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
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World Food Books
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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.
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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]
1966, French
Hardcover (clothbound w. dustjacket), 110 pages, 20.5 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Éditions Denoël / Paris
$160.00 - In stock -
Beautifully produced, scarce French hardcover monographic volume dedicated entirely to reproductions of Surrealist visionary Hans Bellmer's incredible drawings. This is the very first edition, published by Éditions Denoël, Paris, in 1966. With an introduction by Constantin Jelenski. A stunning book, and a key title in the artist's oeuvre.
German artist Hans Bellmer (13 March 1902 – 23 February 1975), was best known for the life-sized pubescent female dolls he produced in the mid-1930s. "Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he'd been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925)."
Very Good – (in original dust jacket and protected under plastic wrap)
1997, English
Hardcover (w. dust jacket), 412 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / fine
Published by
Stanford University Press / Palo Alto
$60.00 - In stock -
In groundbreaking readings linking works of Descartes, Shakespeare, and Cervantes with contemporary revisions of Freud and Nietzsche, Unspeakable Subjects argues that the concepts and discourses that have come to define European modernity―the subject's extension and responsibility, genealogies of intention and of freedom, the literary, legal, and medical construction of the body, among others―arise as strategies for evading a profound redefinition of the nature of events in early modern Europe.
Negotiating the often competing claims of rhetorical reading and cultural analysis, Lezra reassesses the grounds of literary and philosophical history as a materialist practice of eventful reading. His original accounts of Don Quixote, Descartes's Second Meditation and Regulae, and Measure for Measure tack between linguistic, psychoanalytic, and cultural materialist approaches to define and discuss the double aspect of the event in early modern literature and philosophy, and in Freudian and Heideggerian critical discourse: the event is at once an accident, the unpredictable, deontic intrusion of the empirical in idealizing schemes, and the disclosing and recollecting of a subject's relation to discursive and cultural morphologies in which empirical events are said properly to take place.
The advent of "modernity," Unspeakable Subjects argues, arises as the novel account of the permanently interrupted negotiation between the event's deontic and its morphological aspects. If Unspeakable Subjects considers on this level the "singularities" of textual events, it also seeks to show their complex relation to the "singularities" of the forms given material history.
Drawing upon such varied sources as the proclamations of James I, the law of entail, Renaissance treatises on typography, and documents on Jacobean and Elizabethan privateering, as well as accounts of the "events" of May 1968 and of Lacan's treatment of the fort-da game, and of the cultural uses of the figure of Don Quixote in Spanish proto-Falangist thought, the author shows that the institutional setting and conditions for literary and philosophical speech-acts, and the graphic constraints upon the bodies that such acts support, also take shape according to patterns set in response to the instability of the event.
NF—Fine copy in NF dust jacket under mylar wrap.
1984, English
Hardcover (w. dust jacket), 364 pages, 24 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Leicester University Press / Leicester
$45.00 - Out of stock
First 1984 hardcover edition.
This comprehensive study of Jarry's work examines in detail all of his writings from the early schoolboy farces and the Ubu plays, through his poetry, novels, critical writings and journalism, to the musical comedies of his later years. Jarry emerges as a figure of considerable importance on the European cultural scene, not just as playwright and poet, but also as novelist, critic and pataphysician with insights into the nature of literature and language which make him a forerunner of much of the literature and critical theory of recent years. English translations of the extensive quotes from Jarry's writings are provided alongside the French text throughout.
Keith Beaumont was born in Melbourne, Australia, in 1944, and educated there, graduating from the University of Melbourne in 1966 in French with German. He was awarded the degree of Ph.D. by the University of Warwick in 1971 for a thesis on Nihilism in French Literature, 1880-1900. Since 1970 he has been Lecturer in French at the University of Leicester.
Dr. Beaumont's interest in Jarry dates from his undergraduate days. He has written a number of articles on Jarry and on pataphysics. He is a member of the Collège de Pataphysique and the Société des Amis d'Alfred Jarry.
VG in VG dust jacket.
1989, Japanese
Softcover (w. dust jacket and original plastic wrap), 80 pages, 22.8 x 16.3 cm
1st Edition, Out of print title / used / very good
Published by
Gakutokan / Japan
$100.00 - Out of stock
First edition of The World of Pierre Molinier, published in 1989 in Japan. An exquisite book of Molinier's fetishistic gender-bending paintings, photomontages, and drawings, fittingly wrapped in "stocking" dust jacket, with texts by André Breton, translated from French to Japanese by Kosaku Ikuta, imagery from "Molinier" (1966) film by Raymond Borde, beautifully designed and printed in Japan where Molinier's artworks had a particular resonance.
Pierre Molinier (1900—1976) was a French painter, photographer and a forerunner of gender performance art and Body Art (Art corporel). Molinier spent much of his artistic life working in isolation in Bordeaux, exiled from local and national art scenes. Born in Agen, nothing had predestined Molinier to a life as an artist. Self-taught, from a working-class background, he followed in his father’s footsteps and started out as a house painter. He got married and had two children. Tired of his infidelities and provocative behaviour, his wife left their marital home an in 1950 and Molinier begun photographing himself seriously, staging his own death and erecting a fake gravestone proudly declaring himself ‘a man without morals’. He was thrown out of the Bordeaux Salon des Indépendants as early as 1951 amidst controversy over his orgiastic painting of the same year, Le Grand Combat. Stirring up an obsessive correspondence with the anarchic poet-founder of Surrealism, André Breton, Molinier was soon integrated into the Surrealist group with a solo exhibition at Breton’s Paris gallery in 1956. Molinier’s anti-moral project appealed to the group’s interest in repressed desires, fetishism, and the transgression of bourgeois morals. In 1959, he exhibited at the Exposition International du Surrealism in Paris. From the mid-1960s Molinier chronicled the exploration of his subconscious transsexual desires in "Cent Photographies Erotiques": graphically detailed images of pain and pleasure. Cut-up, reassembled, and manipulated, Molinier painstakingly created elaborate and sensual photomontages in which he assumed the roles of dominatrix and succuba previously taken by the women of his paintings. Either alone with doll-like mannequins or with female models such as German sadomasochist Hanel Koeck, Molinier, who considered himself fundamentally androgynous, appears as a transvestite, employing his body and that of his acquaintances to create visions of hybrid identity, where stockinged multi-limbed, multi-sexed beings imitate pagan figures, Hindu gods, and Masonic symbols, in a rejection of a Christian tradition which he argued, had repressed androgyny. Designed to shock, Molinier’s artwork represented a very intimate disclosure about his own sexual ambiguity, inviting the viewer to bring to the images his or her own response of excitement or disgust. The degree of his artistic perversity and blasphemous tendencies was deemed too much for the French cultural elite, and the man Breton dubbed the “magician of erotic art” was shunned from the art world. Molinier did not participate in the 1965 International Surrealist Exhibition. For the last 11 years of his life Molinier played out his own most profound moments in the 'theatre' of his Bordeaux 'boudoir – atelier'. He committed suicide in 1976, shooting himself with a pistol, something he had foreshadowed in his artwork, time and again. Essentially a leg fetishist, but also considering himself as a shaman, facetious and provocative, anti-bourgeois and anti-religious, Molinier enjoyed transgressing gender identification : his outstanding photographs greatly influenced the European and North American Body Art in the 1970s and continue to fascinate artists today.
Very Good copy in original plastic jacket.
2010, English
Hardcover, 400 pages, 24 x 31 cm
Published by
Les Presses Du Reel / Paris
Mennour / Paris
$150.00 - In stock -
The Molinier bible! A mammoth, crucial 400 page book on the method and genesis of Pierre Molinier's provocative, gender-bending photos and artwork. Beautifully printed and prodigiously illustrated with over 800 pictures, mostly unpublished, numerous documents, manuscripts and letters, a complete (nearly 100-page) chronology, a critical biography, and a text by Jean-Luc Mercié.Molinier. Essential publication on Molinier, the most comprehensive to date, and a must for any fan.
Rare English edition translated from the French by Edward Penwarden.
Pierre Molinier is an unknown of worldwide renown. Every book and every exhibition on the body, gender confusion or sexual excess seems to feature at least one work by this artist whose “genius” was acclaimed by André Breton in a memorable text published in 1956. But the bulk of his work has remained inaccessible. A number of pictures have never been shown and a corpus of only 160 prints has been published. The ensemble revealed by the artist's archives is much more extensive. It includes numerous proofs made to prepare his photomontages and working prints given to friends, but also notebooks and personal letters. Here, precise links emerge between his paintings, photographs and scandalous life. The myth carefully constructed by the artist begins to crumble before the reality of the work.
An inveterate seducer, thoroughgoing fetishist, unrepentant transvestite and inadvertent bisexual, to the very last Molinier remained haunted by two obsessions: pleasure, meaning immediate access to la petite mort, and “leaving a trace in the infinity of time.” This book charts the aesthetic incarnation of his passions. Its 819 photographs, most of them never published before, reveal the method, shed light on the procedures and give details of the origin and alchemy of his latent or composed images. Finally, an exhaustive chronology offers a new biography of Molinier, based on his letters: for it is in the intimacy of these writings that the shaman's heart beats closest to the truth.
In a career shared between the university (fifteen years) and publishing (twenty) Jean-Luc Mercié has written widely on painting and photography. This monograph is his fourth book about Pierre Molinier, the master from Bordeaux.
Born 1900 in Agen (France), Pierre Molinier, surrealistic painter and photographer, a precursor to body art, died in 1976 after having thought out radical and pornographic artwork.
2024, English
Hardcover (w. dust jacket), 100 pages, 26.42 x 28.96 cm
Published by
Liveright / US
$120.00 - In stock -
Foreword by Benjamin Moser, With an Introduction by Susan Sontag
A new edition of the cult classic photography book by the legendary Peter Hujar, featuring a foreword by Pulitzer Prize winner Benjamin Moser
The 1976 publication of Peter Hujar’s Portraits in Life and Death, with an introduction by Susan Sontag, “was and remains one of the most somberly beautiful and influential photography collections of its era” (Holland Cotter, senior art critic of The New York Times). When Hujar passed away in 1987, his work was relatively unknown except for a small following. The importance and artistic mastery of Hujar’s photography, its tender gravity and intimacy, became recognised and canonical only after his death. The republication of this collection is composed of the original introduction by Susan Sontag and preceded by a new foreword by Benjamin Moser, with photographs presented in two sequences. A stirring ode to the flourishing downtown scene of the 1970s, this collection remains a deeply moving artefact of post-Stonewall New York City.
"As his posthumous fame only increases, this tightly curated collection of photographs of Hujar’s friends and peers (Paul Thek, Anne Waldman, John Waters and Robert Wilson among them), paired with a haunting series of 1963 photographs of the dead in the Capuchin Catacombs of Palermo, will remind fans of what makes him such a singular and original American artist."—Andrew Durbin, Frieze
"[A] stunning new edition… Sensuous and sensitive, this is a real masterwork."—Olivia Laing, The Observer
2024, English
Softcover, 244 pages, 19.5 x 13.5 cm
Published by
Mousse / Milan
$49.00 - Out of stock
Mike Kelley is best known as one of the most influential visual artists of his generation. But he was also an insightful theorist who wrote profusely about his work as well as on aesthetics in the 1980s, 1990s, and 2000s, an epoch marked, in his view, by victim culture and the pop psychology phenomenon known as repressed memory syndrome.
Mike Kelley: Materialist Aesthetics and Memory Illusions presents the artist in a new light, almost as an empirical philosopher delivering his position through art as well as writing. In a meticulous and transdisciplinary approach, Laura López Paniagua presents Kelley’s oeuvre as a stance in materialist aesthetics and weaves thoughtful relations between the artist’s critique, statements, and comments and the theories of thinkers such as Georges Bataille, Walter Benjamin, Pierre Bourdieu, Sigmund Freud, Jacques Lacan, and Maurice Merleau-Ponty. López Paniagua focuses on Kelley’s artistic production between 1995 and his death in 2012, analyzing these works vis-à-vis the concept of memory, one of the artist’s obsessions and leitmotivs throughout his career.
An essay by Laura López Paniagua, with an introduction by John Miller.
2024, Second edition
1999, English / German
Softcover, 64 pages, 27 x 21.6 cm
1st Edition, Out of print title / as new
Published by
Walther König / Köln
Kunstverein Braunschweig / Germany
$65.00 - In stock -
Published in 1999, this catalogue is the first book to document two of Mike Kelley's central works, Sublevel (1998) and Deodorized Central Mass with Satellites (1991-1999), and includes deluxe large-format installation shots of these two pieces, as well as an interview and an essay by the artist.
2025, English
Softcover, 120 pages, 18.4 x 13.3 cm
Published by
Magic Hour Press / New York
$49.00 - In stock -
This volume accompanies an eponymous two-part television documentary aired in 1976 on Marguerite Duras' rhapsodic love for the spaces she has inhabited throughout her life. Her reminiscences are structured around her memories of specific locations. The transcript of the documentary was published in French two years after the documentary aired, and is now published in English for the first time, just shy of 50 years since the film’s creation, alongside photographs and film stills.
Her house in Neauphle-le-Château; her childhood home in French Indochina, which inspired her acclaimed novel 'The Sea Wall'; the Hôtel des Roches Noires in Trouville, where she wrote 'The Ravishing of Lol Stein'; and the vast seascapes of Indochina, Bengal and Normandy, whose powerful tides compelled her art and life.
True to the original French edition, Duras’ reflections are accompanied by photographs and film stills. The complete English translation by Alison Strayer includes a new essay by writer and director Durga Chew-Bose.
Marguerite Duras (1914–96) was a filmmaker and author, and a leading figure in French postwar cinema. Her novel L’Amant won the Prix Goncourt in 1984. She was nominated for an Academy Award for Best Original Screenplay for the film Hiroshima mon amour (1959).
2024, English
Softcover, 88 pages, 17.8 x 11.4 cm
Published by
Wakefield Press / Cambridge
$32.00 - In stock -
Foreword by René Daumal
Translated by Terry Bradford
When published in 1928, Vulturnus represented a new direction in Léon-Paul Fargue’s writing: a shift from the lyrical post-Symbolist melancholy of his early poetry to something more grandiose, dynamic, and cosmic. A long prose poem, for lack of a better term, but one that weaves together philosophical dialogue, metaphysical meditation, and mournful reminiscence delivered in a language that spirals into scientific terminology and Rabelaisian neologism.
Jolted into a nightmare aboard a long-distance train journey, the author finds himself alone yet not alone, his mind pinned like an insect, as he sets off on a journey that takes him from his hometown to other existences, accompanied by the fanfare of the planets and two companions—Pierre Pellegrin and Joseph Aussudre—who guide him as Virgil did Dante, though not through hell, but to a sketched-out terrestrial paradise in quest of a moment of eternity: a syphilis of the ether, “one foot godward, two steps brute.”
This first English translation finally introduces an essential yet underrecognized twentieth-century voice and includes an essay on the text by René Daumal, who declares that “Vulturnus suffocates me with its obviousness … I see behind Fargue the great frame of Doctor Faustroll.”
“Vulturnus is an astonishing book.”—Paul Valéry
“A rollicking interplanetary poem.”—Eugene Jolas
Léon-Paul Fargue (1876–1947) was the archetypal poet of Paris, with ties to everyone from Alfred Jarry and Erik Satie to Colette and Maurice Ravel. His work was admired by Rilke, Joyce, and Walter Benjamin. Though his work spanned and was sometimes associated with various literary movements, a bridge of sorts from symbolism to surrealism (though he was opposed to the latter), he kept to his own path throughout his life: a night wanderer who turned his perambulations through Paris into a unique poetry and prose.
“The greatest living poet in France.”—Walter Benjamin
“One of our greatest poets.”—Rainer Maria Rilke
“Fargue taught us to sublimate the life of everyday and make the highest poetry out of it.”—Max Jacob
2024, English
Softcover, 220 pages, 20.32 x 12.7 cm
Published by
Contra Mundum Press / New York
$45.00 - In stock -
Heir of symbolism, father of surrealism, extraordinary verbal inventor, L on-Paul Fargue reveals himself to be a visionary in his prose poems. He calls High Solitude a "diorama of states of the soul."
In this work, originally published in 1941, Léon-Paul Fargue revives both the night of prehistoric times and that of the end of the world. And, between the two, this fantastic universe also: the Paris that he so loved and of which he was the unforgettable Pi ton. Paris, whose secret geography he traces, in the company of the ghosts of those who were dear to him. The Paris of white nights, stations, and cafes.
But every road, every street, leads to this high, unique place: solitude. "I work at my solitude, searching to guide it in the sea of insomnia where the long line of the dead has thrown us..."
"Fargue taught us to sublimate everyday life and make the highest poetry out of it."—Max Jacob
"Fargue transforms reality and incites it to undergo perilous metamorphoses, and eventually drives it some way toward the abyss. That is the danger of an art devoted to metaphor: it calls everything into question; but that is also its merit, and in the lament for the life of another era which Fargue readily, too readily, intones, it is right that we should hear the wrong note, the unheard of note, which intrudes into it like the cracked echo of an enigma."—Maurice Blanchot
"There is an unknown demon within Fargue that seems to drive him to the most audacious comparisons, in which he makes use of animals, cathedrals, or monsters to castigate the moral squalor of his day. It is a matter of pure poetry, an agility of spirit that leads him ceaselessly to find resemblances or associations for everything his eyes fall on."—André Beucler
LÉON-PAUL FARGUE (1876-1947) was a writer of poems, novels, and essays. He was a member of Les Apaches, an artist's group formed by Ravel and others, and a close friend of Alfred Jarry. Walter Benjamin considered Fargue the greatest poet in twentieth-century France and the two met in the 30s, with Fargue touring the philosopher around the arcades and other parts of Paris. Fargue was considered the great walker of the city of lights and recounted his perambulations in D'après Paris (1931) and Le Piéton de Paris (1939). Other books of his include Haute solitude (1941) and Déjeuners de soleil (1942).
Rainer J. Hanshe was born in Tehran, Iran, raised in New York, and has resided in Europe and elsewhere. He is the author of the novels The Acolytes and The Abdication, as well as of the hybrid entity Shattering the Muses (2016), a collaboration with visual artist Federico Gori, Closing Melodies (2023), a phantomatic encounter between Nietzsche & Van Gogh, and Dionysos Speed (2024). His translations include Baudelaire's My Heart Laid Bare (2017; 2020), Belgium Stripped Bare (2019), and Paris Spleen (2021), Évelyne Grossman's The Creativity of the Crisis, Antonin Artaud's Journey to Mexico: Revolutionary Messages, and Léon-Paul Fargue's High Solitude. as well as longer and shorter works by other authors.His newest work, Humanimality, is forthcoming in 2025. Beyond Sense, a vatic exploration of the aphasiac disintegration of Hölderlin, Baudelaire, Nietzsche, and Artaud, is due out in 2026. He is at work on a new book entitled Burn Poet Burn.
2025, English
Softcover, 656 pages, 20.3 x 12.7 cm
Published by
Contra Mundum Press / New York
$68.00 - In stock -
“It is said I present vice as too odious. The reason: I do not want people to be attracted to vice. I am far more moral than those who make their villains attractive. I shall only ever depict crime in the most vivid colours of hell. I want readers to see crime in all its vile nakedness, to fear it and to hate it, and so I show it in all its horror. Woe to those who dress crime in roses! Their intentions are impure, and I will never imitate them.”—The Marquis de Sade
Written in his Bastille cell in the years between 120 Days of Sodom and Justine, this is the first English translation of Marquis de Sade’s collection of short works, Stories, Tales, and Fables.
Essential reading for all Sade devotees, Stories, Tales, and Fables is an introduction for those who are not yet familiar with the work of this controversial French literary innovator. The short works in this collection range from the dramatic novella, Dorci, to comic tales such as The Duped Judge. Whether he is writing bawdy, exuberant comedies, supernatural tales, or human tragedies, Sade is essentially a moralist, and his exploration of the darker side of human nature remains as relevant to our society as it was to his own.
Psychologically perceptive and defiantly unconventional, Stories, Tales, and Fables reveals the compelling force of Sade’s narrative powers. An accomplished and artful fiction writer, Sade, like all great writers, asks penetrating questions about society, life, and humanity. This collection also includes a selection of Sade’s non-fiction, ranging from his insightful survey of the novelist's art, Some Thoughts on the Novel, to his Last Will and Testament, as well as several essays about Sade’s work by renowned authors including Apollinaire, Heine, Masson, Anatole France and Paul Ėluard.
Translated by R.J. Dent
2000, English
Softcover, 184 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Other Press / New York
$25.00 - In stock -
A gem of a personal exploration by Julia Kristeva, examining contemporary issues such as European identity, the role of religion in political life, and the meaning of equality for women.
"In these four packed meditations, bursting with intellectual vitality, Kristeva comes forth as an erudite as well as a personal, political, religious, and philosophical thinker, without relinquishing her (un)usual, exquisite poetic style.... Engaging the issue of the contemporary failure of oedipal subjectivity and attacking our era of technology and robotization, she bravely calls for a return to the origins of our cultural memory. This is a provocative book for intellectuals of every stripe."—Frances L. Restuccia, Boston College and author of Melancholics in Love
"The essays in this collection again prove that Julia Kristeva is one of the most profound and courageous thinkers of our time. From her intimate reading of Hannah Arendt to her diagnosis of Eastern Orthodoxy, Kristeva gives us a fresh perspective. In a noteworthy move in terms of her own work, in her essay on Arendt, Kristeva gives priority to active narrative over poetry. Her very personal reflections on the contemporary situation in the Balkans is stunning. Her diagnosis of the European Union and the role of religion in political economy fascinates with its provocations. And, her insightful comments on the meaning of legal equality for women complicates feminist debates over equality versus difference."—Kelly Oliver, State University of New York at Stony Brook
Julia Kristeva is one of our most brilliant and original theorists, widely acclaimed for her work in linguistics, psychoanalysis, and literary and polit- ical theory. As a linguist, she has created a revolutionary theory of the sign in its relation to social and political emancipation. As a practicing psychoanalyst, she has explored the nature of the human subject and sexuality.
VG copy.
1991, English
Hardcover (w. dust jacket), 230 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / fine
Published by
Harvester Wheatsheaf / New York
$40.00 - In stock -
First 1991 hardcover Harvester Wheatsheaf English language edition.
This book is concerned with the notion of the stranger—the foreigner, outsider, or alien in a country and society not their own—as well as the notion of strangeness within the self, a person’s deep sense of being, as distinct from outside appearance and their conscious idea of self.
Julia Kristeva begins with the personal and moves outward by examining world literature and philosophy. She discusses the foreigner in Greek tragedy, in the Bible, and in the literature of the Middle Ages, Renaissance, Enlightenment, and the twentieth century. By considering the legal status of foreigners throughout history, Kristeva offers a different perspective on our own civilization.
Translated by Leon S. Roudiez
Julia Kristeva is professor emerita of linguistics at the Université de Paris VII. A renowned psychoanalyst, philosopher, and linguist, she has written dozens of books spanning semiotics, political theory, literary criticism, gender and sex, and cultural critique, as well as several novels and autobiographical works, published in English translation by Columbia University Press. Kristeva was the inaugural recipient of the Holberg International Memorial Prize in 2004 “for innovative explorations of questions on the intersection of language, culture, and literature.”
NF copy in NF dust jacket preserved under mylar wrap.
1984, English
Softcover, 190 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Cambridge University Press / Cambridge
$40.00 - In stock -
First 1984 edition.
Hegel's philosophy has often been compared to a circle of circles: an ascending spiral to its admirers, but a vortex to its critics. The metaphor reflects Hegel's claim to offer a conception of philosophical reason so comprehensive as to include all others as partial forms of itself. It is a claim which faces the writer on Hegel with peculiar difficulties. Criticism, it would appear, can always be outflanked; criticism of the system can be turned back into criticism within the system. Michael Rosen discusses the philosophical issues involved in historical interpretation before presenting a novel and challenging solution to the problem of Hegel's openness to criticism. Contrary to received opinion, Hegel's philosophy does not, he argues, draw upon a universal and pre-suppositionless conception of rationality. Rather, Hegel's originality lies in founding his system upon a particular, avowedly mystical conception of philosophical experience. This experience - Hegel calls it 'pure Thought' - is fundamental. Pure Thought makes speculative reasoning intelligible and, hence, underpins the claim to rationality of the entire system. Dr Rosen's conclusion is that all attempts at rehabilitation of Hegel are based on misunderstanding. When restored to their speculative-mystical shell the irrational kernel of Hegel's concepts becomes apparent.
VG copy with mild tanning and cover handling wear/light creasing.
1991, English
Softcover, 176 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Columbia University Press / New York
$35.00 - In stock -
First 1991 Columbia edition.
Published in France in 1980, Marine Lover is the first in a trilogy in which Luce Irigaray links the interrogation of the feminine in post-Hegelian philosophy with a pre-Socratic investigation of the elements. Irigaray undertakes to interrogate Nietzche, the grandfather of poststructuralist philosophy, from the point of view of water.
According to Irigaray, water is the element Nietzsche fears most. She uses this element in her narrative because for her there is a complex relationship between the feminine and the fluid. Irigaray's method is to engage in an amorous dialogue with the male philosopher. In this dialogue, she ruptures conventional discourse and writes in a lyrical style that defies distinction between theory, fiction, and philosophy.
Luce Irigaray (b. 1930) is a Belgian-born French feminist, philosopher, linguist, psycholinguist, psychoanalyst, and cultural theorist who examined the uses and misuses of language in relation to women.
Very Good copy.
2004 / 2021, English
Softcover, 408 pages, 22.5 x 14.5 cm
Published by
iUniverse / US
$49.00 - In stock -
The spectre of the marauding serial killer has become a relatively common feature on the American landscape. Reactions to these modern-day monsters range from revulsion to morbid fascination--fascination that is either fed by, or a product of, the saturation coverage provided by print and broadcast media, along with a dizzying array of books, documentary films, websites, and "Movies of the Week."
The prevalence in Western culture of images of serial killers (and mass murderers) has created in the public mind a consensus view of what a serial killer is. Most people are aware, to some degree, of the classic serial killer 'profile.' But what if there is a much different 'profile'--one that has not received much media attention?
In Programmed to Kill, acclaimed and always controversial author David McGowan takes a fresh look at the lives of many of America's most notorious accused murderers, focusing on the largely hidden patterns that suggest that there may be more to the average serial killer story than meets the eye. Think you know everything there is to know about serial killers?
Or is it possible that sometimes what everyone 'knows' to be true isn't really true at all?
1974, English
Hardcover (w. dust jacket), 125 pages, 22 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Latimer / London
$300.00 - In stock -
Rare first 1974 hardcover edition of Stockhausen Serves Imperialism by Cornelius Cardew, published by Latimer, London.
The American composer and writer John Cage, born 1912, and the German composer Karlheinz Stockhausen, born 1928, have emerged as the leading figures of the bourgeois musical avant-garde. They are ripe for criticism. The grounds for launching an attack against them are twofold: first to isolate them from their respective schools and thus release a number of younger composers from their domination and encourage these to turn their attention to the problems of serving the working people, and second, to puncture the illusion that the bourgeoisie is still capable of producing “geniuses.” —Cornelius Cardew
Originally published in 1974, Stockhausen Serves Imperialism is a collection of essays by the English composer Cornelius Cardew that provides a Marxist critique of two of the more revered avant-garde composers of the post-war era: Karlheinz Stockhausen and John Cage.
A former assistant to Stockhausen and a champion of Cage in England, Cardew provides a cutting rebuke of the composers’ works and ideological positions, which he saw as reinforcing an imperialist order rather than spotlighting and serving the struggles of the working class. The author also provides constructive criticism of his contemporaries Christian Wolff and Frederic Rzewski for utilizing politically progressive content, yet failing to work in a musical form that would appeal to the proletariat. Cardew’s music does not escape his own scrutiny: the book contains critiques and repudiations of his canonical compositions from the 1960s and early 1970s, Treatise and The Great Learning. After abandoning the avant-garde, Cardew devoted his work to the people’s struggle, creating music in service of his radical politics until his mysterious death in 1981.
Very Good copy in VG dust jacket. Light tanning to jacket, internally tanned due to paper type. Beautifully preserved unread copy.
1969, English
Hardcover (w. dust jacket), 340 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Hutchinson International Authors / London
$10.00 - In stock -
"When J. B. Leishman died just over six years ago, he left, among his posthumous papers, manuscript lectures on Milton's minor poems which have now been edited for publication by Professor Geoffrey Tillotson, his literary executor. Such a book is doubly welcome: first and foremost, it is by J. B. Leishman, an outstanding scholar and literary critic, author of The Monarch of Wit, Themes and Variations in Shakespeare's Sonnets and The Art of Marvell's Poetry, as well as translator of Rilke; secondly, it is concerned with Milton's minor poems, to which surprisingly little attention has been paid by recent critics, in comparison with Paradise Lost.
Over half this book is devoted to Comus and Lycidas, the rest chiefly to L'Allegro, Il Penseroso, Arcades and the Ode on the Morning of Christ's Nativity. Characteristically, Leishman is concerned to show from what sources Milton derived his ideas, images and phrases. He makes numerous comparisons, quoting widely both from the Greek and Roman poets and from Milton's English predecessors and contemporaries.
Professor Tillotson writes: 'Many of us nowadays have almost no equipment for reading Milton as he should be read.
Leishman laboured to make himself as nearly the ideal reader of Milton as he could manage. He read what Milton had read, which meant in particular the poetry written in Europe from its beginnings in Greece and Rome? This book is far more, though, than an immensely learned discussion; it is 'critical appreciation' in the fullest sense. Leishman imparts not only scholarship but enthusiasm, as when he lovingly calis Lycidas the most perfect poem of its length in the English language' And after reading Leishman we can indeed turn to Lycidas, and to the other poems, with greater understanding and enjoyment."
Good copy with price-clipped end paper. Good dj with wear to extremities.
1990, English
Hardcover (w. dust jacket), 204 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Stanford University Press / Palo Alto
$25.00 - In stock -
The author traces Henry James's career-long encounter with the tradition of British aestheticism and places both in the context of the late-19th-century's professionalization and commodification of literary life. Professions of Taste reopens the question of later James in a new fashion and with a new perspective. A richer genealogy of modernism, and indeed postmodernism, begins to take shape, in which both the problematics of British aestheticism and James's relations with it play an important role. This book aims to enlighten the reader's understanding of the way Pre-Raphaelite concerns fertilized the aestheticist breeding grounds of Anglo-American modernism.
"Our understanding of the way Pre-Raphaelite concerns fertilized the aestheticist breeding grounds of Anglo-American modernism takes a leap forward with Freedman's Professions of Taste, an ambitiously theorized, handsomely written, and enlightening book."—Studies in English Literature
"Professions of Taste is a work that Henry James might have read with pleasure. It is beautifully written, crafted in the highest spirit of critical enterprise."—American Literature
"An important and innovative book. . . . Professions of Taste reopens the question of later James in a new fashion and with a new perspective. A richer geneaology of modernism, and indeed postmodernism, begins to take shape, in which both the problematics of British aestheticism and James's relations with it play an important role."—Henry James Review
"This well-written study sheds much new light on the sphere of experience and expertise, 'the aesthetic,' that was created in the latter half of the nineteenth century."—Virginia Quarterly Review
VG copy in VG dj. Minor light marginalia in erasable lead pencil.
2003, English
Softcover, 458 pages, 22.8 x 15.2 cm
1st Edition, Out of print title / as new
Published by
University of Chicago Press / Chicago
$45.00 - In stock -
While many acknowledge that Friedrich Nietzsche and Michel Foucault have redefined our notions of time and history, few recognize the crucial role that “the infinite relation” between seeing and saying (as Foucault put it) plays in their work. Gary Shapiro reveals, for the first time, the full extent of Nietzsche and Foucault’s concern with the visual.
Shapiro explores the whole range of Foucault’s writings on visual art, including the theory of visual resistance, the concept of the phantasm or simulacrum, and his interrogation of the relation of painting, language, and power in artists from Bosch to Warhol. Shapiro also shows through an excavation of little-known writings that the visual is a major theme in Nietzsche’s thought. In addition to explaining the significance of Nietzsche’s analysis of Raphael, Dürer, and Claude Lorrain, he examines the philosopher’s understanding of the visual dimension of Greek theater and Wagnerian opera and offers a powerful new reading of Thus Spoke Zarathustra.
Archaeologies of Vision will be a landmark work for all scholars of visual culture as well as for those engaged with continental philosophy.
Fine copy.
2011, English
Softcover, 228 pages, 20.5 x 15 cm
Published by
Exact Change / Boston
$34.00 - In stock -
Translated and with an introduction by Simon Watson Taylor.
Paris Peasant (1926) is one of the central works of Surrealism, yet Exact Change's edition is the first U.S. publication of Simon Watson Taylor's authoritative translation, completed after consultations with the author.
Unconventional in form--Aragon consciously avoided recognizable narration or character development--Paris Peasant is, in the author's words, “a mythology of the modern.” The book uses the city of Paris as a stage or framework, and Aragon interweaves his text with images of related ephemera: café menus, maps, inscriptions on monuments and newspaper clippings. A detailed description of a Parisian arcade (nineteenth-century precursor to the mini-mall) and another of the Buttes-Chaumont park, are among the great set pieces within Aragon's swirling prose of philosophy, dream and satire.
André Breton wrote of this work: “no one could have been a more astute detector of the unwonted in all its forms; no one else could have been carried away by such intoxicating reveries about a sort of secret life of the city. . . .”