text in this collection is guaranteed to light your fire, if you have any wick at all. As writer, critic, poet, teacher, mentor and more, Hainley is incomparable and irreplaceable to us in Los Angeles and those engaged with contemporary art anywhere. This monographic issue also includes contributions from artists Richard Hawkins and Dianna Molzan. - PEP TALK
Very highly recommended.
Hardcover, 304 pages, 17.8 x 22.9 cm
Published by Semiotext(e) / Los Angeles
$72.00 - In stock -
Asked to sum up her artistic pursuit, the American artist Elaine Sturtevant once replied: 'I create vertigo.' Since the mid-1960s, Sturtevant has been using repetition to change the way art is understood. In 1965, what seemed to be a group show by then 'hot' artists (Andy Warhol, Jasper Johns, Roy Lichtenstein, George Segal, and James Rosenquist, among others) was in fact Sturtevant's first solo exhibit, every work in it created by herself. Sturtevant would continue to make her work the work of others, focusing her career on the artistic copy. The subject of major museum exhibitions throughout Europe and awarded the Golden Lion for lifetime achievement at the 54th Venice Biennale, she will have a majorsurvey at the MoMA, New York, in 2014. In Under the Sign of, Bruce Hainley unpacks the work of Sturtevant, providing the first book-length monographic study of the artist in English. Hainley draws on elusive archival materials to tackle not only Sturtevant's work but also the essential problem that it poses. Hainley examines all of Sturtevant's projects in a single year (1967); uses her Gonzalez-Torres Untitled (Go-Go Dancing Platform) from 1995 as a conceptual wedge to consider contemporary art's place in the world; and, finally, digs into the most occluded part of her career, from 1971 to 1973, when she created works by Michael Heizer and Walter de Maria, and had her first solo American museum exhibit.
Under the Sign of is ostensibly a study of the haunting American artist Elaine Sturtevant, but what Bruce Hainley has written, really, is a poem about postwar American art and the woman who remade it in her own image by 'appropriating,'which is to say, reconfiguring, the distinctly male and sometimes male queer vision that informed the work of artists such as Warhol, Oldenburg, Johns, and the rest. As the first book-length monograph in English of a baffling, moving, and mysterious artist -- 'I create vertigo,' Sturtevant said about herself -- Hainley has written a splendid study not only of the artist's work but also of the atmosphere of change it helped foster. - The New Yorker
Bruce Hainley lives and works in Los Angeles. A contributing editor atArtforum, he is the author of two books of poetry, one of which, Foul Mouth, was a finalist in the National Poetry Series. With John Waters, he wrote Art -- A Sex Book. He teaches in the MFA programs of Art Center College of Design and the Roski School of Fine Arts, University of Southern California.
Softcover, 208 pages (40 colour & 20 b/w ill.), 22.5 x 15 cm
Published by Walther König / Köln
$35.00 - In stock -
As part of a generation of artists that emerged in the US in the early 1980s, Johnson is the 'artist's artist' par excellence, highly respected by fellow practitioners and students but little known outside of these circles.
This publication addresses this glaring bibliographic gap by offering an accessible overview of his work, through analyses of some of his main preoccupations: queer politics, the urban landscape of L.A and Hollywood mythologies.
Alongside numerous illustrations of Johnson's artworks spanning his career from the early 1980s to the present, the book also includes images specially selected by the artist from his personal archives and other sources. Among these are photographs by Mel Roberts and from the Athletic Model Guild.
Johnson's work bears the marks of a generation of artists sampling readymade images and texts to create seductively laconic pictures. Yet the colourful sheen of his photo-based works is also a foil for sexual, political and semantic tensions.
The artist’s pictures are encryptions of a Hollywood demi-monde, referring to the cultures from which his work emerges – queer, political, filmic and theoretical.
This rich visual selection provides a unique perspective on Johnson's personal connections to queer history, the city of Los Angeles – where he has lived all his life – and to American politics.
Published on the occasion of the exhibition Larry Johnson: On Location at Raven Row, London, 11 June – 9 August.
Softcover, 160 pages, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - Out of stock
Oscar Murillo by Isobel Harbison; Ryan Sullivan by Klaus Kertess; Allison Katz by Chris Sharp; Jonathan Binet by Michele D’Aurizio; Tala Madani by Chris Wiley.
MAIN THEME – Four Painters, Four Perspectives
Heimo Zobernig by Beatrix Ruf; John Currin by Catherine Wood; Amy Sillman by Joanna Fiduccia; Michael Krebber by Isabelle Graw.
MONO – Dianna Molzan
Essay by Jonathan Griffin; Interview by Bruce Hainley.
Futura: Nikolas Gambaroff by Hans Ulrich Obrist; Souvenir D’Italie: Giorgio Griffa by Luca Cerizza; Producers: Almine Rech by Carson Chan; On Exhibitions: “Painter Painter” by Cristina Travaglini.
Softcover, 180 pages, offset, 318 x 240 mm
Published by Walther König / Köln
$29.00 - Out of stock
American artist Aaron Curry (born 1972) trawls and amalgamates modernist art sources--Calder, Noguchi, Henry Moore, Cubism and Surrealism--with allusions to phenomena such as graffiti art, American folklore and sci-fi imagery, in an array of media. His gestural paintings on paper, collages and resin-coated shards of cardboard soak up all these influences.
Bad Dimension is the first monograph on his work, presented on the occasion of an exhibition at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy and kestnergesellschaft, Hannover, Germany, and is rich with photographs of his works from over the recent years and texts by Martin Germann, Bruce Hainley, Richard Hawkins, and Alessandro Rabbottini.
$35.00 - Out of stock
Edited by Quinn Latimer
With interviews by Andrew Berardini, Anne Collier, Gintaras Didžiapetris, Bruce Hainley, Carter Mull, Ali Subotnick, Adam Szymczyk & Quinn Latimer, The Wrong Times
Published on the occasion of his solo exhibition at Kunsthalle Basel (June–August 2012), this publication includes interviews and images of the work of the Los Angeles-based artist Paul Sietsema. The residual aesthetics of Sietsema's art practice result from the translation of visual information between mediums—for instance, his sculptures and paintings appear on film rather than in their original media. Through the accumulation of conversations with the artist spanning from 2006 to 2012—primarily reproductions of earlier material with the addition of a new interview by Adam Szymczyk, director of Kunsthalle Basel, and Quinn Latimer, an art critic and the book’s editor—the discursive texts in Interviews on Films and Works obliquely encompass the issues central to the artist’s work, including the perception of present time and the relationship of materials to form. Also featured in the publication are stills from newly produced films, Telegraph (2012) and Encre Chine (2012), as well as reproductions of paintings and works on paper developed from the recurring visual motif of a photograph of a sailboat—continuing Sietsema’s ongoing investigation into the mechanics of knowledge and history within image culture.
Co-published with Kunsthalle Basel
Design by Manuel Raeder
Softcover, 162 pages (illustrated throughout), 26 x 21 cm
Published by Walther König / Köln
$50.00 - In stock -
First comprehensive monograph on the Los Angeles based artist Richard Hawkins,
published on the occasion of the exhibition "Of two minds, simultaneously" by
Richard Hawkins at de Appel arts centre, Amsterdam. With an essay by Bruce
Hainley, an interview with the artist and an introductory text by the curator Anne
Demeester. The book is produced in collaboration with Galerie Daniel Buchholz,
Corvi-Mora, Greene Naftali, Richard Telles Fine Art, de Appel arts centre.