World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
$.00 - Out of stock
The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
Gift vouchers can be purchased in increments of $20 (Australian Dollars) and the total amount can simply be added to by increasing the quantity in your shopping cart. eg. A quantity of 5 gift vouchers will result in an item total of $100 - a $100 gift voucher. Simply click "ADD TO CART" 5 times, or update your quantity in the shopping cart.
If you wish to purchase multiple, separate gift vouchers in one go, please just email us and we can personally prepare and email you a payment request.
Please note: Please select Pick-Up on gift voucher purchse to avoid any postage charges. Accidental postage charges will be refunded right away!
Thank you.
For any questions, please don't hesitate to email: [email protected]
1980, English
Stamped envelope/tri-fold card screen-print/20 die-cut prints/2 folded sheets, 42 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Pinacotheca / Melbourne
$180.00 - In stock -
Very rare artist print edition published on the occasion of Tony Trembath's exhibition "Sculpture" at Pinacotheca, Melbourne, 1980. An incredibly intricate edition that reflects Trembath's humorous and conceptually rigorous practice, masterfully printed by Larry Rawling in his legendary Mal Studios printmaking workshop in Melbourne, 1980. Tri-fold 2-colour screen-printed card housing three silver envelopes containing folded exhibition invitation, folded work-list surveying three major sculptural installation/conceptual photography works spanning 1978-1980, and 20 die-cut architectural print works by the artist, all housed in stamped/hand-titled envelope.
Tony Trembath (b.1946 Sale, Victoria) is an Australian cross disciplinary artist whose work ranges from immersive installation, screen printing, sculpture and artists books. He has exhibited extensively across Australia and Internationally.
Pinacotheca was a gallery in Melbourne, Australia. Established in 1967 by Bruce Pollard, it was ideologically committed to the avant-garde and represented a new generation of artists interested in post-object, conceptual and other non-traditional art forms.
Very Good copy with pocket contents like-new, light card edge wear and some wear to envelope opening/corners.
1998, English
Softcover, 188 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Routledge / London
$40.00 - In stock -
First 1998 edition.
Reflective Authenticity: Rethinking the Project of Modernity is a challenging consideration of what remains of ambitious Enlightenment ideas such as democracy, freedom and universality in the wake of relativist, postmodern thought.
Do clashes over gender, race and culture mean that universal notions such as justice or rights no longer apply outside our own communities? Do our actions lose their authenticity if we act on principles that transcend the confines of our particular communities? Alessandro Ferrara proposes a path out of this impasse via the notion of reflective authenticity. Drawing on Aristotle, Kant's concept of reflective judgement and Heidegger's theory of reflexive self-grounding, Reflective Authenticity: Rethinking the Project of Modernity takes a fresh look at the state of Critical Theory today and the sustainability of postmodern politics.
VG copy. Light marking to block edge.
1973, English
Softcover (staple-bound), 30 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Universal Edition / London
$35.00 - In stock -
1973 Universal Edition publication of Morton Feldman's "The Viola in My Life (IV)", commissioned for the Venice Biennale 1971.
The cycle The Viola in My Life was begun in July 1970 in Honolulu (composed especially for Karen Phillips, resident performer at Hawaii University) and consists of individual compositions utilising various instrumental combinations with the viola.
“The compositional format is quite simple. Unlike most of my music, the complete cycle of The Viola in My Life (I-IV) is conventionally notated as regards pitches and tempi. I needed the exact time proportions underlying the gradual and slight crescendo characteristic of all the muted sounds the viola plays. It was this aspect that determined the rhythmic sequence of events.” (Feldman)
The attention demanded by Feldman’s music – so soft that it can almost not be heard – is so uniform that it suggests the idea of a surface. We are never quite sure where the sounds are coming from. Time, articulated in most music by rhythm, is perceived as being static. Each sound floats in space, is entirely independent of what has gone before and what has yet to come. Sounds do not progress but merely accumulate in the same place.
The Viola in My Life is a gorgeous succession of delicate sounds in which Feldman, through the interaction of sound and silence, conjures up a desolate magic on a plane where time is somehow altered, transformed.
Morton Feldman (1926-1987) was one of the most original composers of the 20th century, a member of the so-called New York School of composers which also included John Cage, Christian Wolff, and Earle Brown. He was also connected to painters, writers, and poets of the New York School as well, including Mark Rothko, Philip Guston and Franz Kline, Jasper Johns, Robert Rauschenberg, and notably Frank O'Hara. Throughout his career he attempted to locate sound at the moment the listener becomes conscious of its presence. Focusing on the listener's attention on the sounds themselves, Feldman created the "marvelous illusion" of sounds shaping into coherent music through the act of perceiving them, rather than through the act of composing. Each work appears to assemble itself for the listener as they experience it.
Good—VG copy with light handling/pinching wear, tanning, some rust staining from paperclip to the top of score from by performer, likely previous owner Australian composer of concert, jazz, and commercial music, Donald Banks (1923—1980). Banks studied composition privately with Mátyás Seiber in the UK, was associated with Gunther Schuller, Tubby Hayes, Milton Babbitt and Luigi Dallapiccola, scored Hammer horror films, and, back in Australia during the 1970s, was Head of Composition and Electronic Music Studies at the Canberra School of Music and Head of the School of Composition Studies at the New South Wales Conservatorium of Music.
1989, Japanese
Softcover (w. dust jacket + ephemera), 96 pages, 42.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$200.00 - In stock -
Rare first 1989 Japanese edition of H. R. Giger's Biomechanics. In his classic series of oversized and visually immersive early art volumes, this book comprises a retrospective showcase, from 1964—88, of Giger's work, designed by and with running commentary by Giger himself, with over 200 drawings, paintings, and sculptures, and including concept art for the film Poltergeist II, and design paintings for Emerson, Lake, and Palmer albums, his lost film work and early cartoons. With a foreword by legendary Science Fiction author and longtime Giger fan Harlan Ellison, who dubs him "our latter-day Hieronymus Bosch."
Note: the Japanese editions of these books often had better reproductions from the original plates than the German and English language editions.
Includes Treville publisher ephemera inserted as issued, including an illustrated advert for Giger poster editions, etc.
Very Good in Very Good dust jacket. Excellent, well-preserved copy.
1987, English
Softcover (staple-bound), 50 pages + program ephemera, 27.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Performing Arts / Los Angeles
$60.00 - In stock -
Special John Cage Celebration/Los Angeles Festival issue of Performing Arts Magazine, September 1987. Most of the magazine is dedicated to a huge program feature on the Celebration for John Cage event on the occasion of his 75th birthday with the participation of John Cage, Morton Feldman, Merce Cunningham, Herbert Henck, Malcolm Goldstein, Joel Abdella, John Bergamo, Stephen L. Mosko, David Tudor, John Wyre, Michael Marks, Joan La Barbara, Jim Hildebrandt, Stuart Fox, Julie Feves, Sharon Schroeder, Todor Pelev, Vicky Velich, Frans van Rossum, William Powell, Takehisa Kosugi, Gaylord Mowrey, Matthew Cooker, Bob Becker, Pam Henderson, Vanessa Kibbe, Miles Anderson, Susan Allen, David Stenske, Jeff von der Schmitt, Eeda Kitto, Ed Mann, Bryan Pezzone, Florence Titmus, William Cahn, Frances Moore, Laura Kuennen, Novi Novog, Michele Rudnick, M. C. Richards, Lynn Grants, Nicholas England, Ken Larson, Erika Duke, Robin Engelman, Sheri Wright, Patrick Neher, Grete Sultan, Michael Pugliese, Rachel Rudich, Lynn Angebrandt, Larry Stein, Cynthia Blackstone, Ruth Johnson, Jesse Read, Jeffrey Gauthier, Gregg Johnson, Louis Fudale, Russell Hartenberger, Laura Kuhn, Lucille Botte, Jerry Danielson, L. Winn Le Vert, Kurt Snyder... Includes a overview of Cage by Dutch musicologist and dean of music at California Institute Of The Arts (1983-1990), Frans Van Rossum, along with accompanying texts for each composition performed with biographies for each performing artist, a Cage chronology, discography, full list of compositions, Cage artworks, writings and much more, all illustrated with photographs. There is also additional magazine contents featuring Maguy Marin, The Wooster Group, Michael Clark, Morton Subotnick's electronic opera, "Hungers", and much more related to the festival.
Bonus inclusion of a fold-out durational program for the John Cage "musicircus" event at The Embassy Theatre, Saturday September 12, 1987: "90 Performances Live and Recorded; 188 Minutes" and a program update for the performance of Cage's "Inlets" due to the sudden passing of Morton Feldman ("No one can replace Morton Feldman"). All related to the same Cage celebration.
Average—Good copy w. rubbing to magazine cover and pulling at staples, still all intact w. clean contents and inserts.
1985—1986, English
Softcover (staple-bound), 75 pages each (approx), 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
ISCM (International Society for Contemporary Music) / Sydney
$100.00 - In stock -
Rare lot of 5 issues of ISCM (International Society for Contemporary Music) journal — no.1 1985, no.2 1985; no. 3 1985; no.1 1986; no.2 1986; published out of the Sydney Music Department, Sydney University. A subscription only journal, each issue of is absolutely packed with all there was to know in the world of international contemporary, avant-garde, musique concrète, experimental, electro-acoustic, modern classical, chamber music, electronic/computer music, opera, "new" music, particularly of interest for its wealth of information on what was happening in Australia in the mid-1980s. Along with exclusive essays, scene reports, reproductions of scores, compositions and theoretical pieces, each issue is a dense resource/bulletin for any scholar or enthusiast, packed with news on concerts, artists, broadcasts, festivals, compositions, recitals, workshops, commissions, books, score call-outs, competitions, reproductions of the programmes of events taking place all over the world, publications/recording catalogues, press releases, bios, along with material from fellow contemporary music journals. Ernie Althoff, Olivier Messiaen, György Ligeti, Percy Grainger, Ron Nagorcka, Don Banks, Larry Sitsky, Chris Mann, Béla Bartók, Severed Heads, Nigel Butterley, Fred Blanks, David Lumsdaine, Charles Ives, Pauline Oliveros, Ric Formosa, Edgard Varèse, Ros Bandt, Barbara Woof, Rainer Linz, Keith Humble, Gerard Brophy, Warren Burt, Terry Riley, Peter Sculthorpe, David Chesworth, Gillian Whitehead, Kaija Saariaho, R. Murray Schafer, Anthony Braxton, Mike Irik, Felix Werder, Arnold Schoenberg, Roger Tessier, Jean-Claude Risset, Iannis Xenakis, John Cage, Pierre Boulez, Morton Feldman, Jane Manning, Knud Ketting, Jon Rose, Derek Bailey, NMA Tapes....
Average—Good copies due to single staple binding to heavy paper stacks. Front page torn from staple on 3 of the five 5, other small folds, occasional notation.
1982, Japanese
Softcover (w. dust jacket and plastic sleeve), 126 pages, 33 x 25 cm
1st Edition, Out of print title / used / good
Published by
Bijutsu Shuppansha / Japan
$140.00 - Out of stock
Published in 1982 and long out-of-print, Masquerade is one of the finest artist books of Japanese illustrator and graphic artist Aquirax Uno. Lavishly illustrated and elaborately designed and directed by the artist himself, this beautiful album collects Uno's most stunning fantastical illustration and painting throughout the 1960s—1980s, alongside texts and photography of Uno in his atelier. Masquerade collates a cross-section of Uno's graphic work spanning his entire career, his iconic and innovative print, book, and theatre works, including many new, unpublished works and illustrations printed in large format across many full-colour fold-outs — a wonderful way to capture his decadent, provocative, stream of consciousness line work in intimate detail. Highly recommended!
Aquirax Uno, also known as Akira Uno (b. 1934) is a Japanese graphic artist, illustrator and painter who was very influential in the 1960s and 1970s. His incredibly unique work is characterized by fantastic visuals, capricious and sensuous line flow, flamboyant (and occasionally grotesque) eroticism, and frequent use of collage and psychedelic bright colours. Uno was prominently involved with the Japanese underground art of the 1960s–1970s, and is particularly notable for his frequent collaborations with Shuji Terayama and his experimental theater Tenjo Sajiki.
Aquirax Uno, also known as Akira Uno (b. 1934) is a Japanese graphic artist, illustrator and painter who was very influential in the 1960s–1970s. His incredibly unique work is characterized by fantastic visuals, capricious and sensuous line flow, flamboyant (and occasionally grotesque) eroticism, and frequent use of collage and psychedelic bright colours. Uno was prominently involved with the Japanese underground art of the 1960s–1970s, and is particularly notable for his frequent collaborations with Shuji Terayama and his experimental theater Tenjo Sajiki.
Good copy with heavy foxing to cover edges and end pages, original publisher's textured plastic protector sleeve with usual slight shrinkage from age, edge wear. Sample images only.
1975, English
Softcover, 160 pages, 28 x 21.5 cm
Out of print title / used / very good
Published by
YWCA Australia / Melbourne
$190.00 - Out of stock
Rare first and only edition of one of the great Australian photo-books of the 1970s. Woman 1975 was published as "a permanent record of the exhibition of photographs entitled Woman, which was the contribution made towards International Women's year, 1975, by the Young Women's Christian Association of Australia." A gorgeous and moving overview of womanhood in Australia in the 1970s through the images of countless Australian photographers of the period, including Carol Jerrems, Rennie Ellis, John Williams, Fiona Hall, Melanie Le Guay, Ingeborg Tyssen, Jacqueline Mitelman, Les Gray, Grace Lock, Reg Morrison, Phillip Quirk, Peter Tyndall, Howard Birnstihl, Juergen Hasenkopf, Richard Crawley and many more.
Good—Very Good copy, light marking/foxing.
1980, English
Softcover (staple/tape bound), 110 pages, 29.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
The Anthology Collective—Women's Art Movement / Adelaide
Experimental Art Foundation / Adelaide
$90.00 - In stock -
“The Anthology Collective was formed towards the end of 1979. We felt that there was a definite need for local women writers to be represented at the 1980 Adelaide Festival of Arts. The coincidence of the opening of the Festival with International Women’s Day has provided us with an ideal opportunity to present South Australia with a collection of the work of the women who live and write here.”
Gorgeous and very rare mimeographed, tape/staple-bound 1980 anthology of writing by South Australian Women compiled by The Anthology Collective (Jenny Boult, Anne Hosking, Morlock, Kate Veitch) with the Women's Liberation Centre, Women's Art Movement, Media Resource Centre, Unemployed Workers Union, Experimental Art Foundation and Yeast, Adelaide.
Good copy with foxing and wear to covers.
1975, English
Softcover (staple-bound), 32 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Jill Matthews / Adelaide
$80.00 - In stock -
Exceptionally rare independent publication issued for International Women's Day in 1975, compiled by Australian social and feminist historian Jill Matthews (b. Adelaide 1949) — a crucial, harrowing and inspiring chronology of women's life in Australia since white settlement which expands into texts on Aboriginal Women, The Vote, Work, Education, closing with a directory of Women's Organisations across South Australia.
"In 1974, the United Nations declared that the whole of 1975 would be International Womens Year. This booklet arises from research carried out specifically for Intermational Womens Day—March 8, celebrated in South Australia by a march through the streets of Adelaide and various goings-on at the Festival Centre. The booklet aims to provide some factual information concerning the herstory/history of women in Australia since white settlement and to offer a few interpretations of these facts for discussion"—Jill Matthews
In 1984 Matthew's authored her rewritten PhD thesis as Good and Mad Women: The Historical Construction of Femininity in Twentieth Century Australia, published by Allen & Unwin. In her 1987 review, British historian Catherine Hall considered it to be an "essential starting point for British readers into the rapidly extending world of Australian feminist history".
Very Good copy, well preserved copy with light general wear and a few light drip marks to the cover.
1971, Japanese
Softcover, 106 pages, 25.7 x 29.6 cm
1st Edition, Out of print title / used / very good
Published by
Mainichi Shimbun / Tokyo
$180.00 - In stock -
Scarce first edition of Japanese photographer Yoshihiro Tatsuki's wonderful photobook "Private", published in 1971 by Mainichi Shinbun. Mariko "Private" is a beautiful collection of intimate colour and black and white photos taken in Tokyo, Karuizawa, California and Paris, with popular Japanese actress Mariko Kaga as the subject. This famed collection of joyful and touching portraits was published as a special issue of the great Camera Mainichi, edited by critic Shōji Yamagishi, with cover by printmaker Masuo Ikeda and features commentary by Toshiro Mayuzumi, Kazumi Yasui and others. Highly recommended.
Number 1 in Camera Mainichi's Private series.
Tatsuki was born into a family that operated an photographic portrait studio. While at Tokyo junior College of Photography, he exhibited photographs of his family at the Fuji Photo Salon. After graduation, he began working as a photographer at Ad Center under the art direction of graphic designer Seiichi Horiuchi. Tatsuki’s name entered the limelight when he was just 26 years old with the publication of "A Fallen Angel", an astonishing 56 pages feature of his photographs shots for Camera Mainichi. Since starting as a freelance photographer in 1969, he has worked on the front lines of the advertising, magazine, publishing, and motion picture industries. He has published a number of celebrated photo books on female subjects and is best-known for works such as GIRL, EVES, Private (Mariko Kaga), Aoi Toki, My America, and Portrait of Family.
Good—Very Good copy of a book difficult to find in such nice condition. Usual light tanning to stock edges/spine, general light wear/age.
1996, Japanese
Hardcover (clothbound), 136 pages, 27 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
NG Publication / Tokyo
$600.00 - Out of stock
Very rare, highly sought after first book, Danse Macabre To The Hardcore Works, by Japanese "corpse photographer" Kiyotaka Tsurisaki, published by NG Publication (imprint of editor Kotaro Kobayashi — Too Negative, Ultra Negative, ORG, etc.) in 1996 in an edition of 1000 copies. This deluxe clothbound hardcover volume contains an unwavering, unapologetic look at death, collecting Tsurisaki's first works (a three year survey) bound together in glossy full-colour. Most never before published, the book includes his first published photographs from the second issue of Kobayashi's Too Negative magazine. Since 1994, Japanese photographer, film director, and writer Kiyotaka Tsurisaki (b. 1966) has become known for prolifically photographing dead bodies; his images of death and conflict from global "hot-spots" earning him a reputation as a leading underground photographer. For Kiyotaka’s raw photo-journalistic practice he habitats disaster areas, accident sites and war zones, locations where society has collapsed to seek out and photograph man's ultimate taboo — death. Many of these people met with violent ends, whether by vehicle crash, homicide, or suicide. The images are stark, confronting, bleak and profound. Tsurisaki also brings the viewer into morgues and forensics labs, where the macabre work of embalming and autopsy is unapologetically documented. His work has led him from Fukoshima and Japan’s suicide forest Aokigahara, Thailand, Colombia, Mexico, Russia, and Palestine, as well as other lawless or war-torn parts of the world, to photograph human corpses. In El Cartucho, Bogota, Kiyotaka filmed the shockumentary Orozco The Embalmer (2001) — a now cult classic in its genre, alongside his Junk Films (2007) and Wasteland (2012). Tsurisaki has published several photo books and authored Book Of The Dead (2011), and The Dogs of the Nuclear War: A Chronicle Of The Fukushima Daiichi Nuclear Power Plant (2017).
Very Good—Near Fine copy.
2012, English
Softcover, 120 pages, 28 x 21.59 cm
Published by
Creation Books / London
$65.00 - In stock -
DEATH is the first major retrospective of the work of Japanese photographer Tsurisaki Kiyotaka, whose images of death and conflict from global "hot-spots" have earned him a reputation as a leading underground photographer. This deluxe, full-sized book contains over 100 full-colour images shot between 1994 and 2011, culminating with poignant scenes of death and destruction from the recent Fukushima disaster in Japan. Also included is a new introduction by Tsurisaki, in which he provides an overview of the philosophy behind his unusual career.
Self-styled "corpse photographer", film director and writer Tsurisaki Kiyotaka was born 1966 in Toyama Prefecture, Japan. He graduated from the Faculty of Letters, Keio University and became a photographer after a brief career as a porno director in 1994. His first solo exhibition was held at NG Gallery (Ikejiri, Tokyo) in 1995. He has shot over 1,000 scenes of death in some of the world's most unregulated and lawless areas and conflict zones, including Thailand, Colombia, Mexico, Russia, and Palestine. He is also known for his autopsy documentary OROZCO THE EMBALMER.
2013, English
Hardcover (w. dust jacket), 376 pages, 16.5 x 22.9 cm
Published by
Yale University Press / New Haven
$120.00 - In stock -
ince the 19th century, dolls have served as toys but also as objects of obsession, love, and lust. That century witnessed the emergence of the term "heterosexual" and of modern concepts of fetishism, perversity, and animism. Their convergence, and the demands of a growing consumer society resulted in a proliferation of waxworks, shop-window dummies, and customized love dolls, which also began to appear in art. Oskar Kokoschka commissioned a life-sized doll of his former lover Alma Mahler; Hans Bellmer crafted poupées; and Marcel Duchamp fabricated a nude figure in his environmental tableau Etant donnés. The Erotic Doll is the first book to explore men's complex relationships with such inanimate forms from historical, theoretical, and phenomenological perspectives. Challenging our commonsense grasp of the relations between persons and things, Marquard Smith examines these erotically charged human figures by interweaving art history, visual culture, gender, and sexuality studies with the medical humanities, offering startling insights into heterosexual masculinity and its discontents.
‘Ladies and gents, welcome to the museum of the erotic doll. Step right up and feast your eyes on modern man’s curious contraptions. If the saucy blow-up doll makes you squeamish, brace yourself for the Dutch Wife (a sailor’s delight!), lubricating robot ladies, surrealist brides stripped bare, state-of-the-art RealDolls, and the iDollators who love them. Marquard Smith is the curator of this collection of men's dolls, rendered in a lavishly illustrated volume.’—Laura Frost, Times Higher Education
'This book is platypus-like, unclassifiable.'—Marina Warner, London Review of Books
“[An] intriguing book . . . Smith teases out the history of these sex objects to provide a thorough genealogy of today’s erotic mannequins.”—Shelly Ronen, Public Books
2025, English
Softcover, 162 pages, 20.3 x 12.7 cm
Published by
Weirdpunk Books / US
$25.00 - Out of stock
Welcome to the Organization. Employees of the organization contribute to its mission to apply non-traditional methods to the non-traditional problems of today. To ensure that all employees have the same opportunity to thrive, the organization’s state-of-the-art live and work facility has all the comforts of home, plus technology that maximizes their opportunities for collaboration. Without the organization, Clarissa Knowles would have nowhere else to go. That is, unless she can make it to Dick’s house, the professor she’s been talking to online. Haunted by her failed relationship with Maurice (the existentialist), and the deaths of her parents, can Clarissa shake off the values of the organization, pack up her cat – and go? The Organization is Here to Support You is an existential bureaucratic horror satire in the tradition of Franz Kafka, J.G. Ballard, and Sayaka Murata.
1995, English
Softcover, 102 pages, 15.2 x 10.2 cm
Published by
Filthy Loot / Ames
$20.00 - In stock -
Body Horror + Splatterpunk = BodyPunk.
If you get to the core of the Filthy Loot aesthetic, juxtaposition is everything.
Featuring Joe Koch, Max Restaino, Xavier Garcia, Charlene Elsby, and Sam Richard. This is an anthology intended to muddy the waters for subgenre purists the world over. You’re welcome.
2025, English
Softcover, 112 pages, 15.2 x 10.2 cm
Published by
Filthy Loot / Ames
$20.00 - In stock -
FFO: daddy issues; hickeys; high school house parties; Sean Baker's Red Rocket; downers; Elliott Smith; binge-drinking; problematic age gaps; crying and throwing up; heartbreak
2025, English
Softcover, 92 pages, 15.2 x 10.2 cm
Published by
Filthy Loot / Ames
$20.00 - In stock -
“Latex, Texas is a gripping, gorgeous portrait of purgatory. It fucked me up: I swore the words on the page were getting bigger and bigger, like the font had become infected, like the cut-up sentences had gotten sick and swollen. What a ride.” —Derek McCormack (author, Castle Faggot)
I see Houston on the TV It is not New York It is not Chicago It is not Washington
with its high population its surplus child sacrifice further foolish activities the great city stands
1993, English
Softcover, 280 pages,
1st Edition, Out of print title / used / very good
Published by
Dedalus / Cambs
$25.00 - Out of stock
In the the public mind surrealism is associated primarily with its visual imagery: and this has served to obscure the richness of surrealist contributions in other spheres. This has been particularly so in respect of its rich storytelling tradition...Surrealism draws on older traditions of storytelling, most notably the fairy tale and the Gothic novel...it seeks to capture the mysterious essence of reality and to embody myth and the forces set free by desire.
"The range is impressive, and includes several women...Gisele Prassinos...Leonora Carrington and Meret Oppenheim; contemporary writers like Rikki Ducornet. Richardson makes available in English several early treasures, such as Salvador Dali's Reverie and Pierre Unik's Long Live the Bride, a wonderful tale of mistaken identity and metonymical transfer of meaning." —Fiona Bradley in the Times Literary Supplement
"'I went to fetch my car, but my chauffeur, who has no sense at all, had just buried it,' writes Leonora Carrington in this captivating collection of tales from 17 languages."—The Observer
VG copy.
1982, English
Hardcover (w. dust jacket), 154 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Syracuse University Press / New York
$45.00 - Out of stock
First hardcover edition.
"In this groundbreaking, original study, J. H. Matthews, "clearly the chief scholarly explicator of surrealism today," according to Contemporary Literature, shows how the surrealists' goals and the imaginative freedom of mind are fused and diffused in the poet's creative world. Hallucination, game-playing, experimental research, and the irrational which nurtures new ways of poetical expression are all interwoven.
Out of their eagerness to share the benefits they ascribed to mental disturbance surrealists developed an approach to poetic technique which capitalized on the free association of the unconscious mind without undermining the sanity of the poets themselves.
Matthews discusses early surrealist interest in psychosis, hysteria, and insanity. This interest underlies such major works as André Breton's Nadja and Breton's and Paul Eluard's The Immaculate Conception. It is in the latter text that the issue of insanity and its relationship to poetic activity is most clearly revealed as essential to the surrealist enterprise. Also included here are chapters on insanity's poetic simulation and possession.
Matthews' work is important to anyone interested in poetry, the unconscious, and the history of twentieth-century ideas, as well as to scholars of surrealism.
Karol Baron, a Czech surrealist artist, has provided six original drawings especially for this book."—Dust jacket.
J. H. Matthews is a member of the committee appointed by the French government's Centre National de la Recherche scientifique to establish a center in Paris for documenting world-wide surrealism. He is American correspondent for Edda and Gradiva (Brussels), Phases (Paris), and Sud (Marseilles), magazines devoted to vanguard poetry and art. In 1977 the University of Wales conferred upon him its D. Litt., in recognition of his work on surrealism.
Born in Swansea, Wales, J. H. Matthews has been Professor of French at Syracuse University and editor of Symposium: A Quarterly Journal in Modern Foreign Literatures since 1965. He has edited a selection of stories by Guy de Maupassant (1959) as well as two special issues of La Revue des Lettres Modernes, and is the author of Les deux Zola (1957) and The Inner Dream: Céline as Novelist (1978) and numerous articles on nineteenth-and twentieth-century French literature.
His interest in surrealism has led him to write Péret's Score/Vingt Poèmes de Benjamin Péret
(1965); An Introduction to Surrealism (1965); An Anthology of French Surrealist Poetry (1966); Surrealism and the Novel (1966); André Breton (1967); Surrealist Poetry in France (1969); Surrealism and Film (1971); Theatre in Dada and Surrealism (1974); Benjamin Péret (1975); and The Custom-House of Desire: A Half-Century of Surrealist Short Stories (1975). He is also the author of Toward the Poetics of Surrealism (1976); Le thé-âtre de Raymond Roussel: une énigme (1977); The Imagery of Surrealism (1977); and Surrealism and American Feature Films (1979).
VG copy in VG dust jacket with light tanning/age.
2007, English
Softcover, 99 pages, 23 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Miguel Abreu Gallery / New York
$190.00 - In stock -
Incredible, long out-of-print catalogue published on the occasion of Agapē, organized by Alex Waterman at Miguel Abreu Gallery June 3 – July 28, 2007, an exhibition of experimental music scores and an accompanying concert series that will address aspects of the social acts of translation and collective interpretation in musical performance. The show will feature a sequence of scores marking the evolution of notation in music, spanning from Anna Magdalena Bach’s unaccompanied cello suites to the long awaited Trios WHITE ON WHITE by Robert Ashley (1963). Printed by Will Holder in consultation with Alex Waterman, this work will be, for the first time, both formed and performed as originally intended by Ashley.
Throughout the two-month event, each score appearing on the gallery walls will be performed in a series of scheduled concerts. The performances will engage the task of reading in relation to the various acts of writing, composing, translating, and committing works to memory. The aural tradition and story-telling will also be explored in addition to issues pertaining to editing, copying, and the transmission /performance of scores and written words. On July 28th, the exhibition will close with The Bachelor Party, an evening led by Will Holder celebrating the 120th birthday of Marcel Duchamp.
Among Alex Waterman’s guests will be experimental cellist, Charles Curtis; Fluxus artist, Alison Knowles; language poet and political economist, Bruce Andrews; writers, designers and publishers, Will Holder and Stuart Bailey; poet and sound artist, Chris Mann as well as composers Christian Wolff, Anthony Coleman, Pauline Oliveros and Robert Ashley.
With contributions by Robert Ashley, Alex Waterman, Bruce Andrews, John Law, Charles Curtis, Elaine Radigue, Christian Wolff, The Brothers Grimm, Herbert Read, Frances Stark, James Saunders, Cornelius Cardew, Ludwig Wittgenstein, Will Holder, Alvin Lucier, Chris Mann and others.
"Agape is the drawing together of poets, philosophers, writers, composers, and musicians in an attempt to address the role of reading as a social act through an exhibition and concert series."—from the preface by Alex Waterman
"[A] composition is not an end product, not in itself a useful commodity. The end-product of an artist’s work, the ‘useful commodity’ in the production of which he plays a role, is ideological influence… The production of ideological influence is highly socialized involving (in the case of music), performers, critics, impresarios, agents, managers, etc., and above all (and this is the artist’s real ‘means of production’) an audience…"—Cornelius Cardew
Very Good copy. Tanning to page edges due to paper type.
1994, English
Softcover, 56 pages, 28 x 20 cm
1st Edition, Out of print title / used / fine
Published by
Museum of New Zealand / Te Papa Tongarewa
Govett-Brewster Art Gallery / New Plymouth
$40.00 - In stock -
Scarce 1994 New Zealand touring exhibition catalogue published on the occasion of Power Works, selected by New Zealand curator Robert Leonard, comprising works from the 1980s by Australian and international artists. Rather than seeking to impose a theme, Leonard selected key works from the MCA Collection allowing commonalities to naturally emerge.
With artist sections, colour artwork plates and accompanying texts for each artist by a selection of writers, plus a further section for the additional exhibition, Peter Tyndall: Postcards, curated by Sue Cramer, illustrated with installations and a conversation between Cramer and Tyndall.
Artists featured: Sandro Chia, Peter Cripps, Juan Davila, Eugenio Dittborn, Katharina Fritsch, Gilbert & George, Keith Haring, Richard Kileen, Barbara Kruger, Robert Longo, David Daymirringu Malangi, Tracey Moffatt, John Nixon, Mike Parr, Sigmar Polke, Cindy Sherman, Imants Tillers, Peter Tyndall, Jenny Watson, Boyd Webb. Writers featured: Charles Green, Linda Michael, Stephen O'Connell, Julie Ewington, Sue Cramer, Stuart Mckenzie, Thomas W. Sokolowski, Anna Miles, Adrian Martin, Lawrence McDonald, Djon Mundine, Ingid Periz, Carolyn Barnes, Graham Coulter-Smith, Christina Davidson, Robyn Mckenzie, Wystan Curnow, Robert Leonard, Ben Curnow. The exhibition toured Museum of New Zealand / Te Papa Tongarewa – 19 Feb 1994 - 15 May 1994; Govett-Brewster Art Gallery – 09 Jul 1994 - 28 Aug 1994; Waikato Museum of Art & History – 10 Sep 1994 - 04 Dec 1994; Dunedin Public Art Gallery– 01 Jan 1995 -31 Mar 1995; Museum of Contemporary Art (MCA) – 26 May 1995 - 03 Dec 1995
Fine copy.