World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
$95.00 - In stock -
First edition of the heavy "OCTOBER: The First Decade, 1976 - 1986", which brings together a selection of some of the most important and representative texts, many from issues long out of print, that have appeared in one of the foremost journals in art criticism and theory - October.
Contributors include Rosalind Krauss, Sergei Eisenstein, Peter Handke, Georges Didi-Huberman, Mary Ann Doane, and Hans Haacke. Their essays are organized under the categories of "the index, historical materialism, the critique of institutions, psychoanalysis, rhetoric, and the body." -- publisher's statement.
Texts by Annette Michelson, Rosalind Krauss, Douglas Crimp, Joan Copjec, Nadar, Georges Didi-Huberman, Roger Caillois, Benjamin H.D. Buchloh, Sergei Einstein, Maria-Antonietta Macciocchi, Rosalyn Deutsche, Cara Gendel Ryan, Yve-Alain Bois, Daniel Buren, Louise Lawler, Christopher Philips, Homi Bhabha, Mary Ann Doane, Joel Fineman, Babette Mangolte, Peter Handke, Anette Michelson, Georges Bataille, Hollis Frampton, Robert Morris, Hans Haacke, and Trisha Brown.
"October is among the most advanced journals of the 1970s and 1980s in the fields of art theory, criticism, history, and practice. [Its editors] are intimately familiar with the cultural and political avant-garde of Europe and the U.S. and are able to attract its best thinkers.... Few, if any, journals could receive a higher recommendation."—Choice
Softcover, 456 pages, 13 x 21 cm
Published by Mousse Publishing / Milan
$59.00 - In stock -
Mihnea Mircan & Vincent W.J. van Gerven Oei, eds.
With contributions by Haseeb Ahmed, Ignacio Chapela, Justin Clemens, Georges Didi-Huberman, Jonathan Dronsfield, Christopher Fynsk, Vincent W.J. van Gerven Oei, Natasha Ginwala & Vivian Ziherl, Adam Staley Groves, Sean Gurd, Adam Jasper, Susanne Kriemann, Brenda Machosky, Mihnea Mircan, Alexander Nagel, Rosalind Nashashibi, Tom Nicholson, Jack Pettigrew, Raphaël Pirenne, Susan Schuppli, Lucy Steeds, Jonas Leonard Tinius, Marina Vishmidt, Christopher Witmore, and Khadija von Zinnenburg Carroll
A 2010 archeological study found that the prehistoric Gwion Gwion paintings in Australia, whose chromatic vividness contrasts with their age and their exposure to sun and rain, are inhabited by “living pigments.” A symbiotic biofilm of red cyanobacteria and black fungi sustains a process of permanent self-painting, while also etching the pictures deeper into the quartz wall. The texts commissioned for the reader respond, from a variety of disciplinary perspectives, to an idiosyncratic temporality and economy—or ecology—of signification. Descending from an inscrutable past to the same extent that they are made now, in a radical contemporaneity, the Gwion Gwion are examined as an allegorical metabolism that generates new articulations of “art” and “life,” contamination and purity, prehistory and modernity, bacterial and human colonies, lost knowledge and scientific advancement—collaborative relations between antonyms, altered schemas of “origin” and “identity.”
Now out-of-print - last copies.
2017, English / French
Softcover, 220 pages, 240 x 175 mm
Published by May Revue / Paris
$29.00 - In stock -
This issue seeks to reflect the post-Trump, post-Brexit and French pre-election climates at a time of reconfiguration of habitual political representations and polarizations. We decided to favour reports, a more reactive writing format on issues of concerns in art schools, universities, institutions: Angela Davis and Gina Dent’s talk in Paris, the exhibition Soulèvements at the Musée du Jeu de Paume, The Color Line at the Musée du Quai Branly on African-American artists and segregation…
American Goodness - Elise Duryee-Browner
If our Lives are Black. On Angela Davis and Gina Dent’s conference at La Maison de l’Amérique Latine, Paris - Claire Fontaine
Interview with Ilaria Bussoni. On the symposium “Sensible Commons” at GNAM, Rome - May
Dynamis, 2016–2017 Athens and Kassel simultaneously and in continuum - Georgia Sagri
On Soulèvements by Georges Didi-Huberman at Jeu de Paume, Paris - Giovanna Zapperi
On the film Two A.M. by Loretta Fahrenholz at Museum Fridericianum, Kassel - Tobias Madison
On Amelie von Wulffen at Barbara Weiss, Berlin - Jay Chung
On Yuki Kimura at CCA Wattis, San Francisco - J. Gordon Faylor
Behind Enemy Lines: Black Power & Taboo. On The Color Line: African-American Artists and Segregation at Musée du Quai Branly, Paris - Kari Rittenbach
On Morag Keil at Eden Eden, Berlin - Nicholas Tammens
On Greg Parma Smith at MAMCO, Geneva - Enzo Shalom
Francis Picabia seen from Switzerland and America. On Francis Picabia’s retrospectives at Kunsthaus Zurich and at MoMA, New York - Carole Boulbès
Villa Noailles - Jeanne Graff
Limited Editions by Jean-Luc Moulène and Bernadette Corporation with Benjamin Alexander Huseby
Reprint booklet: LGG$B
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
Softcover, 184 pages, 21.9 x 28 cm
Published by Yale University Press / New Haven
$35.00 - In stock -
This wide-ranging and thought-provoking compilation explores the idea of nonconformity in art, religion, and philosophy. The book features 55 contemporary artists who work outside the norms of current practice, alongside both newly commissioned and previously published texts which, taken together, provide an astute sampling of recent perspectives on art and ideas. Among the artists whose work is featured are Margit Anna, Clayton Bailey, Tony Cox, Abu Bakarr Mansaray, Birgit Megerle, Philip Smith, and Keiichi Tanaami. The accompanying texts include classic works by Sigmund Freud and Leo Steinberg, reprinted with new commentary by Mark Edmundson and Joshua Decter, respectively; a recent essay on unorthodoxy in Judaism by Alan T. Levenson with a response by Jack Wertheimer; and a previously unpublished meditation on Aby Warburg’s art history by Georges Didi-Huberman.
Artists included: Margit Anna, Austė, Clayton Bailey, Brian Belott, Meriem Bennani, Adolfo Bernal, Dineo Seshee Bopape, Michael Buthe, Tony Cox, Olga de Amaral, Brian DeGraw, Marie-Louise Ekman, Brenda Fajardo, Christina Forrer, Valeska Gert, Stephen Goodfellow, Zach Harris, Margaret Harrison, Tommy Hartung, Nadira Husain, Jamian Juliano-Villani, Cyrus Kabiru, E’wao Kagoshima, Gülsün Karamustafa, Keiichi Tanaami, Július Koller, Jirí Kovanda, Amadeo Luciano Lorenzato, Boris Lurie, Alice Mackler, Abu Bakarr Mansaray, f.marquespenteado, Park McArthur, Birgit Megerle, Jeffry Mitchell, Mrinalini Mukherjee, Masatoshi Naito, Hylton Nel, Zoë Paul, Nick Payne, Christina Ramberg, Bunny Rogers, David Rosenak, Erna Rosenstein, Xanti Schawinsky, Max Schumann, Leang Seckon, Diane Simpson, Philip Smith, Hajime Sorayama, Jeni Spota, Miroslav Tichý, Amikam Toren, Endre Tót, William T. Vollmann
$52.00 - Out of stock
Materiality has reappeared as a highly contested topic in recent art. Modernist criticism tended to privilege form over matter—considering material as the essentialized basis of medium specificity—and technically based approaches in art history reinforced connoisseurship through the science of artistic materials. But in order to engage critically with the meaning, for example, of hair in David Hammons’s installations, milk in the work of Dieter Roth, or latex in the sculptures of Eva Hesse, we need a very different set of methodological tools.
This anthology focuses on the moments when materials become willful actors and agents within artistic processes, entangling their audience in a web of connections. It investigates the role of materiality in art that attempts to expand notions of time, space, process, or participation. And it looks at the ways in which materials obstruct, disrupt, or interfere with social norms, emerging as impure formations and messy, unstable substances. It reexamines the notion of “dematerialization”; addresses materialist critiques of artistic production; surveys relationships between matter and bodies, from the hierarchies of gender to the abject and phobic; explores the vitality of substances; and addresses the concepts of intermateriality and transmateriality emerging in the hybrid zones of digital experimentation.
Artists surveyed include
Georges Adéagbo, Carl Andre, Janine Antoni, Amy Balkin, Artur Barrio, Helen Chadwick, Mel Chin, Mark Dion, Jimmie Durham, Tessa Farmer, Chohreh Feyzdjou, Romuald Hazoumè, Pierre Huyghe, Ilya Kabakov, Mike Kelley, Anthony McCall, Teresa Margolles, Robert Morris, Michelangelo Pistoletto, Tino Sehgal, Shozo Shimamoto, Santiago Sierra, Robert Smithson, Simon Starling, Paul Thek, Paul Vanouse, Mierle Laderman Ukeles, Kara Walker
Joseph D. Amato, Karen Barad, Judith Butler, Elizabeth Grosz, Georges Didi-Huberman, Natasha Eaton, Jens Hauser, Dieter Hoffmann-Axthelm, Tim Ingold, Wolfgang Kemp, Julia Kristeva, Esther Leslie, Jean-François Lyotard, Dietmar Rübel, Monika Wagner, Gillian Whiteley
About the Editor
Petra Lange-Berndt is Chair of Modern and Contemporary art in the Art History Department at the University of Hamburg and a leading researcher in the field of material studies in art history. She is coeditor, with Dietmar Rübel, of Sigmar Polke: We Petty Bourgeois! Contemporaries and Comrades, the 1970s.
$50.00 - Out of stock
What does 'contemporary' actually mean? This is among the fundamental questions about the nature and politics of time that philosophers, artists and more recently curators have investigated over the past two decades. If clock time -- a linear measurement that can be unified, followed and owned -- is largely the invention of capitalist modernity and binds us to its strictures, how can we extricate ourselves and discover alternative possibilities of experiencing time? Recent art has explored such diverse registers of temporality as wasting and waiting, regression and repetition, deja vu and seriality, unrealized possibility and idleness, non-consummation and counter-productivity, the belated and the premature, the disjointed and the out-of-sync -- all of which go against sequentialist time and index slips in chronological experience. While such theorists as Giorgio Agamben and Georges Didi-Huberman have proposed "anachronistic" or "heterochronic" readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question.
This collection surveys contemporary art and theory that proposes a wealth of alternatives to outdated linear models of time.
Artists surveyed include Marina Abramovi, Francis Alys, Matthew Buckingham, Janet Cardiff, Paul Chan, Olafur Eliasson, Bea Fremderman, Toril Johannessen, On Kawara, Joachim Koester, Christian Marclay, nova Milne, Trevor Paglen, Katie Patterson, Raqs Media Collective, Dexter Sinister, Simon Starling, Hito Steyerl, Hiroshi Sugimoto, Tehching Hsieh, Time/Bank.
Writers include Giorgio Agamben, Mieke Bal, Geoffrey Batchen, Hans Belting, Walter Benjamin, Franco Berardi, Daniel Birnbaum, Georges Didi-Huberman, D gen Zenji, Peter Galison, Boris Groys, Brian Dillon, Elena Filipovic, Joshua Foer, Elizabeth Grosz, Adrian Heathfield, Rachel Kent, Bruno Latour, George Kubler, Doreen Massey, Alexander Nagel, Jean-Luc Nancy, Daniel Rosenberg, Michel Serres, Michel Siffre, Nancy Spector, Nato Thompson, Christopher Wood, George Woodcock, Mark von Schlegell.
Edited by Amelia Groom.
Hardcover (w. cloth binding), 320 pages (134 b/w and 32 color ills.), 18.5 x 26.5 cm
Published by Sternberg Press / Berlin Center for Curatorial Studies Bard College / New York LUMA Foundation / Zürich
$48.00 - In stock -
With contributions by Ariella Azoulay, Bassam El Baroni, Roger M. Buergel, George Didi-Huberman, Michel Feher, Hal Foster, Anselm Franke, Dominique Gonzalez-Foerster, Sandi Hilal and Alessandro Petti, Maja Hoffmann, Denis Hollier, Thomas Keenan, Alex Klein, Suhail Malik, Marion von Osten, Katya Sander, Hito Steyerl, Eyal Weizman, Tirdad Zolghadr
The Human Snapshot draws upon a conference of the same name organized by the LUMA Foundation and Center for Curatorial Studies at Bard College that took place in Arles, France, in 2011. The conference contributions and subsequent essays examine contemporary forms of humanism and universalism as they circulate and are produced in art and photography. The look toward these two terms stems from theorist Ariella Azoulay’s research on the seminal exhibition “The Family of Man,” first installed at the Museum of Modern Art in New York in 1955, which she frames as a lens through which to view universalism at play. These values have been under conceptual assault in recent years, yet they continue to proliferate—even through the visual arts, where humanism and universalism are customarily dismissed. The Human Snapshot takes these themes and wrestles with their application in the use of photography, the exhibition format, contemporary democracy, human rights discourse, and the power of the image at large.
Copublished by the LUMA Foundation and the Center for Curatorial Studies at Bard College (CCS Bard)
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