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, 280 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
Under the motto “How we aim to work,” the June issue of Texte zur Kunst brings together contributions by authors who have been associated with the magazine for a long time and who have shaped its debates along the way. Instead of specifying a thematic focus, we left it to the contributors to decide which questions relating to their current research interests they wanted to address—themes for which, faced with the deadlines always bearing down on them, the authors usually don’t find time. It is precisely the conditions out of which their texts developed and the different formats of these contributions—from collaborative authorship; to narrative, literary essays; all the way to monographic and performative, artistic treatises—that stand for a different approach to the fields of university research, project-oriented collaborations, or artistic dealings. Such an approach would run counter to the often sobering coercion of activity and effectiveness that characterizes working conditions today. All of the contributions show that a strategy of countering this imperative of activity can derive from pursuing long-term modes of working and thought in a targeted way and from investing in a project intensively over a longer period of time. Not only does the longstanding commitment of these authors to Texte zur Kunst mark such an endeavor, but with their “work samples” in this issue, they also grant us insight into the themes they are currently working on: Instead of bowing to the pressure of presenting only finished products, they stress the potential that lies in making work processes visible and putting them up for debate. “How we aim to work” can therefore be understood as both a question that we pose ourselves and as a public appeal.
Plus a picture spread by Dierk Schmidt and reviews from Berlin, Cincinnati, Cologne, Düsseldorf, Frankfurt/Main, Liverpool, Los Angeles, Madrid, Margate (GB), New York, Nuremberg, Oberhausen, and Paris.
Exclusive new artists’ editions by Matias Faldbakken and Wade Guyton.
Postscript on the Societies of Comfort
Starting from the Picture
Seat of Power—A Picture of Being a Woman Artist
A Project Outline
Taking Part in the Other
Politics and Structural Ambivalence
Sabeth Buchmann & Constanze Ruhm
Subject Put to the Test
Disco, Drift, Tent, Choir
On Elizabeth Price’s Videos
Or: The Art of Obstruction
A Minor Ninth That Nobody Wants
On the Henry Flynt Exhibitions “Activities 1959–” in Düsseldorf and Karlsruhe
Still One of Us?
Isabelle Graw asks Julia Gelshorn, Sebastian Egenhofer, Fiona McGovern, and Chris Reitz about the current reception of Martin Kippenberger.
On Disabled Theater by Jérôme Bel
A Rapid Inventory of the Universe
On Rosa Barba at Turner Contemporary, Margate
On Linder at the Musée d’Art Moderne de la Ville de Paris
Who Knows Nothing?
On John Finneran at Canal 47, New York
On Derek Boshier at Thomas Solomon Gallery, Los Angeles
On Thomas Bayrle at The Artist’s Institute, New York
Complicity and Contestation
On Andrea Fraser at the Museum Ludwig, Cologne
On “Glam! The Performance of Style” at Tate Liverpool
On James Welling at the Cincinnati Art Museum
Pedro de Llano
The Sentient Memory of Latin America
On “Losing the human form” at Museo Nacional Centro de Arte Reina Sofía, Madrid
Jerry Can Cut, 2013
December 2010, English / German
Softcover, 296 pages (colour/bw ill.), offset, 230 x 165 mm
Published by Texte Zur Kunst / Berlin
$38.00 - Out of stock
"Political Art ?"
With this 80th issue, Texte zur Kunst celebrates its 20th anniversary. However, the correspondingly “grand” topic of our anniversary issue is not immediately revealed on the cover. Only gradually do the words “Politische Kunst?” (“Political Art?”) emerge from the golden stripes. Already this visual effect, but even more so the question mark in the title, highlights the innumerable layers of meaning in this pair of concepts. Which can hardly be reduced to a common denominator, for political art seems to be omnipresent today. In addition to the Kunstvereine, biennales and other large-scale events have meanwhile established themselves as venues predominantly presenting political art. Yet it cannot be grasped as a fixed category. What does apply, though, is that a certain form of commitment and a fixed positioning of political art must by all means be considered in the framework of their differentiation. But what is the political of political art in the first place, and in what relation do art and politics stand? How do the claims, modes of reception and the effects of political art relate to each other (cf. the statements of Claire Bishop, Tania Bruguera, Diedrich Diederichsen, Hans Haacke, Tom Holert, Clemens Krümmel, and Otto Karl Werckmeister)?
Includes : Helmut Draxler - The Curse of the Good Deed / The Claim to Autonomy and the Suspicion of Ideology in Political Art; Roundtable - When Art Meets Politics / A Roundtable Conversation about Political Art with Alice Creischer, Hans-Christian Dany, Tim Eitel, Constanze Ruhm, moderated by Sven Beckstette; Simon Sheikh - The Politics of Art and the Process of Biennialization; Maria Muhle - Political Art as Aesthetic Realism or Passion of the Real?; Clemens Krümmel - Poltical Art; Hans Haacke responds to questions from „Texte zur Kunst"; Diedrich Diederichsen - Speaking of Political Art; Claire Bishop - Art and Politics; Tom Holert- Critique or Gesture: Is that the Alternative?; Otto Karl Werckmeister - Marx´s Theorie does not prescribe an Art of the Left; Tania Bruguera - Political Art Transforms the Audience into Citizens....
Plus reviews from Berlin, Madrid, Basel, Antwerp, London, Graz, Paris, Rotterdam, New York, Wien, Kassel, Cologne, etc....
One of the finest art journals, period. TEXTE ZUR KUNST stands for controversial discussions and contributions by internationally leading writers on contemporary art and culture. Alongside ground-breaking essays the quarterly magazine, founded in Cologne in 1990 by Stefan Germer (†) and Isabelle Graw and published in Berlin since 2000, offers interviews, roundtable discussions and extensive reviews on art, film, music, market and fashion as well as on art history, theory and cultural politics. Since 2006 the comprehensive main section section, each time devoted to a different topic, and selected reviews are published in both German and English.